A CONNECTION
Spirituality and Sustainability in Design
BY GIZEM CHERKEZ & RACHEL JIAO
“BUY LESS, CHOOSE WELL.” – Vivienne Westwood, Fashion Designer
A TABLE OF CONTENTS The Beginning p2. An Introduction p3. A Design Proposal The Middle p5. Research Methodology p15. Research Activities The End p31. A Critical Object p38. A Contribution to the Design Field p38. A Conclusion p39. A Learning Experience p40. References Figure 1. 100% Recycled Ink
Figure 2. Ink blot research test
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Within the confines of an increasingly obfuscate materialistic society, the need for a sustainable design practice has become imperative. In particular, the rising importance and emphasis on the intangible, the emotional and spiritual aspect in which an object can connect with its user has raised a new dimension of sustainability for design conceptualisation. Walker’s (2017) description of the Triple bottom line encapsulated in his “Inward path to holistic design” dictates the need for and focus on ideas of ascetism and self-transcendence involving the user’s subjective experience. This theory primarily involves the way in which the promotion of emotional connection and inner values are the
SPIRITUALITY AND SUSTAINABILITY WITHIN THE ETHOS OF DESIGN AN INTRODUCTION
epitomic elevation of spiritual growth and self-development, awareness, and transformation, within the consumer’s reality. Likewise, another emotional design advocate reveals the significance of the development of an emotional relationship with one’s material goods, often catering towards the echoes of an ataraxic experience (Norman, 2004). The “intensity of the metaphysical nature” of an objects design can help an develop the user’s self-perception, identity and immaterial wellbeing. Inner development and the spiritual element of human condition can perhaps be even presumed a method of bringing together the themes of environmental concern, economic vitality, and social wellbeing to truly encapsulate a holistic, sustainable design strategy.
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Figure 3. Conceptual fashion design by Akihide Nakachi, who aims to explore human closenss and the act of embracing, (Nakachi, 2018)
A DESIGN PROPOSITION It is here that one must confront the aspect of human experience that attributes itself to the embodiment of spiritual sustainability: emotional bondage. The connection to which a user feels towards their material goods is a crucial aspect of implementing a sustainable practice, its roots in the spiritual and intangible elements in design. A user cannot truly benefit metaphysically from an object without a connection to it, whereby one can therefore admit that a key obstacle or variable of designing a wholly sustainable product is the emotional attachment the user may feel towards it. It is thus imperative for a designer to facilitate, or at minimum heavily consider the relationship between the user and item, and emotional value a user may project on a product. Although a prima
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facie idea, this heavily contrasts itself with the current mass consumerist and production environment of the modern age, and hence becomes the subject of such a paradoxical dialogue. In other words, the very essence of spiritual and sustainable design relies on the emotional connection between the user and their material goods; the more metaphysically durable the object is within the mind of its master, the less likely the object will be discarded and replaced. By harnessing these principles, as well as exploring within the realm of “green� material and production methods, one can endeavour to create and design products that will truly manifest itself as an object of esoteric qualities.
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Figure 4. Conceptual fashion design by Akihide Nakachi, who aims to explore human closenss and the act of embracing (Nakachi, 2018)
EVALUATIVE RESEARCH This theme of redamancy defines the mythos of an emotional connection within a mechanical society. Idealising the principals of proximity, metaphorically and literally, the intertwined nature of the sweaters and alarm clock hold high regard in an individual’s desire for companionship. The warmth and comfort of the material only strengthens the bonds that may form with the usage of the item and imbue these connotations into the object for the rest of its lifetime. It is purely aiming to reflect and encourage the raw essence of humanity within a relationship, emphasising the spiritual connectivity and intertwining of physical bodies. Whilst the practicality of such a design may be contended upon, one can agree that evaluative research may be an approach to determining a facilitated emotional connection (Grinnell & Unrau, 2018). Allowing the user to explore the possibilities of the object in connecting with one another, this process promotes the continuation of a products lifecycle, and the possibilities for future reformation.
RESEARCH METHODOLOGY NATURALISTIC OBSERVATION In this ethos of sustainability, one must look both inwards for the esoteric desires of the human soul, as well as the material needs of environmental tenability. Through the lens of naturalistic observation, one can unobtrusively document and research the emotional values that humanity relay, and the connections to which one may owe to their material goods. According to Patten and Newhart’s (2018) “Grounded Theory and Research Design”, it is under natural circumstances and without external cogency that the true emotional reflections can be made, thus emerging as an austere method of elucidation. Mirroring this process of exploration, is the implementation of an item that conjoins the pains of the mundane everyday with the warmth of humanity and intimacy. With the almost laborious process of waking in the morning arrives the need for the interaction of another being, whereby the object at hand interlocks these principles. Utilising balance to create a harmonic sense of the day ahead, the unnatural presence of the clock is paired with the ultimate yet natural need for affection.
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Figure 5. Material collage
Figure 6. Material Collage
INTERPRETATIVE DESIGN Corresponding to this idea of interpretative design is the methodology surrounding generative research. What does the user truly want and what does the designer have to satisfy within the consumer? This process may develop a method to which designers can interpret and predict the way the contrasting populous may behave or react to certain items through the initial analysis of their innermost desires. In the case of an interconnecting set of bags for the usage of a pair of people, the spatial principle symbolically answers the disgust towards any “paradigm of desolation” and isolation. Perhaps the rejection of negative insecurity within an object can subsidize feelings of satisfaction within the user and encapsulate humanity’s craving for interconnection and relatability. One can even interpret the “lightening of an emotional baggage” as perhaps the main objective of the designer, and henceforth inducing an inclination towards emotional belonging.
These theories are categorized by Jordan (2000) in his essays regarding the relationship between the usability and pleasure of a product, who contends that by generating the user and their spiritual necessities, one can endeavour to produce an item that emotionally responds to these privations.
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Figure 7. Rough sketchess
ANALOGOUS EXPERIENCE In saying that, the design process and willingness towards a truly sustainable production cannot only focus on the user, but also towards the designers themselves. An analogous experience allows for the correspondence between different industries to solve similar issues, whereby one can look elsewhere for a fulfilment of emotional construction. Looking outwards in exploration of spiritual ideas reveals much more than just the user’s inner convictions, but also holistic ideals and subjective experiences – themes revealing instances metanoia can capture the same essence without the need for material objects. These ideas are relative to perhaps through the mixture of materials, both old and conventional, within the conjoining overalls and interlocking shoes. These items incorporate and reuse the physical remnants of a past age, repeating, aligning, and conveying a sense of nostalgia, correlating to the themes of thriftiness and anti-consumerist
culture. However, one can relay that the true sustainable aspect of these lies in their spiritual function as a connecting piece; there is no single user with these items, no doubt allowing the user to focus metaphysical moments in human relationships.
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Figure 8. Photography Location
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The bag It is within the bounds of functionality and sentimentality that the interconnected bags were bound from. By analysing the desires of one’s peers and surrounding persons, one can use this research to formulate an idea as to how to respond to these needs. It further reveals the interests and responses one may have to an item or idea, to which a one can utilise and development from them their designs. From this, a main concept surrounding this “baggage” relies on human trust and weakness; the ability to reach within another’s bag and grasp any of their belongings, and vice versa, are the key motives in the object. It is from the analysis and corporation of people that one can create an object that willingly places the user in a position of vulnerability. The sweaters It is only by evaluating the human soul and understanding the needs of humanity that a designer can truly fulfil the user in such a spiritual and devoted way. Interconnection and warmth is an abstract yet very physical concept that most people crave, which can be symbolised a perceived when enveloped in the sweaters. By focusing on this innate desire for companionship within each individual, the sweater may absorb some of the emotional responsibility in the sweater and imbue it with an extra metaphysical layer to its material. The sweaters are sewn together from thrift or unused clothing, forever interlocking its users in a loving embrace. The warmth and cosiness of the jumpers and the “partner” is the key to creating an emotionally sturdy product, where thought it may lack in its functionality it heavily subsidizes with humanity and compassion
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The jumpsuits Likewise, to linking the footsteps of two persons together, the jumpsuits link their bodies. Taking existing overalls and modifying them so that the clasps connect together at the back of each person, and clicking together at one source, is the main framework to the clothing. The bodies must coordinate themselves together, their movement and mobility depends on their ability to connect and adjust to one another. Symbolic again the meeting of two opposing forces (old and new, conventional and abstract). Utilising analogous experiences to create a reply to the emotional needs of the user, the jumpsuits are a reminder of the contentment and connection between two individuals, and the human need for company.
cled materials from broken or unused electronics from around a household, the alarm was born out of the observing of the human nature, and the habitual activities of the everyday man. It also inhabits the very idea of waking to a new day, allowing users to experience a balanced routine which can hopefully involve itself into the remaining “time� of the user.
It is only sustainable emotionally and environmentally, with the usage of thrifted material and metaphysical attachment.
red string tied to their little fingers. It not only represents the interconnectivity and physical ties between two people, but also synchronisation and need for continuity between those people. This delving into analogous methodology into experiencing the human condition is reflected in the need for continuity, where the old meets the new, and person mirrors the other. Connecting the steps, symbolically their futures, together, is what defines the shoes – even if they functionally cannot exist. Nonetheless the concept behind it does reveal an emotionality to the material shoes, which should be sourced from environmentally friendly outlets or even existing possessions of the user.
The clock The aim of the double function clock is to create an amalgamation of the utility of an alarm clock, and the connection between two people. Breaking it down to its elements, the concept behind the alarm focuses on reducing the stress and anxiety of mornings by incorporating another person into an otherwise mundane approach to the day. The user, or users, turn off the alarm by turning both dials at the same time, and can start off their mornings with a person of close connection. Made out of recy-
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The shoes A pair of shoes connected together through one long string, is another object that imbues the life experiences and exposes the souls of two people within a connected item. Inspired by the Asian mythos of the red string, the objective of the shoes mirrors the connectivity of two fated persons together through an invisible
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Figure 10. Jumpsuit concept Figure 11. Shoe concept Figure 12. Clock exploded view
RESEARCH ACTIVITIES From the research methodology conducted, and the critical analysis of the ideas contributed in the conceptualisation phase, the decision to explore the possibility of the bag were made. A combination of minimal aesthetic, functionality, and emotional durability in the form of vulnerability defines the very essence of the bag, to which one can add further layers upon it to create a visually more interesting and compelling narrative. These explorations are sustainable in nature – or at the very least sustainable efforts have been made – to investigate the effect both physically and emotionally the appearance and material of the bag has on its user. There are three main areas to which the explorations have been made; in painting, in dyeing, and in sewing.
Figure 13. Sewing method
Figure 14. Sewing Method
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16 Figure 15. Concept sketching collage
IN PAINTING Using a local, 100% recycled ink made from discarded inkjet printer toner is primarily used in this area of exploration. The ink itself, though a commercial product, is a by-product of an endeavour to recycle the plastic from printing toner and is bottled in a zero-waste environment. Given that using long forgotten materials and turning “trash to treasure” is a key theme to the bag project, it was decided that such a commercial product may be used as a source of the painting in the exploration The first area of exploration was the connection between words and ink. The written language itself, it a form of communication and linkage to distance peoples, past, present and future. In its symbolic nature, the decision to use “words” as a means to “connect” to the user mirrors the way in which people become connected themselves in the physical realm. Establishing this bondage, the words not only symbolically acts as a linkage between individuals, but also as a means to convey a message. A message relying on the written word is one that has been transposed and transported through time, an ageless medium to which one can convey an idea across time.
This timelessness is another layer of the sustainable nature of the exploration – whereby using a form of language, thousands of years old itself, to relay a message that should continue thousands of years past its production point. The message inscribed in the ink demands that ““If it can’t be reduced, reused, repaired, rebuilt, refurbished, refinished, resold, recycled, or composted, then it should be restricted, designed or removed from production.”. This message, though less subtle in its symbolic nature, calls for a more environmentally thoughtful production of goods, a key aspect to the overall study area and theme of the project.
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Figure 16. Ink blot test Figure 17. Painted time exploration Figure 18. Painted words exploration
Another way the ink has been used to send a message is by inscribing the time into the material using the dark ink. The idea behind it being a reminder to the user of the time and the limitations of time within one’s life. For one, it calls for the immediate action and reduction of wasted time in the user’s daily life, allowing every individual fully life their life to it’s fullest. Pessimistic in its approach to the lifecycle of humanity, the key message is a constant reminder of the limited length of existence and an effort to push the user towards their goals and aspirations Not only does it remind the user of their impending end of life, it’s also a symbol of the time in which they life in. Using a common type to convey the “clock” on the material is a reference to the time in which the product was made, the concept involved a printing of the time of purchase on the surface of the material. This way, the user would have a uniquely made product that reflects their decisions and choices at a particular point in their lifetime, and perhaps imbue the object with an additional layer for connection between the user. The last way in which the painting element was explored on the material revolved around dripping diluted ink onto the wetted material, allowing the ink to spread in whichever direction it pleased. By increasing the ratio of ink to water, the splotches produced on the water would be darker, and vice versa. This organic method of “dyeing” the material allows for the creation of unique, one-of-a-kind patterns, which in turn is often used as a methodology to create a more emotionally resilient object. Though the production method may be superficial and mechanical in many aspects, the end product will always be unique to its user. This method also allowed for the underlying colours and patterns of the ink to be seen, generating an interesting, almost illusionistic element to the imagery. Though unintended, this arrangement could perhaps symbolise the underlying layers to each person, and the particularity of each individual.
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Figure 19. Englarged time exploration
Figure 20. Matcha green tea exploration Figure 21. Coffee and cocoa exploration
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IN DYEING Humanity has adorned their objects and material goods by dyeing them since the dawn of mankind – a method of which continues to the modern society. Mirroring the practices of civilizations long gone, a natural form of dyeing was the main exploration in material in this area. Natural dyeing involves the use of products found in nature to imbue material, especially cloth, with interesting colours. A very prominent aspect to naturally dyeing any product is the uniqueness to of each resulting colour, all of which relies of the forever changing ratio of pigment found in the environment.
Though vegetables/plantation and rocks have often been used in the past as the main products of colour, the dyes were derives from by-products of the everyday. In effort to reuse as much as recycle, the decision to harness what already existed to design and create was preferred, and as such substances like tea, cocoa powder and coffee grinds were used. In the first methodology, white cotton was submerged in water and old Matcha and black tea teabags. Left overnight, the fibres of the material could be ingrained with the colours of the tea, which would’ve otherwise been thrown out. The resulting green and caramel hues are then dried into the material, subtle yet oddly intriguing patterns floating to its surfaces. This method of dyeing only requires a handful of materials and can be done by anyone – a concept where the user themselves dye the cloth to their own liking could be a method of production. Taking inspiration from traditional Japanese approaches to dyeing, a Shibori pattern was attempted. Whilst it is classically known to be a dyeing process involving the Indigo plant, a mixture of cocoa
and coffee was used to recreate the iconic imagery. Different methods of binding and time taken in submersion changes the colour and design onto the cloth, which allows the user a degree of control over the final product and process. Again, this method of creating a unique quality in an otherwise ubiquitous process allows for a more emotional significants imbued into the material. Shibori itself, an age-old dyeing process, allows the emerging pattern to represent this timeless quality about it, and presents itself as a sustainable graphic image on the material. One need not worry about their objects and fashion to go “out
of style”, adding a layer of insurance and continuity in their material goods. Harnessing another area from art history, the involvement of the drip painting style was experimented upon in this area of exploration. Another ageless phenomenon, and one that naturally occurs, the dripping motif comes about with a slurry mixture of water and cocoa powder. The product again, can be produced by the user themselves, as a method of perhaps pervading the material with their own essence – which can be a reason of continual durability in a metaphysical sense. Given the nature of cocoa and a slurry mixture with material, when dries the material becomes brittle and cracks when bent. These cracks though small, enhances the visual complexity of the material and creates small pockets of shadows when held up to a light source. One could symbolically presume the cracks being a physical representation of the overcome hardships of the individual’s life. The ephemeral nature of the cocoa dried onto the material could also remind the user of the use and experience the product has endured alongside themselves, and with each crack and peel allow for the essence of humanity to take its place.
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Figure 22. Shibori exploration
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Figure 23. Drip exploration
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IN SEWING As old as mankind itself, sewing to create adornments or repair worn material is one that continues on today. Though the practice on a large scale by individuals have perhaps fallen as time progressed, this method of accessorizing is still a prevalent and available method. Though the needles needed for such approaches are mass-produced, the threads can be taken from old cloth and other material, as well as harvested from plants themselves. Though that has not been trailed in this exploration, there is always
gevity of old clothing and other material allows for the rejuvenation of in discarded or unwanted items. Overlapping and patching the material together not only creates a physically interesting image and texture, it lengthens the lifetime of the material and object. Old material that was once beloved can add another layer of complexity and beholding in the object, relaying themes of not only sustainability within the realm of physical material, but also metaphysical enjoyment and appreciation.
the possibility of using natural fibres to create one’s own string or thread. This area of exploration not only involves the use of adornment through sewing, but also patchwork and utilising other materials to create a new identity for the material. In an effort to compose a sense of utility yet only use recycled or thrifted cloth, the pockets of several old items were taken out and repurposed onto the surface of the material. The simple act of sewing a few pockets onto the material increases the functionality and aesthetic composure and allows for an intriguing addition to an otherwise plain, upcycled bag. This practice fosters a more intimate yet utilitarian relationship between the user, where one can uphold their desire of functionality yet receive a distinctively unique design along the way. Evolving from the addition of pockets in utility, the exploration of patchwork and overlapping materials were explored in this element of production. This highly sustainable approach to increasing the lon-
With the use of patchwork, it can be done so not only using old clothing but any cloth-life material. In this exploration, the idea of reusing old bags to create a pattern was done so as an almost amusing manner. The very concept of using old bags to create a new bag is comedic, though one can relay that it adds another layer of ingenuity to the product. However, a key idea lies in the reusing of bags themselves, which are often overlooked when exploring concepts of thrifting and upcycling. One’s attention can also be drawn to the multitude of bags given out to people that, though aren’t explicitly made out of plastics, are extremely difficult to brake apart and reuse. Thus, the using of bags as perhaps the materials for patchwork reveals another aspect to sustainability especially in the fast fashion world that have yet to be fully explored.
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Figure 24. Topography exploration Figure 25. Plastic exploration Figure 26. Ruffled cloth exploration
Figure 27. Bag exploration Figure 28. Pocket exploration Figrue 29. Sewing exploration
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Another idea explored involves the texture of material, and the mirroring of the natural world. A symbol of landscape and mountainous regions, topographical maps are comprised of flowing lines that represent the highs and lows of the earth in a certain area. This idea, by creating a layered texture through the lens of a topography map is trialled in this exploration. It refers back to the natural world and asks the
pattern through the repairing of a damaged good. In the exploration here, a pure, white thread is stitched into a deep blue fabric, cutting and contrasting the material. Though there is little complexity in such an image, the white on navy contrariety draws the attention of the eye, allowing the eye to move along the seams and threads. It is aesthetic here that draws and holds the viewers concentration, whereby subtly
user to remember the environment and its absolute importance in a subtle way. It too utilises discarded material to create the texture, perhaps imbuing with past emotions and a physically impressive visual.
encouraging the user uphold continuous admiration for the object. Whilst aesthetic and beauty may only hold the user’s interest for a limited amount of time before they move onto the next “beautiful” item, it may assist in at least prolonging the interest in the object.
Materials are often difficult to create textures unless already imbued in the cloth itself; one could admit that creating a smooth, silk-like feel from coarse wool would be incredibly difficult. Despite so, one can use the folds and physical distortions to create both a visual and textural highlight and can thus change the properties of the original material in such a way. In this exploration, the material of an old pair of Chino pants were sewn in a rough manner to create ruffles, which is then sewn onto the underlaying fabric. Cutting through the monotony of a piece of material, the roughly sewn seams clash against the naturalistic folding and curling of the clothing. This, while only an almost boorish brown material, could suddenly instils a sense of attention and fascination from the user. With the use incredibly ordinary items, one can reuse and recreate a revival in the material.
Another idea relies on the plastic consumption of humanity, and a direct response to mass-production as a means to pollute the environment with synthetic products. Using left-over plastics to as a means to adorn a material is one that currently dominates the high fashion market of the 21st century, emulated and taken to another level by using recycled materials in the exploration. Perhaps a critical yet reasonable response to ever-growing issue of plastics, especially in the natural world, the key concept behind the pattern and plastic combination is the juxtaposition between the organic and manufactured. The design, a wing, is often a symbol used to represent freedom and nature, which is almost ironic in a world “trapped” by plastics and contrived goods. It is also contrasted with the all too common findings of plastics and other manmade goods in the stomachs of a multitude of living creatures.
It is sometimes simplicity that has the most everlasting effect. Going back to the roots of thread and needle, one can sew in such a way to create an arousing 28
29 Figure 30. Patchwork exploration
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The final product of the project resolves in a simple, yet effective bag. An amalgamation of the human spiritual needs in a sustainable manner, it is a response to the ever-growing industrial productions of the twenty-first century. The very objective of this bag is to bring together two people, in a space where both must trust and reveal weakness to one another, in a way in which it is environmentally friendly. The bag itself is comprised of two, simple tote bags hand sewn together. Relating back to slow-living culture and artisanal practices, the bags have a sewn circular hole in the middle of them that just fits the hand of a curious partner or an accidental move. The bags themselves do not have many designs or adornments on them – instead, they are uncomplicated, elementary to touch and feel. These bags are recycled and repurposed from the multitude of complimentary cotton bags given away at various events, and often have short lifetimes within the interest of its user. In one of the bags, there is a small, yet functional pocket made from an another, smaller complimentary jewellery pouch, carefully hand-sewn in. An important element to the designing of the bags were that they could be used by all and for all time. Simply designed in a non-intruding manner, users can adjust and accessorise to their contentment, adding their own flair and emotionality to the object. The actual design of the bag is left largely bare allows for the users to imbue their own personality and ideas into it and given the its honest design, it does not offend or create disputes in any event, culture and society. It also allows
A CRITICAL OBJECT A FINALITY
for a larger audience to use it; regardless of the nature of the relationship between the two individuals, both will find that the bag is functional and acceptable in almost all circumstances. A response itself, the bag allows for the self-development, growth and betterment in an inner, spiritual manner. The culmination of two people and their life together, it pushes the user to think not only for themselves, but the other person in their life. Holding unnecessarily heavy items and weighing the bag down, having the ability to reach into the bag and grasp the other individuals’ personal items, having to coordinate their movements and plans with another are only the beginning in the spiritual, metaphysical journey both partners will take when moving forward. Almost a baring of one’s soul to another, it could also humble the user, and allow for the displaying and accepting of one’s innermost vulnerabilities. This emotionally fuelled timeline between two users imbues its essence in the bag, perhaps elongating its lifetime and granting it immortality in the memories of its user. Not only is sustainable in a metaphysical way, growing with its users, it is also physically durable in an age of efficient production. Whilst made of old, almost discarded products that usually have an extremely limited lifetime, the material itself is sturdy and durable. This quality, a sense of trust in the dependability of the bag, adds to its ability to serve its users for a prolonged period of time and
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Figure 31. Critical object modelling image
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34 Figure 32 Critical object modelling image collage
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36 Figure 33. Critical object modelling image
Figure 34. Styling Minimalism into High Fashion, designer Issey Miyake explores space in which his pieces inhabit (Miyake, 2019)
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Attributable of these critical design concepts are many contemporary spiritual practices of modern society. For one, many, if not all, of these objects heavily rely on both the aesthetics and the abstraction of minimalism. As a professor of philosophy in design, Saito (2007) describes the nature of minimalism and a minimalist’s journey through life as one that places emphasis on simplicity and reduction. Heavily influenced by Japanese traditional design ethos, minimalism delves into the fundamentals of one’s life. It allows the user to project more meaning and care more deeply for their few possessions. Similarly, the movement of modernism within a spiritual and sus-
tainable context describes the “design of an items form should follow its function”. In this instant, the copacetic exterior are derivative against the relatability and reliability of one’s belongings. As McDonagh et al (2004) argues, the human condition can be healed by innovative approaches towards design, following the teachings of the Bauhaus movement. Latterly, a prominent trend of the twenty first century climate follows the practice of thrift culture, which promotes the reuse and repurposing of second-hand items. This contemporary aspect of modern culture gives new life to antecedent properties, a public friendly manner to which one can give new meanings to old items.
A CONTRIBUTION TO THE DESIGN FIELD THE CONCLUSION The paradoxes beyond emotional and spiritual design within a mass production environment are endless; the esoteric nature of sustainability herein the industrial world brings forth a sempiternal array of conceptual design thinking. Enduring the realities of emotional design in the modern society leads to the theme of continuation, and whether or not sentimental connections can be translated across time and users. More often than not, in the realm of growing sustainable production within a wholly material world, a designer is also confronted with the existence of obsolescence – planned or otherwise. Here, one must question to themselves the possibility of formulating items that can be broken down and reused or recycled for parts in the future. From here, one can argue the material aspect of an object defines the associated emotions captured within its design; what would happen if
the material is resourced from recycled matter, and how would this change if the reused material is indistinguishable? And will the material aspects of the object elicit the same response in the greater population, despite the lack of ubiquity in the human condition? To any designer of the modern age, there lies the enigma whereby one must cater towards the emotional needs of the user, the sustainable facets of production, and the consumerist nature of humanity. These obstacles are indeed aporetic in nature, but one must persevere and looks towards perhaps the more intangible, spiritual aspects of visualisation, even if it does not answer the contradictory elements in consideration. One may peruse that what defines the designer are perhaps the effort that they have poured into their ideations and creations.
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Figure 35. Shibori exploration
LEARNING EXPERIENCE Starting from absolutely no knowledge of such a study area and aspect of design, one may find themselves confused at the continuity between spirituality and sustainability in design. Further readings of the subject are difficult, though exceeding intriguing as they bare interesting concepts concerning the production of goods and objects. One will no doubt come to find that the very idea and study of design comprises of many, many layers. These layers often contradict themselves, adding paradoxes and intricacies that are difficult to overcome but certainly rewarding when looking back. And whilst it may feel almost contrived at the start of such a study, one must come to understand the significance of designing within the realm of sustainability, which includes, perhaps most importantly, the spiritual dimension of such. A key concept that stands out is the existence of this domain within design, as a fundamental cornerstone to designing
within the twenty-first century. Not only does the aesthetic and functionality of the product matter, a designer must weigh interests, present and future of the user within any decision they make, whether that be through the materials used, the symbols imbued, or the ideas retraced. It cannot be denied that, in such a mass-produced world, the emotional aspect and needs of the human condition comes first and foremost, and that objects do not need to have clinical perfect exteriors to truly capture the interest and desire of the user.
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REFERENCES Walker, S. (2017). Design for life: Creating meaning in a distracted world. Abingdon, Oxon; New York, NY: Routledge, an imprint of the Taylor & Francis Group. Norman, D. (2004). Emotional design: Why we love (or hate) everyday things. New York., NY: Basic Books. Patten, Mildred L., author, & Newhart, Michelle. (2018). Understanding research methods : An overview of the essentials (Tenth ed.). New York, NY: Routledge. Grinnell, Richard M., & Unrau, Yvonne A. (2018). Social work re search and evaluation: Foundations of evidence-based practice (Eleventh ed.). New York, NY: Oxford University Press. Jordan, P. (2000). Designing pleasurable products an introduction to the new human factors. London ; New York: Taylor & Francis. Saito, Y. (2007). The Moral Dimension of Japanese Aesthetics. Jour nal of Aesthetics and Art Criticism, 65(1), 85-97. International Conference on Design Emotion Corporate Author, International Conference on Design Emotion, & McDonagh, Deana. (2004). Design and emotion the experience of everyday things. London: Taylor & Francis.
IMAGE REFERENCES Nakachi, A. (2018) Conceptual Fashion Design. Retrieved from https://2018awcollection.akihidenakachi. com/ Nakachi, A. (2018) Conceptual Fashion Design. Retrieved from https://2018awcollection.akihidenakachi. com/ Miyake, I. (2019) Styling Minimalism into High fashion. Retrieved from https://www.isseymiyake.com/en/ brands/pleatsplease
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Spirituality & Sustainability in Design GRAP1042_1910_VIS_StudioF_3 ASSIGNMENT 3 S3782692 & S3721874