1. 1. RE:ACTIONTess Kuramoto tesskuramoto@gmail.com Lucas LaRochelle lucas.larochelle77@gmail.com Francis Goodship fgoodship@gmail.com Danielle Thompson danielle.c.thompson@gmail.com Carrie Booth carrielbooth@gmail.com Shannon King shannonlinda.k@gmail.com
2. 2. Reflections ThoughtPattern Descriptions Keywords Research Material Sketches ScreenprintingDev. PatternDev. Conference Documentation Waste Production Bibliography Colophon Socio-Cultural Click on any tab to go to the corresponding section. NAVIGATION You can also click the coloured bar at the left side of any title page to return back to here, the navigation page.
3. 3. REFLECTION/ ON HOME While the cinematography and overall sensory experience of the film was powerful, the information presented felt basic and perhaps overly simplified. The positive of this simplification is the ability to inform an audience with little to no knowledge of the sustainability crisis in a visually and aurally engaging manner, however, with such critical topics, more attention to detail would have brought to light their inherent complexity, rather than providing only a surface analysis. Home effectively elicits an emotional response, prompting feelings of anxiousness and a sense of urgency with its combinations of imagery, music and narration. However, it seems problematic that most of this beautiful imagery was gathered through the use of helicopter shots, this discordance between message and image weakening the strength and validity of the film overall The film does provide a more positive end with information on how the world community is attempting to create a more sustainable way of living. This emphasis on community as a key tool in the building of a sustainable future feels like the most nuanced and important message delivered through the film. Home asserts that if we are able to broaden our point of view and fight our natural propensity towards selfish thinking, we may have the chance to improve our society on a global scale
4. 4. REFLECTION/ GUEST SPEAKER The presentation by Dr. Katja Neves was extremely illuminating, bringing light to topics such as the history of the botanic gardens, its current importance in our world, the relation to nature and the city, and ultimately the importance of biodiversity. Understanding in detail the role of the botanic gardens allowed us to research more effectively, filtering ideas and concepts through this newfound understanding, ultimately creating a more concise outcome. We were particularly interested by her information about urban spaces and the migration of butterflies. The relationship between urban spaces and natural ones is often seen as one of conflict, however Dr. Neyes explained the importance and potential of small city gardens in aiding butterflies in their migrations, by including certain species of flowers that aid their survival. As urbanites, it was empowering to learn of the ecological power that cities have in the fight for biodiversity, as they are so commonly seen as detrimental. Dr. Neves presentation was incredibly informative and allowed our group to more fully understand and appreciate the role of Botanic Gardens in urban settings, which allowed us to more forward with a more concrete concept.
5. 5. REFLECTION/ BOTANICAL GARDENS When arriving at the Botanical Gardens, our initial reaction was how calming it was to remain in the city and yet at the same time reap the benefits of being in tandem with the natural environment. Being immersed in this tranquil green space made it easy to forget that we were still within the urban environment. As we walked through the exhibits, admiring the diversity of the plant life in each environment, we began meditating on the importance of the Botanical Gardens presence in the city. What is the purpose of having a green space such as the Botanical Gardens in an urban setting? What does that do for the community and the people that it consists of? What is the relationship between green spaces within the built environment of the city? These questions led us to honing in on our specific inspiration for this project: the bonsai tree. The Bonsai is a natural occurrence thats identity is shaped and controlled by human hands, which mimics the relationship between man-made green spaces in an urban setting. Our aim is to reflect on the implications of this comparison in the creation of our final product in order to effectively convey the importance of the interaction between the increasingly urbanized human being and the natural environment.
6. 6. THOUGHT PATTERN
7. 7. 1 BONSAI Our trip to the botanical gardens lead us to our first source of inspiration, the Bonsai. After researching discerned that the Bonsai encapsulated several directions in which we execute our project. Wabi Sabi was the first concept that stimulated ideation. Wabi Sabi dealt with the relationship between man and nature in a way that emphasized positive attributes of this relationship. With Wabi Sabi, we were able to move away from looking at the Bonsai as a product of humans and their desire for control and perfect. We saw the Bonsai as a living object, which with love and care aided in meditation, ritual and stimulated contemplation and reflection. In study of the human, nature relationship within the Bonsai we became incredibly intrigued in the capacity of the wires. The wires allow humans to train, shape and ultimately create the Bonsai. Nature provides inspiration and we must provide the imagination. The wires are the collaboration between man and nature.
8. 8. 2 RE:INTERACTION Through ideation and conceptual analysis we began to further rethink the interaction between man and nature. With the Bonsai as our representation of this interaction, we further examined the concepts that evolved through this relationship. A popular perspective on the human, nature relationship is one that gives human the dominant position in the relationship. Looking at modern examples of industrialization, we realized that this was not always the dynamic. Continually we are responding to nature, equally as much as nature responds to us. An example of this is bridges, winding roads that follow the natural landscape or vines that grow on homes. We realized that this relationship is cyclic, where the dynamics are in a state of constant shift. In attempt to illustrate specific components of this shifting dynamic we began to think of consumer like products that would make the participant more aware of their relationship with nature. A garment, which was weather reactive, was an early idea that would augment principles of Wabi Sabi and idea of time, longevity as well as durability sourced from the Bonsai. At this stage our strongest idea was the non-static relationship between man and nature, and the challenge was an abstracted illustration that would allow for contemplation - like the Bonsai.
9. 9. 3 MINDFULNESS The idea of the nature responsive garment leads us to uncover an underlining goal. In abstract illustration we intended to increase participants awareness of this interaction. As we explored the current state of our clothes today, we witness a disconnect. The consumer disconnect evident between source material, designer, and distribution of the clothes etc. We wanted our production encourage a mindfulness, not necessarily of product or source materials but simple of the fact that you have that object, and that you interact with that object. When the idea of awareness was tied into the relationship between man and nature, a very strong concept began to evolve.
10. 10. 4 CONNOTATION Upon our revaluation of the state of humans interaction with nature, we also revaluated the connotation around this. Just as the relationship is in constant flux, so are the implication and thus the connotation. In our illustration we decided that we did not want to preach ideals, or place moral weight on the state of these interactions. We simply wanted to illustrate the power of both parties, in flux. Yet, we had to be mindful of the current connotations associated with the human, nature relationship in doing this. As discussed in Rethinking Interaction, there is a popular idea that humans hold the dominant position, therefore in our illustration it was vital to clearly identify nature as a force that works outside of human manipulation.
11. 11. 5 AUGMENTATION Our augmentation, or visual elucidation can be summarizes by the terms Industrial Paradigm. The paradigm is the constant shift in power and our garment does not provide a solution to this paradigm. Yet, upon interaction with the garment - the wearer or participant - is presented with options, which correspond with real world choices when approaching this paradigm. The first option is acceptance. One can accept that they will never be able to fully control nature. It is the acceptance of the force of nature and the willingness for collaboration. This option is also illustrated by the Bonsai and wiring. The second option is to continue in conflict, fight with nature for control and experience the constant change in dynamics, as nature is never placid. The garment was much more powerful then initial intended. It became an object of experimentation and contemplation and lead to discussions outside of the relationship between human and nature. It led us to conversations of gender norms, body image, personal space and social norms. Our conversations led us to topic on vital and primitive interactions such as the touch. Our garment truly became a source of contemplation for much more than the relationship between human and nature. It became a source for conversation on reaction.
12. 12. ONE LINE DESCRIPTION How can we translate the Wabi-Sabi aesthetic philosophy exemplified by the bonsai trees into a sustainable and emotionally durable garment design?
13. 13. PROPOSAL DESRCIPTION
14. 14. Re:Action is a conceptual garment that explores and illustrates humankinds attempt to dominate and control the natural world. This is done through creating an endlessly malleable garment, which is given shape by both the wearers manipulation of it, as well as its interactions with the external environment. Initially drawing inspiration from the Bonsai, which is the quintessential archetype of nature under mans control; we sought to design a soft surface object as a further elucidation of this troublesome relationship, looking further into ideas of control, manipulation and mindfulness. We aim to bring mindfulness to action and reaction, control and a lack thereof, as it applies to the relationship between man and the natural environment. Re:action has been meticulously composed; each facet of its final form articulating our initial intention to consider the increasingly conflicting relationship between the human and the natural environment.
15. 15. KEYWORDS SUBMISSION INTERACTION AUGMENTATION ORGANIC CATALYST GROWTH SYMBIOSIS REACTION CONTROL
16. 16. RESEARCH/ INSPIRATION
17. 17. BONSAI POSITIVE The perfect metaphor for mans desire to control nature, or more optimistically the symbiotic relationship between humans and the natural environment. The Bonsai tradition transcends socio-economic levels. Encourages human relationships with nature. Requiresloveandcarefromhuman,andstimulates contemplation. Can be object of reflection. NEGATIVE Asserts that nature has value only in the context of human intervention. Is munipluated by humans. Promotes ideas of perfection. AESTHETIC IDEALS Miniaturization of proportion, asymmetry, poignancy, no trace of the artist PURPOSE To stimulate contemplation. Only intended for appreciation. Can also become apart of ritual during stages of early care.
18. 18. WABI SABI KEYWORDS Wabi: loneliness of living in nature, outside of society Sabi: beauty that comes with age and wear Asymmetry, roughness, simplicity, economy, austerity, modesty, intimacy, reverence of nature AESTHETIC IDEALS Basedontransienceandimperfection.Acceptance of imperfection. IDEAS Creating an object that becomes more valuable to us with age. creating a garment that is designed to encourage alteration, upcycle and inclusive design to renew interest in the product and deepen the relationship, thus increasing the life-span. CONNECTIONS Chinese zisha clay teapots: absorb colour and taste of tea overtime, thus becoming more valuable and special with age
19. 19. ZEN GARDEN QUOTES The Zen Garden is designed to stimulate meditation. If one line is messed up they restart the whole process from the beginning intended to imitate the intimate essence of nature, not its actual appearance, and to serve an aid to meditation about the true meaning of life. -Gunter Nitschke, Le Jardin japonais, pg. 65. nature, if you made it expressive by reducing it to its abstract forms, could transmit the most profound thoughts by its simple presence -Baridon, Les Jardins pg. 472. THOUGHTS Representative of nature forces as it is difficult to create. It is hard to munipulate nature.
20. 20. TEXTILES LINEN Loses stiffness and shine and comes looser with time,agoodmaterialthatmayhelpwithemphasis on change and aging. HYPERCOLOUR Temperature sensitive dyes in fabric. Can find a more natural and sustainable option to create a light sensitivity/temperature sensitive. INTERACTION Use pattern as a way to interact with the dye. Can colour in with natural dyes to the users own choice. Can add to individualism and uniqueness to each article NATURAL MATERIAL Emphasis on aging ability, unfinished, but able to add to. Raw edge can help emphasize the unfin- ished or continuous modification of piece. We explored fabrics that would encourage interaction, comtemplation and speak to our concepts around time, again and wabi sabi.
21. 21. TRADITIONAL JAPANESE DYEING SHIBORI Traditional Japanese resist-dyeing technique that creates patterns by folding, binding, twisting or compressing the fabric soaking. There are a mul- titude of ways in which fabric can be manipulat- ed for dyeing, resulting in a unique design every time. SHIBORI NAME The name shibori is derived from the root verb shiboru which means to wring, squeeze or press. RELATION The Japanese shibori concept really embodies thetextureandmailabilityoffabric.Theworditself refers to the act of manipulating fabric to give it a three-dimensional form rather than treating cloth simply as a flat surface. Like bonsai, the end result can only be controlled up to a point, and in this way shibori dyeing harnesses the concepts of Wabi Sabi.
22. 22. MATERIAL/ METHOD
23. 23. RAW SILK SILK Silkisaproteinfibre,createdfrombuildingmaterial for cocoons and webs. In commercial use it is almost entirely limited to filament from cocoons produced by the caterpillars of several moth species most commonly known as silkworms. Silk production began in China according to native legend, in the middle of the 3rd millennium BCE. It became an integral part of the local Chinese economy, and remains so today. RAW SILK The primary material, which was sourced from a friend purchased a full bolt from a small scale textile producer while in India. Our primary reason for choosing raw silk was for its aesthetic qualities, specifically its ability to drape and fold beautifully. Juxtaposing its naturally luxurious and organic movement with that of a structured wire grid, allowed us to maximize visually the troubling conflict between the organic and inorganic, industry vs the natural world.
24. 24. ALUMINUM WIRE WIRE The wire we used was sourced from an aluminum company in Saint Hubert, Quebec, in order to be as sustainable as possible. We chose aluminum because of its extreme malleability, adaptability and strength. Aluminum reacts extremely well to changesinshape,respondingandchangingshape with even the slightest pressure or movement. It is able to bend and change shape continually without losing integrity, which was extremely important to the success of our garment.
25. 25. SHIBORI WITH MATCHA DYEING CONCEPT We chose to dye our garment using shibori dying techniques, as the process of shibori lends itself perfectly to our intended concept of the interplay between control and organic spontaneity. The process of shibori dying we chose involved creating intricate folds to create an intended pattern. However, despite all efforts to control the outcome of the process, the pattern will always assumes its own identity, regardless of external input. This parallels with the concept of our entire piece, illuminating the ways in which the natural world reacts to our attempts to subordinate and control it. Matcha tea was chosen as the dye, as its vivid green colour immediately brings to mind the natural world.
26. 26. NATURAL DYE TRIAL FINDING OUR COLOUR When first experimenting with natural dyes, we decided to explore the potentials of red onion skins, spinach, and turmeric. We prepped the materials by soaking them in a vinegar and water solution, so that the resulting dye would hold more easily to the fabric. The red onions resulted in a very rusty brownish red, the turmeric a vibrant golden yellow and the spinach a soft, warm green. Each had the potential to create a beautiful colour, but the one we found to be the most complimentary towards our design was the spinach green. We then experimented with dying the raw silk, but were unable to reach a colour intensity that we were satisfied with. As a way to achieve the desired effect, we decided to experiment further with matcha green tea powder, which resulted in the vibrant shade of green we were looking for.
27. 27. SKETCHES/ MOCKUPS
28. 28. STRUCTURE CONCEPTS 47 44 14.5 3
29. 29. PRINT LOCATION
30. 30. IMAGE DEV. FOR SCREENPRINTING
31. 31. Right from the beginning our group knew we didnt want an overpowering print element for our design, so we decided that a small logo would be a nice detail to add to the piece. When planning out the design for the logo, I knew that I wanted to somehow refer to the bonsai tree. Whether or not it was a literal reference was something I developed on throughout the process. I began with a much more organic look, with soft shapes and lines, and experimented with different brush strokes. However, as I worked on the sketches I decided to incorporate more geometric lines to better connect to our overall concept for the garment. Ultimately, the sharper lines represent the wire or, more conceptually, the urban control. The organic lines represent the fabric, wabi-sabi, the bonsai, and nature itself. We also printed a small text about wabi-sabi, and later decided to not include it in the logo, as our concept drifted from a focus on the aesthetic and more so on the critique.
32. 32. EARLY IDEATION
33. 33. DEVELOPMENT W A B I S A B I W A B I S A B I W A B I S A B I W S
34. 34. FINAL Wabi Sabi - A concept, an aesthetic, and a world-view;a simple intuitive way of living that emphasizes finding beauty in imperfection, and accepting the natural cycle of growth and decay.
35. 35. PATTERN DEV. FOR SEWING
36. 36. FINAL PATTERN 44 12 3 47 x2 3
37. 37. CONFERENCE VISIT REFLECTION
38. 38. Re:actions involvement in the conference was not one of static presentation, but rather as an interactive performance art piece, intervening into the space of the networking cocktail, to inspire conversation and contemplation of the role of design art in a rationally academic context. It is one thing to showcase design work amongst fellow creative, however it is something completely different to present and discuss it with the scientific community. Not only was our project well received, but the conversations and questions that is generated were different than those that would have arisen in a more traditionally artistic setting. Unique perspectives on the piece were offered and explored as each participant brought a different background or profession to their reading of the work We left the conference grateful for the opportunity to be involved, happy to offer our interpretations of issues of biodiversity and sustainability in a visual manner. Through this experience, we were able to further understand the power and potential of design, as it allows us to engage, spark a dialog, and bring about much needed awareness to the issues of the contemporary world.
39. 39. FINAL PROJECT DOCUMENTATION
40. 40. If no video appears in your PDF viewer, please click box below. Go to Vimeo
41. 41. WASTE ANAYSIS
42. 42. Because of the simplicity of the pattern, there was not much waste at all, except for a piece of rectangular fabric, which can easily be re-intergrated into another project. The wire is sourced from Montreal and can be recycled. Dye used was tea, so nothing was wasted in the dyeing process. However, there was some waste in the testing process. In construction, another fabric was purchased for the lining, but was not appropriate for the project. There is about a meter of wire left over. Tests for the dye also meant some waste occurred. There was turmeric, and spinach and also some onion skins and vinegar that were not used for the project, but this was a necessary step in determining that matcha tea was the most appropriate dye, and has almost negligible environmental consequences, since they dyes were completely natural in the first place.
43. 43. SOCIO-CULTURAL REFLECTION
44. 44. From early on in the project we knew we wanted to create something that was theoretically strong as well as engaging and educational. This ties into the socio-cultural aspect of this project, we really wanted to shed light on the relationship between humans within the industrial paradigm. Within this there is positive and negvative connatations that arise depending on the perceptions of this idea and how a person will manipulate and change the dress. Highlighting not only the dynamic relationship between humans and nature but also the cultural norms associated with the piece being a"dress" and worn in our photos and at the conference on a female. Because of the nature of the dress, the user can endlessly shape and manipulate the garmet, creating something that is emotionally durable along with a wearable peice of art. Although it developed into more of a performance piece, if this was to be owned by an individual it would create a symbiotic relationship with the wearer. Both growing and changing together, and because of the endless possibilities it would (hopefully) stand the test of time, transcending and aging gracefull with the wearer. Overall, I believe our project was very sucessful. Although we had to go through many trials and errors, we are very happy with how everything turned out. As for parts that could be improved - the oringal dyeing - which did not work because the raw silk did not allow for penetration. Also the internal wire structure tooks days of trials and errors, but in the end we pushed until we got the structure to function in the desired way.
45. 45. REFLECTION ON SILK OUR SILK Our silk was sourced from Varanasi, India, which is world renowned for its high quality silk. According to local legend, even Buddha was laid to rest veiled in a brocade of silk hand-woven in Indias Varanasi. Silk weaving is typically done in the home, and is an art and skill that has been passed down through the generations. Sadly, bossesandcraftsmensaytheBanarasisilkindustry is hanging on by a thread and could be killed off within a generation by mass-produced garments and Chinese competition, unless Indias next government steps in. Sourcing our silk from the silk weaving community of Varanasi was our small part to support local businesses, and can also comment on the Industrial Paradigm that our project is centralized around.
46. 46. SUSTAINABILITY ETHICS FOR WORMS To avoid the silk fiber cocoon from tearing when the silkworm becomes a moth, the harvesters boil them in water, to unravel the thread which is then spun into silk. MULBERRY Ittakesalotofmulberrytreestofeedthesilkworms to produce silk, and like many other agricultural crops, they occupy land, require irrigation, need fertilizer and are sprayed with harmful pesticides to kill other insects to produce a larger crop. WORKER HEALTH There are also health issues for silk workers. They may suffer from respiratory damage due to the bone dust from the sericin, as well as several unpleasant skin diseases. Raw Silk is a beautiful fiber with unrivaled textural and tactile qualities and lent itself to this project very well on an aesthetic level. There are, however, some sustainability issues with silk, just to name a few.
47. 47. SUSTAINABLE OPTIONS PEACE SILK Peace silk is made where producers allow the silk worms to hatch from their cocoons. They spin the broken silk in a similar way to wool. It is not as strong as conventional silk and has a very soft texture. Unfortunately, the Bombyx silk worm is selectively bred only to spin silk, and therefore they can only mate and die. They have vestigial wings, cannot eat, and live only a few hours after hatching. WILD SILK Wild silk is considered vegetarian. It is made throughcollectingthecocoonsofwildmothsafter they have hatched. The moth lives its life with no human interference. Its colour and texture varies with the type of moth that spun the cocoon, the leaves it ate, and spinning and weaving methods used. Wild silk companies are generally small co-operatives, offering fair wages, fair trade and refuse to purchase products created by child labour.
48. 48. REFLECTION ON ALUMINIUM OUR ALUMINIUM We chose to use aluminum wire because of many reasons, first off it is extremely lightweight and very strong,meaning that it does weigh down the dress but can maintain its shape against the added weight of the fabric. The wire we used was fabricated in Montreal, and also aluminum reduces transportation costs and in turn fuel emission by being so lightweight. This strength is combined with resilience, making it flexible while still retaining its shape. It does not rust, and is non-toxic, along with being corrosive resistant. It is 100% recyclable, and can be recycled endless amounts of time without loosing any of its original qualities. Aluminum is extremely quick and easy to work with to fabricate products.
49. 49. PRODUCATION CALENDAR
50. 50. FIRST BRAINSTORMING RESEARCH BONSAI TREE SEPTEMBER OCTOBER 24 25 26 27 28 29 30 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 IDEAS, CONCEPT, TIMELINE RESEARCH PRODUCTION RESEARCH TYPE/FONT PDF TEMPLATE PROPOSAL DESCRIPTION SCREENPRINTING SKETCHES PATTERN SKETCHES REFLECTION: GARDENS CALENDAR DEBRIEFING RESEARCH FINALIZE PROJECT PROPOSAL LAYOUT RESEARCH MATERIAL DRAFTING PATTERNS WRITE PROPOSAL BUY FABRIC FINAL PATTERN DRAFT FINAL ACETATE WASTE ANALYSIS MATERIAL/METHOD SOCIO-CULTURAL REFLECTION DEBRIEFING DISPLAY FOR CRITIQUE FINALIZE PROJECT FINAL PIECE FINAL PDF PHOTOGRAPH FINAL
51. 51. BIBLIOGRAPHY
52. 52. Aluminum Extruders Council (AEC) : Extrusion Basics - Features & Benefits. Aluminum Extruders Council (AEC) : Extrusion Basics - Features & Benefits. N.p., n.d. Web. Avenir. Fonts.com. N.p., n.d. Web. DIY Fashion Design:. InventorSpot Articles. N.p., n.d. Web. Fonts by Appearance. Identifont. N.p., n.d. Web. History of Bonsai. History. N.p., n.d. Web. The Independent. Independent Digital News and Media, n.d. Web. James T. Edmondson / Type & Lettering. James T. Edmondson. N.p., n.d. Web. Mumford, John, David Pearson, and Alison Walker. Understanding and Caring for Bookbindings. London: National Preservation Office, 2006. Print. Raw Denim Jeans, Selvedge Denim, Raw Denim Reviews and News | RawrDenim.com. RawrDenimcom. N.p., n.d. Web. Shibori: A Short History. / Blog / Need Supply Co. N.p., n.d. Web. Shibori An Ancient Japanese Dye Technique. WGSN Blog. N.p., n.d. Web. Shibori DIY. Dharma Trading Co. N.p., n.d. Web. Silk: Just How Green Is It? Green Cotton. N.p., n.d. Web. Silk Weavers in Varanasi Hang on By Thread, Plead For Rescue. NDTV.com. N.p., n.d. Web. Silk Weaving in Varanasi. Wikipedia. Wikimedia Foundation, 26 Oct. 2014. Web. Trevor Baum. Trevor Baum. N.p., n.d. Web. Village. : Apex New. N.p., n.d. Web. Images N.d. 3bp. Web. . N.d. Etsystatic. Web. .
53. 53. COLOPHON
54. 54. Avenir, designed by Adrian Frutiger, is inspired by both the past and future. Frutigers foal was to reinterpret the geometric sans serif designs of the early 20th Century, while still maintaining and aesthetic and feel of the 21st Century. To achieve this, Avenir has some organic humanism to it, breaking free from the more rigid geometric overtones of earlier sans serif designs. The typeface was originally released in 1988, with three weights. The family was later expanded to six weights, each with a roman and oblique version, in order to satisfy the needs of specific text applications. While the book and light weights are very similar in their stroke widths, the book is designed for body copy text, whereas the light weight is designed for captions and subhead text. Avenir was chosen to be used in our presentation because of its simplicity as a sans serif and humanistic, friendly feel. It is a perfect balance between organic and rigid, which conceptually relates to Re:Action.
55. 55. RE:ACTION