Form Follows Texture

Form Follows Texture.

By Kate Scarlet McCormack N0622286

Abstract.

The influence of texture on design, tells a story through colour, structure, textiles and concept. All art and design take on their own concepts and purpose, whether the design is for practical use or it’s thought provoking for an audience. The way we interact with texture explains these differences.

Discussing the statement, Form Follows Texture, seperates these elements that create it. Allowing texture to be analysed and taken apart. Texture is something we interactive with and experience. It can aid our senses throughout daily life, specifically sight and touch.

Designers and artists are always exploring texture and using its’ elements for inspiration. Hella Jongerius takes on the experience of texture to inspire her work within colour, light and form. Investing and sharing the way each element of texture affect each other to create what the audience experiences.

“My Ultimate aim is to pit the power of colour against the power of form.” Hella Jongerius. (Jongerius, H. and Newson, A. (2017).

Introduction.

Texture comes through many formats, the texture of a knitted jumper, a brick wall, a feather, a smashed window, an orange. Taking the time to find texture within day to day life, looking close up at the structure of the insides of an orange, thinking of how the colour dilutes through each segment and how the light effects the juices within each individual sac.

This way of thinking and observing is especially detailed, but once we focus our thoughts onto looking out for these small details within nature and the built environment, then a whole new chapter of inspiration and interest is open to us.

Texture comes through many formats, and can be categorised into the different elements that it is made from.

This visual essay aims to explore texture through such elements as colour, light, structure, 2D & 3D, materials and making. Answering, how does texture inspire design? How do people interact with texture? How do the elements of texture form design?

I will explore texture through many formats, to understand how and why texture is brought into design. When breaking up the statement ‘Form Follow Texture’, I will explore texture within textile design, furniture and product design, fashion design, sensory experiences, fine art, and the process of design, with texture as its inspiration.

Colour & Light.

When texture is explored, colour and light contribute to how texture is visually interpreted. The pigment of a colour and how we view it, differentiates because of numerous components. Light is one component which affects this. According to Hub, S. (2017). Colours of light, “Objects appear different colours because they absorb some colours (wavelengths) and reflected or transmit other colours.”

Giving the example, “a red shirt looks red because the dye molecules in the fabric have absorbed the wavelengths of light from the violet/blue end of the spectrum. Red light is the only light that is reflected from the shirt. If only blue light is shone onto a red shirt, the shirt would appear black, because the blue would be absorbed and there would be no red light to be reflected.” Hub, S. (2017). Colours of light.

Here I’ve explored, a small amount, into the science behind why colours appear different colours and how light contributes to that. However, I conducted my own primary research by attending the exhibition ‘Breathing Colour’ by Hella Jongerius at the Design Museum, 28th of June – 24th of September 2017.

The exhibition ‘Breathing Colour’ by Hella Jongerius, explores how colour is affected by such elements as light, shape and texture. The exhibition allowed you to experience colour throughout different times of the day. Showcasing colour within a rich form, through different materials such as ceramics, textiles, card, and other solids which explore translucency.

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Hella Jongerius’s exhibition at the Design Museum 2017, called ‘Breathing Colour’, explored colour throughout a day, considering the different lighting that would affect colour. Part of the exhibition showcased how colours were affected within the evening, the dark. She explores shadows within shape, form and colour, also the way she mixes palettes of colours within her woven textiles. (Jongerius, H. and Newson, A. (2017).

Jongerius worked with other designers to create a set of chairs. These chairs are influenced heavily by texture and form. This was relating to Jongerius’s exploration of shadow. The chairs were displayed with lights on them to cast the shadow of each chairs structural form. The affect of a shadow contributes to the form of an object and adds a further element of texture and design. Therefore, Jongerius captured the shadows given off by the chairs in 3D forms (seen in figure 6). These 3D forms emphasise the structural form and texture within each chair design, with the real shadow being layered on top. Shadows are connected to the object that creates it, but shadows are allowed to be fluid and intangible. It communicates how an object works within a space and the intensity of the light, (Jongerius, H. and Newson, A. (2017).

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Furthermore, Jongerius communicates the way light and colour work throughout the day and in different capacities. One of these elements were different transparent volumes, which communicated different levels of transparency through how much light and colour they would let through, (Jongerius, H. and Newson, A. (2017).

These translucent volumes absorb light and reflect colour and light together, affecting a solid colour within translucent volumes, each with different levels of translucency. From observation, the less translucency means the colour is harder and dull. When the volume is more translucent, the colour becomes bright and more diluted by the light. This progression is shown in figure 7.

“When you take a handful of water from the ocean, it will have no colour.

Transparent volumes let colour through and soak it up. The smooth surface of water evokes brilliance; water ripples create a surface colour that conceals the sea’s transparency.” Jongerius, (Jongerius, H. and Newson, A. (2017).

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Johannes Itten work on colour has inspirsed many artists and designers, including previously explored designer, Hella Jongerius, (Jongerius, H. and Newson, A. (2017). He developed a complex theory of colour, working with many colour palettes, his inspiration coming from types of people and seasons, (En.wikipedia. org. (2017). Johannes Itten).

The figures 12-14, the publication Disegno asked 11 designers, artists and architects to take Itten’s original test, (Stratford, O. (2017). Itten had asked his students at the Itten school in Berlin, to paint present colour combinations within circles. His students found his colour palette “..not harmonious.” (Stratford, O. (2017). Itten allowed them to then use their own colour palettes, and found that each of his students had used Itten’s own perception of how colours harmoniously work together. Naming this subjective colour, (Stratford, O. (2017).

“Colour is life, for a world without colour seems dead. As a flame produces light, light produces colour. As intonation lends colour to the spoken word, colour lends spiritually realized sound to a form.” Johannes Itten, (The Art Story. (n.d.).

“The objective laws of form and color help to strengthen a person’s powers and to expand his creative gift.” Johannes Itten, (The Art Story. (n.d.).

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‘The Memphis Group was an Italian design and architecture group founded in Milan by Ettore Sottsass in 1982 which designed Postmodern furniture, fabrics, ceramics, glass and metal objects from 1981 to 1988.’ (En.wikipedia.org. (2017).

Memphis Group.)

When exploring texture through colour, textiles and structure, I discovered daring colour combinations of The Memphis Group, that inspired the works of Hella Jongerius, whom embraces bold, rich colours and forms. When conducting research into textiles and print, I found many designers who were inspired by the work of The Memphis Group. Their Post Modern designs are bold, innovative and introduced a vibrant colour palette into interior design. (Design-technology.org. (n.d.).

Within their designs are clear influences of texture, using pattern, shape and colour to express themselves, fighting against the humourless design of the 1970’s, creating personality and being individual. (Design-technology.org. (n.d.).

In comparison, some 21st century design is heavily influenced by The Memphis group movement. Artists and designers have formed their colour palettes and print design around the work of The Memphis Group.

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To compare the work of The Memphis Group with 21st century design, the research led to furniture, interior and print design. This design was most popular within The Memphis group. Reflecting on how texture design through colour, pattern, textiles and shape, can work within 2D and 3D forms. Both the furniture and the print communicating together within an interior.

A design duo named Masquespacio, made up of Ana Milena Hernández Palacios and Christophe Penasse, design bold furniture and interiors, taking on colour and shape to really drive their designs, (Magalhaes, F. (2017). Their work is similar to The Memphis Group, using bold colours and shapes together to mould their design. In figure 17, the mixture of shapes and colours creates a separate space without the use of walls.

“We were inspired mainly by Memphis and the actual visual culture hidden by the blend of materials and colours we used,” Christophe Penasse, (Morby, A. (2016) Another 21st century designer directly influenced by The Memphis Group, is Camille Walala. She uses digital print to create textiles and interior design and states to be influenced by The Memphis Movement (Camille Walala. (n.d.), Which is clear within her colour palettes and complex pattern design, as seen in figures 19 and 20.

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When exploring light on its own, without relation to colour, I’ve explored how light changes within shape and structure. How light casts shadows and definition within structures and textures. I discovered these light sculptures designed by architecture, interiors and design studio, Partisans. They’ve hand-crafted these architectural light structures from acrylic sheets, that have been hand moulded.

LEDs cover the moulded acrylic sheets, Azzarello, N. (2017).

These light sculptures explore how light can change and be captured within a form. The acrylic is moulded first, to create unique and original structures, allowing them to create design forms, which resemble architectural structures, such as sky scrapers.

The way the acrylic structures are formed allow them to be free standing, which give these hypnotic forms the illusion of floating. This effect is enhanced through the bends of light, and change in light strength. In figure 23, the light form is layered and consists of detailed bends, curves and folds. The strength of the light appears to increase on these tighter bends, highlighting the overall structure of the light sculpture.

This also allows the light to decrease in strength, giving the sculpture a softer affect (see figure 25). As the moulded acrylic is see through, it allows surrounding interiors to be involved through the sculpture, giving off various strengths of light throughout the structure.

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3D & 2D Texture.

We mainly experience texture in a 3D form, and would firstly define texture being something we can feel, touch, experience. The roughness of a tree’s bark or smooth metal finish to a back of a spoon. Texture is used within design in relation to this connection to senses and how we interact with texture. For example, the raised bumps on a bottle which provides grip, or the use of texture for blind people, using Braille to connect and communicate. Here I’m looking at texture within a technical, scientific bracket, the function of texture which aids in a more scientific method, comparing to more aesthetic design.

When comparing to more aesthetically based design, texture comes in forms of art and design. The article “Exploring the organic avant garde of Brooklyn-based art and design duo Adam Frezza and Terri Chiao” Jakeway, A. (2016), interviews the artists and designers, Adam Frezza and Terri Chiao. Their work is a prime example of working with colour, form and structure, the 3D and 2D, and working with different materials when inspired by their surroundings.

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The artists and designers Adam Frezza and Terri Chiao craft sculptures, installations, collages and paintings (see figures 26-29). Their creations take of organic forms, using papier-mâché which gives each creation an original texture and form. They take on a colourful colour palette and abstract design, inspired by nature and the wild, Jakeway, A. (2016). Their creations are quite childlike in design, however are still elegant and sophisticated.

They achieve this through inspiration of their surroundings. When I mention the crossover of 3D and 2D texture, it’s considering the way all sorts of design take inspiration the everyday, which is constructed of all elements of texture. Terri Chiao states within the article interview, that her inspiration comes from natural textures, extracting unique and unusual shapes from plants, rocks, coral, animals (Jakeway, A. (2016). Whereas, Adam Frezza states he is inspired by man-made texture. Analysing the traffic cones on a street, or the pipes and other details that come out of buildings. Focusing on details of large objects, and sectioning off detailed points and references of texture.

“I am forever mesmerised by the idea of substance: physically, metaphorically, conceptually.” (Frezza), Jakeway, A. (2016).

Frezza and Chiao both talk about how they are aware of their inspiration being taken from the world around them, however take this inspiration along with their own imagination and creativity. Which communicates the exploration of texture being transformed within design, and creating something completely new. “...everything imaginary is real, and everything real is imagined.” (Frezza & Chiao) Jakeway, A. (2016).

The discussion of transitioning between 2D and 3D, relates to the design within fashion, furniture, product design and fine art. Working with multiple mediums to create texture.

Exploring this transitions within design, I looked at the textile work by Justyna Wołodkiewicz. Whom creates embroidery art, that incorporates unique clay forms within the embroidery itself, lifting the creation from the traditional flat embroidery, Sierzputowski, K. (2017). Her abstract designs showcase an inspiration from texture, shape and colour. Giving depth to her embroidery creations, with what’s happening on the surface being brought to life when extruded in the form of clay elements. In figure 30, the traditional flat embroidery is given life with texture, this texture being the clay form rising from flat surface. The way she uses similar colour mixtures and shapes for both 2D and 3D elements, allows for the interpretation of the 2D work popping up from the flat surface.

I then moved to looking at texture inspired design in interior spaces, and furniture design. I found the work of Filip Janssens, who designs furniture that is made from geometric shapes, mostly squares. His work has the illusion of mixing both 2D and 3D design, by using solid geometric shapes alongside frames of these geometric shapes. It’s as if the frames are the sketch of the design, but become 3D through the material and how the furniture is used.

“Designing is like painting an abstract geometric artwork but in 3D. Lines become dimensions and volumes. I’m testing all possibilities with modular volumes: using a volume inside another volume, asymmetry, working in different layers or depths, open and closed volumes, working only with the outline of the volume, etc..”.

(Janssens) Filip Janssens. (n.d.). BIO. [online].

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Methods, Materials, Making.

Previously explored was how texture inspires different elements of design and how texture works within it. When analysing this influence, it’s key to explore the processes that occur when creating design from textured inspiration. What methods are used to re-capture texture within a design piece, interpreting it for a purpose or style. Therefore, what materials are used to explore this interpretation and mimic the similar experience gained from the source, the texture.

When influenced by texture, the use of materials to mimic the textured inspiration and gain texture within the design, can impact the outcome of the design and how it functions. This is relevant through the designs purpose, function, aesthetically reasoning. Something may be beautiful, but do the textiles, colour or structure contribute to the function or sabotage it.

I aim to explore different types of design, which incorporate texture within their produced objects. Studying different making processes, materials and functions of the work itself. How does the influence of texture lend itself to the design?

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Here I discovered furniture design which uses resin and natural materials such as wood, wicker and rattan, that have been captured within the resin to create complex and multi textured pieces of furniture. They are designed and made by Polish designer Wiktoria Szawiel, (Howarth, D. (2014). Taken from this interview article, Szawiel explains that her work is inspired by the eastern European landscapes she grew up in, capturing the mood and materials of these landscapes (Howarth, D. (2014). “I wanted to capture the beauty and the spirituality of an eastern landscape within a physical object. I tried to translate different aspects of landscape into materials, colours, techniques and shapes.� Wiktoria, (Howarth, D. (2014).

She uses different techniques with each design, adding resin in different layers and proportions, to create unique textures (Howarth, D. (2014). The layering of the natural material in the resin showcases the material itself, revealing and capturing the textures and shape. This process also creates a repeated pattern and design, lending itself to an aesthetical appreciation.

However, the design is still functional. Wiktoria has created furniture that completes its function as furniture, to take weight, to be sat on etc. Yet still captures her purpose when designing these pieces, which is to set these natural materials in a state where an audience can view and understand them. This method of making and using materials, allows the audience/user to interact with the design, in thoughtful way.

To continue, investigating texture used within design, thinking about making processes and material used to convey types of texture, such as textiles. The designer Veega Tankun, created furniture and soft furnishings using weaving and knitting techniques, (Anon. (2016) This furniture collection...). To create texture, she uses soft elements within her designs, mixing materials to create bold and original furniture.

Such as her armchair, shown in figure 40, which contains a wooden frame that simple holds the large chunky material, which has been weaved or knitted to create texture, and provide the function of comfort, (Anon. (2016) This furniture collection).

These elements of weaving and knitting are usually added to frames, they add the decorative element and appear to provide the main function of the piece of furniture. In figure 43, she has used a repeated weaving technique, which provides the seat, supplying the wooden frame with its function as a chair.

This method of making and applying texture to furniture, showcases the application of function through texture design. Texture design, in relation to colour, textiles and structure, isn’t solely for the purpose of aesthetical desires, we can take inspiration from texture design and take its practise to develop innovative, beautiful design.

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Taking inspiration from texture and using it within design can be for many purposes and functions. Whether it’s used for new, on trend fashion design, innovative furniture and product design, or design for people with disabilities.

In contrast to furniture deisgn, there is an artist I found on Behance called Terézia Krnáčová, (Behance.net. (2015). She has used seven pieces of dry bread, and combined them with embroidery and sewing techniques, using thread within the bread to add an extra element of texture and uses the concept that the seven pieces of bread represent the seven days in the week. One of the seven is left blank, representing Sunday, the day of rest, (Behance.net. (2015).

This type of texture design, follows a more fine art concept. With there not being an intended function for use from the work, the design is more about the concept and how it visually communicates an idea or thought. However, this still supports Form Follows Texture, as this showcases the uses of texture throughout many disciplines. Allowing textiles, colour and structure to inspire several outcomes and purposes, whether that is to create a functional chair for comfort, or thinking of more thought provoking concepts, that are intended to make the audience think and question.

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Conclusion.

To summarise, through this visual essay the research and images have explored and discussed the many formats texture applies to and inspires. Texture is something we interact with. Through sight, the colours we interpret, the patterns created, the effects of light and how it enhances form. Also through touch, the mixture of materials to capture a texture or mimic a texture’s form.

Texture is not 1 dimensional. The elements that create texture inspire creation and how we perceive the world around us.

Figure List.

Title page figures Detailed photography of a slice of orange, light shone through it to showcase detail, Anon, (n.d.). [image] Available at: Pinterest. (2017).

HEALTHY~Food~OPTIONS. [online] Available at: https://www.pinterest.co.uk/pin/340795896772978453/ [Accessed 10 Oct. 2017]. [Accessed 10 Oct. 2017].

Textile pattern, using shape and colour being layered. Kélian, S. (2016). [image] Available at: http://les-graphiquants.fr/projets.html#!/stephane-keliancollection-ss16 [Accessed 13 Oct. 2017].

Primary research photo, a close up of bricks with moss growing. McCormack, K. Nottingham, 2017.

Pink textile work, using weaving and a mixture of materials. WATSON, L. (n.d.). A Memory of a Memory. [image] Available at: https://www.lyndallwatson. com/a-memory-of-a-memory [Accessed 19 Oct. 2017].

Texture within architecture, skyscraper with white curved layered plates. Anon, (2015). [image] Available at: http://racomavl.com/funny-architecture/7833first-skyscraper-in-chicago-designed-by-a-woman-i-wanted-to-design-a-skyscraper-growing-up-how-funny-the-dreams-we-have.html [Accessed 18 Oct. 2017].

Primary research photo, close up of peeling paint on a wooden door. McCormack, K. Nottingham, 2017.

Figure 1 – Hanging crystal beads, from rope. Jongerius, H. (2017). crystal beads. [multiplex, polyester] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 2 – woven tapestry, object in the middle. Jongerius, H. (2017). The Woven Movie [various materials] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 3 – Spectrum of colour, folded card. Jongerius, H. (2017). Unnamed [paper/card] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 4 – sculptures sitting on coloured platforms. Jongerius, H. (2017). The Colour Catchers [cardboard and paint] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 5 – multiple coloured vases in a circle. Jongerius, H. (2010). Coloured Vases [porcelain] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 6 – wide shot of exhibition, evening setting. Jongerius, H. (2017). Breathing Colour – exhibition at the Design Museum London | Jongeriuslab design studio. [online] Jongeriuslab.com. Available at: http://www.jongeriuslab.com/work/breathing-colour-exhibition-at-the-design-museum-london [Accessed 23 Oct. 2017].

Figure 7 – crystal stones on a light box, showing translucency. Jongerius, H. (2017). Crystal Stones [multiplex, polyester] London: Design Museum.

Primary photo, McCormack, K. London, 2017.

Figure 8 - – Hanging crystal beads, from rope. Jongerius, H. (2017). crystal beads. [multiplex, polyester] London: Design Museum. Jongerius, H. (2017). Breathing Colour – exhibition at the Design Museum London | Jongeriuslab design studio. [online] Jongeriuslab.com. Available at: http://www. jongeriuslab.com/work/breathing-colour-exhibition-at-the-design-museum-london [Accessed 23 Oct. 2017].

Figure 9 - Hanging crystal beads, from rope. Jongerius, H. (2017). crystal beads. [multiplex, polyester] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 10 – woven textile, with layered threads. Jonherius, H. (2017) The Woven Movie [various materials] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 11 – woven textile, with block colouring. Jonherius, H. (2017) The Woven Movie [various materials] London: Design Museum. Primary photo, McCormack, K. London, 2017.

Figure 12 – circular tin with other coloured circles within it. Arianna Lelli Mami and Chiara di Pinto of Studiopepe. (2016) Disegno. Stratford, O. (2017) Is colour subjective? Disegno tests Johannes Itten’s colour theory [online] Its Nice That. Available at: https://www.itsnicethat.com/articles/disegno-14-thesubjectivity-of-colour-studio-pepe-260417 [accessed 11 November 2017] Figure 13: 5 colour circles pinned together, overlapping each other. Ab Rogers. (2016) Disegno. Stratford, O. (2017) Is colour subjective? Disegno tests Johannes Itten’s colour theory [online] Its Nice That. Available at: https://www.itsnicethat.com/articles/disegno-14-the-subjectivity-of-colour-studiopepe-260417 [accessed 11 November 2017] Figure 14: leaning piece of paper with a circle motif, using textiles. Stine Gam and Enrico Fratesi of Gamfratesi. (2016) Disegno. Stratford, O. (2017) Is colour subjective? Disegno tests Johannes Itten’s colour theory [online] Its Nice That. Available at: https://www.itsnicethat.com/articles/disegno-14-thesubjectivity-of-colour-studio-pepe-260417 [accessed 11 November 2017]

Figure 15 – Room filled with design by The Memphis Group. Commons.wikimedia.org. (2011). File:Memphis-Milano Movement.jpg - Wikimedia Commons. [online] Available at: https://commons.wikimedia.org/wiki/File:Memphis-Milano_Movement.jpg [Accessed 30 Oct. 2017].

Figure 16 – 3 coloured stools and side table. Toadstool Missana. (n.d.). [Upholstered furniture] Valencia, Spain: Masquespacio.

Figure 17 – Sofa with two toned colour wall. Toadstool Missana. (n.d.). [Upholstered furniture] Valencia, Spain: Masquespacio.

Figure 18 – interior space, incorporating their designs and colour palette. Toadstool Missana. (n.d.). [Upholstered furniture] Valencia, Spain: Masquespacio.

Figure 19 – An illusion, hands holding an orange sphere within a black and white box. Walala, C. (2014) Optical Trickery [print design] London, Fevrier.

Camillewalala.com. (2017). Camille Walala. [online] Available at: http://camillewalala.com/tagged/work [Accessed 5 Nov. 2017].

Figure 20 – A statue which has been printed on and coloured. Walala, C. (2014) Le Printemps [print design] Paris. Camillewalala.com. (2017). Camille Walala. [online] Available at: http://camillewalala.com/tagged/work [Accessed 5 Nov. 2017].

Figure 21 – Printed fruit, inspiration for Memphis comparison. Abbiss Smiths, T. (2016) Blue Stacks [print]. Creative Review (2016) Gradwatch 2016: Tom Abbiss Smith [online] Creative Review. Available at: https://www.creativereview.co.uk/gradwatch-tom-abbiss-smith/ [accessed 2 Nov. 2017] Figure 22 – printed textile, bent. Kélian, S. (2016) Unnamed [print] Graphiquants, L. (n.d.). Les Graphiquants | Studio de graphisme à Paris, French graphic designers based in Paris | Graphistes. [online] Les-graphiquants.fr. Available at: http://les-graphiquants.fr/projets.html#!/stephane-kelian-collection-ss16 [Accessed 7 Nov. 2017].

Figure 23 - Light sculpture, stronger light. Partisans (2017) Qweilo Lighting [acrylic sheets, LEDs] Toronto, Interior Design show. Azzarello, N. (2017) partisans’ sculptural gweilo lighting to take shape at IDS toronto 2017 [online] designboom. Available at: https://www.designboom.com/design/partisans-gweilo-lighting-ids-toronto-interior-design-show-01-17-2017/ [accessed 15 Oct. 2017] Figure 24 – Light sculpture, smaller bend. Partisans (2017) Qweilo Lighting [acrylic sheets, LEDs] Toronto, Interior Design show. Azzarello, N. (2017) partisans’ sculptural gweilo lighting to take shape at IDS toronto 2017 [online] designboom. Available at: https://www.designboom.com/design/partisans-gweilo-lighting-ids-toronto-interior-design-show-01-17-2017/ [accessed 15 Oct. 2017] Figure 25 – Light sculpture, dim light. Partisans (2017) Qweilo Lighting [acrylic sheets, LEDs] Toronto, Interior Design show. Azzarello, N. (2017) partisans’ sculptural gweilo lighting to take shape at IDS toronto 2017 [online] designboom. Available at: https://www.designboom.com/design/partisans-gweilolighting-ids-toronto-interior-design-show-01-17-2017/ [accessed 15 Oct. 2017]

Figure 26 – cactus shaped sculpture, colour pattern design. Chiaozza (2014) Outdoor Paper Plants [Papier-mâché, exterior acrylic paint, plaster gauze, marine varnish] Private commission. Jakeway, A. (2016). Exploring the organic avant garde of Brooklyn-based art and design duo Adam Frezza and Terri Chiao.... [online] We Heart. Available at: https://www.we-heart.com/2016/02/16/chiaozza-adam-frezza-terri-chiao-interview/?utm_content=bufferf85dd&utm_medium=social&utm_source=pinterest.com&utm_campaign=buffer [Accessed 20 Oct. 2017].

Figure 27 – Collection of abstract shapes, using colour and pattern. Chiaozza (2014) Plant Shop. [Mixed media sculptures, Painted papier-mâché, painted paper, wire, plaster, flocking] Jakeway, A. (2016). Exploring the organic avant garde of Brooklyn-based art and design duo Adam Frezza and Terri Chiao.... [online] We Heart. Available at: https://www.we-heart.com/2016/02/16/chiaozza-adam-frezza-terri-chiao-interview/?utm_content=bufferf85dd&utm_medium=social&utm_source=pinterest.com&utm_campaign=buffer [Accessed 20 Oct. 2017].

Figure 28 – Collection of shaped wall art. Chiaozza (2015) The Miami Collection. [Acrylic gouache and wood stain on basswood] Jakeway, A. (2016). Exploring the organic avant garde of Brooklyn-based art and design duo Adam Frezza and Terri Chiao.... [online] We Heart. Available at: https://www.we-heart. com/2016/02/16/chiaozza-adam-frezza-terri-chiao-interview/?utm_content=bufferf85dd&utm_medium=social&utm_source=pinterest.com&utm_campaign=buffer [Accessed 20 Oct. 2017].

Figure 29 – Collection of crafted creations, resembling plants under the sea. Chiaozza (2013) Paper Plants. [Digital photographs of mixed media sculptures, acrylic, papier-mâché painted paper, wire, plaster, flocking] Jakeway, A. (2016). Exploring the organic avant garde of Brooklyn-based art and design duo Adam Frezza and Terri Chiao.... [online] We Heart. Available at: https://www.we-heart.com/2016/02/16/chiaozza-adam-frezza-terri-chiao-interview/?utm_content=bufferf85dd&utm_medium=social&utm_source=pinterest.com&utm_campaign=buffer [Accessed 20 Oct. 2017].

Figure 30 – embroidery with geometric shapes being held up by thread. Wołodkiewicz, J. (2017) Unnamed [embroidery thread, clay] Sierzputowski, K. (2017) Three-Dimensional Hoop Embroidery Accented With Clay by Justyna Wołodkiewicz. [online] This is Colossal. Available at: http://www.thisiscolossal. com/2017/06/hoop-embroidery-with-clay/ [accessed 18 Oct.2017] Figure 31 – Embroidery with 3D forms from plan view. Wołodkiewicz, J. (2017) Unnamed [embroidery thread, clay] Sierzputowski, K. (2017) Three-Dimensional Hoop Embroidery Accented With Clay by Justyna Wołodkiewicz. [online] This is Colossal. Available at: http://www.thisiscolossal.com/2017/06/hoop-embroidery-with-clay/ [accessed 18 Oct.2017] Figure 32 – Architectual sculpture, in an outside setting. Janssens, F. (2015) Jointed Cube [wood and metal] Venture Lambrate Milano. Filip Janssens. (n.d.).

HOME. [online] Available at: https://www.filipjanssens.be [Accessed 1 Nov. 2017].

Figure 33 – sculptural piece of furniture, with light attachment. Janssens, F. (2014) Jointed Shelves [metal] Filip Janssens. (n.d.). HOME. [online] Available at: https://www.filipjanssens.be [Accessed 1 Nov. 2017].

Figure 34 – sculptural storage/furniture. Janssens, F. (2015) Rupture [wood]. Filip Janssens. (n.d.). HOME. [online] Available at: https://www.filipjanssens.be [Accessed 1 Nov. 2017].

Figure 35 – Set of stools using resin to cast materials within them. Szawiel, W. (2014) Vessels [resin, various materials] Howarth, D. (2014) Wiktoria Szawiel fossilises natural fibres in resin furniture collection [online] Dezeen. Available at: https://www.dezeen.com/2014/07/07/landscape-within-resin-furniture-wiktoria-szawiel/ [Accessed: 10 Nov.2017) Figure 36 – grey stool with light wood within it. Szawiel, W. (2014) Serie #1 [resin, various materials] Howarth, D. (2014) Wiktoria Szawiel fossilises natural fibres in resin furniture collection [online] Dezeen. Available at: https://www.dezeen.com/2014/07/07/landscape-within-resin-furniture-wiktoria-szawiel/ [Accessed: 10 Nov.2017) Figure 37 – stool with dark wood within it. . Szawiel, W. (2014) Serie #1 [resin, various materials] Howarth, D. (2014) Wiktoria Szawiel fossilises natural fibres in resin furniture collection [online] Dezeen. Available at: https://www.dezeen.com/2014/07/07/landscape-within-resin-furniture-wiktoria-szawiel/ [Accessed: 10 Nov.2017) Figure 38 – back of chair, milky resin with light wood within it. . Szawiel, W. (2014) Serie #1 [resin, various materials] Howarth, D. (2014) Wiktoria Szawiel fossilises natural fibres in resin furniture collection [online] Dezeen. Available at: https://www.dezeen.com/2014/07/07/landscape-within-resin-furniture-wiktoria-szawiel/ [Accessed: 10 Nov.2017) Figure 39 – Legs of stool, milky resin with light wood within it. . Szawiel, W. (2014) Serie #1 [resin, various materials] Howarth, D. (2014) Wiktoria Szawiel fossilises natural fibres in resin furniture collection [online] Dezeen. Available at: https://www.dezeen.com/2014/07/07/landscape-within-resin-furniturewiktoria-szawiel/ [Accessed: 10 Nov.2017) Figure 40 – armchair, cushions and lights, made from knitting and weaving techniques. Tankun, V. (2016) Unnamed. Anon. (2016) This furniture collection makes use of various knitting and weaving techniques [online] Notey. Available at: http://www.notey.com/@contemporist_unofficial/external/13243843/thisfurniture-collection-makes-use-of-various-knitting-and-weaving-techniques.html?utm_content=buffer34d8e&utm_medium=social&utm_source=pinterest. com&utm_campaign=buffer [Accessed: 12 Nov. 2017] Figure 41 – two table lights, with weaved material between two yellow discs. Tankun, V. (2016) Unnamed. Anon. (2016) This furniture collection makes use of various knitting and weaving techniques [online] Notey. Available at: http://www.notey.com/@contemporist_unofficial/external/13243843/this-furniturecollection-makes-use-of-various-knitting-and-weaving-techniques.html?utm_content=buffer34d8e&utm_medium=social&utm_source=pinterest.com&utm_ campaign=buffer [Accessed: 12 Nov. 2017]

Figure 42 – close up shot of chair, focused on yellow elastic. Tankun, V. (2016) Unnamed. Anon. (2016) This furniture collection makes use of various knitting and weaving techniques [online] Notey. Available at: http://www.notey.com/@contemporist_unofficial/external/13243843/this-furniture-collection-makesuse-of-various-knitting-and-weaving-techniques.html?utm_content=buffer34d8e&utm_medium=social&utm_source=pinterest.com&utm_campaign=buffer [Accessed: 12 Nov. 2017] Figure 43 – close up shot of wooden chair, focused on threaded seat. Tankun, V. (2016) Unnamed. Anon. (2016) This furniture collection makes use of various knitting and weaving techniques [online] Notey. Available at: http://www.notey.com/@contemporist_unofficial/external/13243843/this-furniturecollection-makes-use-of-various-knitting-and-weaving-techniques.html?utm_content=buffer34d8e&utm_medium=social&utm_source=pinterest.com&utm_ campaign=buffer [Accessed: 12 Nov. 2017] Figure 44 – light design. Paul, N. (N.D) Monika [ply cotton] Naomi Paul. (2017). MONIKA - Naomi Paul. [online] Available at: https://www.naomipaul.co.uk/ product/monika/ [Accessed 23 Oct. 2017].

Figure 45 – close up shot of light design. Paul, N. (N.D) Monika [ply cotton] Naomi Paul. (2017). MONIKA - Naomi Paul. [online] Available at: https://www. naomipaul.co.uk/product/monika/ [Accessed 23 Oct. 2017].

Figure 46 – 7 pieces of dried bread with embroidery within them. Krnáčová, T. (2015) Behance.net. (2015). Behance. [online] Available at: https://www.behance.net/gallery/31502957/Everyday-bread [Accessed 17 Nov. 2017].

Figure 47 – close up, hollow bread with embroidered thread. Krnáčová, T. (2015) Behance.net. (2015). Behance. [online] Available at: https://www.behance.net/gallery/31502957/Everyday-bread [Accessed 17 Nov. 2017].

Figure 48 – whole bit of bread, with embroidery over the top. Krnáčová, T. (2015) Behance.net. (2015). Behance. [online] Available at: https://www.behance.net/gallery/31502957/Everyday-bread [Accessed 17 Nov. 2017].

Figure 49 – close up, hollow bread with embroidery within it. Krnáčová, T. (2015) Behance.net. (2015). Behance. [online] Available at: https://www.behance.net/gallery/31502957/Everyday-bread [Accessed 17 Nov. 2017].

Conclusion page Primary research photo, close up shot of sign on a wall. McCormack, K. Nottingham, 2017.

Primary research photo, close up of wooden door with staples in it. McCormack, K. Nottingham, 2017.

Primary research photo, close up of peeling paint on a wooden door. McCormack, K. Nottingham, 2017.

Primary research photo, lighting design in Nottingham Trent Univeristy library. McCormack, K. Nottingham, 2017.

Reference List.

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Magalhaes, F. (2017) Discover Masquespacio’s Vibrant Colors Projects [online] Design Limited Edition. Available at: http://designlimitededition. com/discover-masquespacios-vibrant-colors-projects/ [accessed 20 October] Morby, A. (2016) Masquespacio designs toadstool-shaped furniture for Missana [online] Dezeen. Available at: https://www.dezeen. com/2016/01/29/masquespacio-toadstool-collection-missana-sofa-chairs-table/ [Accessed 14 October] Sierzputowski, K. (2017) Three-Dimensional Hoop Embroidery Accented With Clay by Justyna Wołodkiewicz. [online] This is Colossal. Available at: http://www.thisiscolossal.com/2017/06/hoop-embroidery-with-clay/ [accessed 18 Oct.2017] Stratford, O. (2017) Is colour subjective? Disegno tests Johannes Itten’s colour theory [online] Its Nice That. Available at: https://www.itsnicethat. com/articles/disegno-14-the-subjectivity-of-colour-studio-pepe-260417 [accessed 11 November 2017] The Art Story. (n.d.). Johannes Itten Biography, Art, and Analysis of Works. [online] Available at: http://www.theartstory.org/artist-itten-johannes. htm [Accessed 12 Nov. 2017].

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Appendices.

4th October Personal design history time line.

Throughout my life before university, all I had experienced creatively was fine art, this was throughout school. I was always a creative child, my mum would hoard everything and anything to fuel my creative creations and ideas. In the process, leaving a mess where ever my creation took me, which is still the case now.

When studying A level fine art at 17 years old, I chose to do my project on the Arts and Crafts Movement, following the work of William Morris.

I discovered I didn’t want to be a fine artist, I wanted to be a designer. Exploring the furniture and textile work of Morris inspired my entire outlook on what my passions really were and opened up a creative bridge to furniture and textile design.

This was a challenging point in my life as I began to think fine art wasn’t for me, it didn’t line up with my beliefs and ideas. I was struggling to achieve high grades when I loved my work and believed I deserved a higher grade for it to reflect my hard work and passion. Realising my passion and talent lied with design, gave me a new lease of excitement for my work and helped me understand myself as a person and creatively.

Once I started furniture and product design at university, despite me technically being at a disadvantage to everyone else on my course, because they had done design before, I started achieving high grades and being recognised for my work in a positive way. This helped reassure me that this was the right change in my life. I needed to be a designer.

11th October Origami.

When first set the task to create thing origami pieces I was excited, I’ve always appreciated this craft and how it’s been transferred into furniture and product design. However, once I began trying to understand the instructions and create a origami piece, I began to become frustrated and confused. I didn’t realise how complex the making would be, and I found the instructions too minimal.

I began to feel embarrassed and ashamed that I couldn’t complete the task! Hating the feeling that everyone around me had the hang of it.

I’m used to be confident within craft, I doing a lot of it within my designs. I could appreciate the origami craft a lot more, and the maths that is needed to create complex yet beautiful designs.

Translating minimal instructions on how to make the origami, was very difficult, and I felt when I was showed how to do it by someone else, I understood it a lot more and could make sense of the steps. With something quite fiddly and visual like origami, I think learning the craft through minimal 2D instructions doesn’t work. Learning craft through making mistakes and using your hands, instead of just trying to understand 2D instructions is a lot more effective. Especially when learning with someone who has ‘mastered’ it or has a better understanding.

I think ‘making’ is different from ‘designing’ because there’s not as much thought when you go straight into making, or it’s a different type of thought process. Designing is more about researching and planning before then making. However, making is all about learning with your hands, and researching through making mistakes and discovering.

18th October Mass Production and the Consumer Society.

Coming together as a team to create the origami creations worked a lot better, it meant we could really help each other out and use everyone’s strengths and weaknesses, instead of individually stressing about making one really well made origami. It also caused us to work faster, as we needed to get a lot done in a short amount of time, however we also thought about making well-made ones which would take more time, but then would be a higher value.

The production line kept things organised and consistent. It kept our group on track to keep producing the origami and also meant that our skills could improve faster with each one because of how many we were making. As last time when we individually made them, we focused too much on making it perfect and the instructions given, that we didn’t produce many.

It was strange and a little bit difficult to barter our creations, convincing others that they should swap our creation for one of theirs, and convincing them it was a good deal and a good value. I felt nervous trying to get better quality origami off other tables, we needed to be confident and convincing.

I feel our group did ok, but could have made more origami and bartered for better ones, to give our collection of origami better value. The process was definitely a feel of mass production over craft. Instead of spending 10 minutes on one, hopefully, well-made piece of origami, we would spend 10 minutes creating 10 pieces of origami, which might not have been very consistent or arguably as well made.

25th October Modernity and Modernism.

Manifesto An overuse of fossil fuels and mass consumption of non-recyclable materials has led to an increase in non-recyclable waste, ending up in landfill and clogging up our oceans.

Our principles focus primarily on ensuring that the government and citizens are made aware of the effects of the overuse of non-recyclable materials is having on the environment.

To this day. Ocean clean-up is still proving a challenge. Efforts are being made to clean-up the land and although there are incentives to clean up the oceans, more could be implemented to increase the clean-up efforts.

Our design of a robotic clean up whale, incorporates a large amount of our manifesto’s principles within its design: - Made from recyclable material - Recharges itself using solar panels - The fact it is a large robotic whale with a cute name, attracts attention and creates awareness - Politically it sends an important message to the governments of the world.

- Good for the environment as it uses very little energy.

- Manufactured to high standard so it needs little repair and lasts longer.

As a group we came about designing this clean up robotic whale, as we all discussed issues we feel passionately about within design. We spoke about the wastage issue and not making more products from recycled waste or creating things that can be recycled or are biodegradable. Our style was to create something fun but useful, it’s fun side creates more awareness as it gets more people interested and therefore aware.

8th November The Computational Age Buyers Guide – Bounce Back Universal protective sports helmet Uses:

How it works:

• Cycling • Motocross • Scooters • Skiing • Snowboarding • Ice Hockey • Skateboarding • Hang-gliding • Quad Biking

By using super conductive magnets, this concept works in the same way a force field would, but on a lesser scale. The magnetic shield projects a magnetosphere that reacts with earth’s magnetic field. The electro magnets connected to the helmet are positioned in a sequence, and operate in conjunction with one another.

This guarantees full coverage of magnetosphere protection, on the entire surface of the helmet. The electro magnets are positioned to be pointed at its same magnetic pole on earth’s magnetic field. Depending on which hemisphere you are in, the electromagnets can be switched to coincide with its identical magnetic pole.

When two identical poles come within close proximity of each other (dependent on the level of frequency and charged electromagnetic particles), the two poles will repel away, in opposite directions. Due to the weakness of the earth’s magnetic field, the user will not be thrusted away upon repulsion at high velocity.

Therefore, in the case of a sports incident, the electromagnetic repulsion will cushion the force of impact before the helmet makes contact with the ground. Effectively acting as a buffer system, absorbing the impact.

A huge reduction in the user sustaining further injury to the head and brain. The chances of the sportsperson succumbing to concussion, are effectively non-existent.