ONE WEEK IN DUNDEE
issue#3
This issue is about design explorations.
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“A WEEK in Dundee” is a collection of reflections on the week I spent in DJCAD in October 2015. It is an exploration on creative spaces, design ideas, materials, people and making. Working with clay, plaster, polymorph plastic, mould making were activities I have done during the 3 days I spent in the creative workshops in DJCAD. Chatting with Sandra Wilson around my research area and current design experimentations in digital jewellery in their workshops, working closely with Sean Kingsley and all the technicians in the workshop, chatting on the go with Jon Rodgers, attending a nice lecture from Kathy Vones in new materials, spending a nice morning in Pittaweem with Jo Foster moved further my design practice. My relationships grounded on mutual dialogue.
A BOOK, A SHELL, A PUFFIN TILE WERE THINGS I GOT AS GIFTS. A BIG THANK YOU TO SEAN KINGLEY, SANTRA WILSON, KATHY VONES, JON RODGERS, JO FOSTER AND ALL THE TECHNICHIANS IN DUNCAN OF JORDANSTONE COLLEGE OF ART AND DESIGN (DJCAD) WORKSHOP.
EXPLORATIONS
EXPECTATIONS FOR MY VISIT
The goal of my visit was to get inspired from a creative place and making artefacts that suggest different interactive contexts.
THE CONCEPT
The piece acts as a companion; it listens and stores personal narratives. The piece has the potential to listen, but the speaker doesn’t have the ability to listen instantly back what she says. The piece responses to what it hears by filling in with water. When the bubble (see on the right) is full of water, the speaker has to pour the water and empty it. This is a symbolic action. “Let it go” and start over again next time you might needed to share a thought. After a certain period of time the wearer can listen back his emotions and feelings at a time. Drawing on Gidden’s theory, the piece can sustain a personal biography and provide the basis for ongoing selfreflection.
FIRST IMPRESSIONS -
reflections on the design process
After getting an introduction around the workshop facilities on material and processes on the workshop in DJCAD, I found a comfortable space to start my exploring. It was the ceramics workshop. There, I started playing with clay, plaster sheets, pins, polymorphic plastic. I spent the first few hours sculpturing forms. I had an inspirational idea to start exploring natural growing organisms and parasites on trees (think of fungi). I was trying with one way or another to bring my ideas and inspirations into life. Working closely with an expert (Sean) in ceramics, gave me confidence to ask questions about the material properties and material possibilities.
This is poster I brought with me in Dundee to explain my initial idea and the first form exploration. A picture made it easier to communicate the concept. The idea of posters as creative and visual method to present my ideas started after chatting with James at the workshops in Nortumbria University. James Thomas is a craft technologist and research assistant in Northumbria. The poster was a way to start a dialogue with him. Embedding electronics is not the last stage of my design process. I see the poster as a method to present and engage James and other practitioners with concepts over time. So, his expertise and his creative thinking will potentially unlock the digital potentials and ways to support the initial idea.
“START WITH A SIMPLE IDEA AND SEE HOW THE MATERIAL IN FRONT OF YOU RESPONDS. DON’T WASTE TIME IN THINGS THAT DON’T LOOK NICE, TRY TO UNDERSTAND PROCESS AND WAYS OF THINKING.” Reflections
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Early explorations: Sponge, Plaster, Pins
FORM EXPLORATIONS Working with different materials available in the workshop I was exploring form possibilities. How was the piece intended to work was always in my mind. Different expressive possibilities of light was the initial exploration. How can the piece response to the stories it listens? It can fill it up with light I thought.
Bamboo stick, clay
Results from the casting before fire in the kiln
MATERIAL: clay, parian
Organic form with polymorph plastic
MATERIAL:
polymorph plastic
PROPERTIES:
PROPERTIES:
The clay and parian have similar properties before firing (liquid and grey colour). Parian becomes translucent after firing. The parian will allow you to get a sense of how light works with it.
I poured the plastic spheres into hot water (80C). The spheres dissolved and created a solid surface. The surface can be transformed with the hands for a few seconds. After a short period of time the surface will become solid and no longer flexible form. The finished surface is translucent, but gives the impression of a plastic bag.
In dialogue with Sean Kingsley. Preparing the piece for casting. Making a two-parts mould.
The mould was made from gypsum. We filled up the holes of the copper cylinder and the holes on the organic form and support the undercuts with the white clay. We waited for 30mim for the first part of the mould to set and we cleaned the surface with paraffin wax to make easier later the two parts separation. Making the mould was a challenging process. We let the mould cure and dry for 3 days. We took off the original shape from the mould and the only way to see if our efforts was worth it, was to test it out.
Preparing for casting the second part of the mould.
After casting the models there was still some work to be done; to take out the extra clay inside the hole, and smoothen the surface. I was excited when I saw the model. The piece was hollow. After pouring the casting material (porcelain) we turn the mould upside down. Because the fact that porcelain is a viscous material, a thin surface sticked to the surface of the mould and the rest dropped down. Having the cast model in hand, I realized that I could combine 2 models and create a new form, cut parts that I didn’t want and in general further experiment with form giving.
The picture was taken by Sean and sent to me per email. Results from the casting before fire in the kiln.
FROM AN EMAIL CONVERSATION WITH SEAN
IN DIALOGUE
Hi Sean, A big thank you the last week, for your time and your effort! I am back at my office in Newcastle facing the “real” academia. It was a pleasure to spend some time with you all during the workshop and looking forward to the next opportunity. I have come up with an idea to design a small booklet for my “One week in Dundee” and I would like you to contribute with a few lines regarding our collaboration, the work being done, the vibes? Any reflection that you would like to share with me. Re: The clay objects let me know how the look and feel after the “fire” Have a lovely day, Nantia
Hi Nantia, Great fun to work with you. I really enjoyed it. I’ve started writing something. The booklet is a good idea and I’m already finding it useful to reflect on how I work with people. Speak to you later. Sean
AN UNFINISHED OBJECT WAS A WAY FOR OPENING DISCUSSIONS AROUND MY INITIAL CONCEPT WITH PRACTITIONERS.
FROM A CONVERSATION AROUND THE PIECE IN A PUB WITH SEAN, MALCOLM, JO This is what came out of the mould earlier today. It is one material now, but imagine that the stick is made from wood.
Jo: Wood as a conduit, a conductor of memories, like metal conducts electricity.
Malcolm : Lungs that grow on the tree like a burr, reaching for life, gasping for breath, like the stories that sustain us. lungs are breath are voice are stories become memories.
Jo: It looks like a musical instrument. Your stories, feelings is the music that comes out from the instrument Vessel for someone’s inner feelings, anxieties, fears. The object is an evocative vessel for us to invest our feeling in.
Jo: You can call it Soundpots !
FROM MY CHAT WITH SANDRA Sandra: Objects which are in close proximity with the body, and even more those touching the skin create a intimate relationship with the wearer.Objects gain intimacy, as objects place in a close proximity with the body, they become personal. My work focuses on the direct relationship with the body and the tactics and characteristics of relations with the body.
A shell that Sandra gave me. The shell was standing on a shelf at her office. Inspired by the work I have done so far, I asked if I could have a look on that shell. “Take it”Sandra told me. Interestingly the shell connects us with the sea and the sound of the sea. “What are you listening back is your feeling when you think you need it.” I thought. The piece will potential involve the senses of sight, touch, and hearing. Well, I still like the idea of holding the piece of wood. The more you hold it the warmer it gets! Sandra made me think about the tactility of the object touches the skin. The piece could have a different material from the inside. The part that touches the skin could be softer/fragile.
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SHARING REFLECTIONS Nantia eventually found the workshop. Apparently it is labelled above the doors leading to the workshop as Sculpture at one door and Fine Art at the next door. Nantia gave me an overiew of the idea for a piece wearable technology which can record and hold spoken memories and which will later be reflected upon by the owner. The target user is someone who lives abroad. Their thoughts and feelings are to be captured when going home. The idea of the recording device was represented by a photograph of a piece of spalted twig, and the holder of the memories as a glass bubble. Nantia made clear these aren’t necessarily the shapes or the materials the object should be made from. So, what becomes apparent is that Nantia is at a fairly early stage of developing a wearable object. This is a quite a vulnerable place for someone to be, especially when sharing the information with another person from whom assistance is needed in the making of an unknown object. In addition there is the unsettling and exciting nature of simply being in an unfamiliar environment, which includes other technicians moving in and out of the office, overhearing pieces of information and curious to know what is going on. However, Nantia’s approach is so open and friendly that communication is easy and helps to get all those in the workshops on board. From my point of view, the challenge is to simultaneously help Nantia feel comfortable and relaxed in the workshop, to find out what her making capabilities are and to let the story of her project emerge. An object can’t be made if it is unknown, but something can emerge through play and this will help direct further thoughts and developments. In order to play, one most feel safe, comfortable and relaxed. I showed Nantia around the ‘playground’ and we focused on the little room at the back of the large wood workshop, which is where clay, plaster, plastics, mud rock and so
on is used. The focus here was partly from practical issues such as Nantia not being allowed to use the woodworking machines and because the more plastic materials seemed to suit what Nantia needed to do. I showed Nantia examples of process and results, hoping to stimulate Nantia’s imagination. After a while, she set up a little zone and set to work. Searching for forms and solutions can be a messy business, with stages that can be un-aesthetically pleasing. At one point Nantia was embarrassed about a model she had made from sponge, tape, mud rock and nails. She tried hide it from me, which was fine and a point where I have to be considerate of her wishes. I did, however, catch a glimpse of it … and it was quite ugly. Such things don’t surprise me, nor am I disappointed or worried about them, as I recognise them as steps towards something else. It is important for designers who are using designing through making methods to just get making and not worry too much about the interim results. My approach at this stage is to be encouraging and bring out some of the qualities in the object, if I am allowed to view it. There is always something to be learned at this point. We later moved on to model with a copper pipe and clay, with a view to making a mould from which porcelain or parian casts could be made. The shapes Nantia created were organic in form with many undercuts and difficulties for the mould making process. I have found sometimes it is only by going through the mould making process that someone starts properly understanding it, especially if the form is complicated. No amount of explaining with words or even drawings can be as effective as doing it. I therefore decided to rush the mould a little, to get one under Nantia’s belt so she could properly see the possibilities and limitations of the process. I started to fill in the undercuts with a different coloured clay, so she could see the changes that needed to be made. We created the split lines and walls for the plaster to be poured into. Plaster set, turned over, soft soaped, walls built and the other half of the mould was poured. After setting the mould was split open and the model removed. It was, I think, still difficult for Nantia to see how it will go. The mould needed to dry for a day, in a slightly too hot drying cupboard. All in the spirit of rapid prototyping. The day after that, we go through the process of slip casting where the magic happens - the emergence of an object. Not perfect, but a thing in itself and a step towards the next one. Sean Kingsley
UNDERSTANDINGS A new creative space can enhance my creativity. A limited period of time and access at the workshop helped me to focus and get some results. An unfinished object was a way to open discussions with practitioners on my initial concept. Whereas the craft practice is often related to the slow process of making, the crafted and aesthetically pleasing outcome and the expertise of the craftsman is not always the case. Interestingly Sean mentioned the expression "All in the spirit of rapid prototyping” on his reflections. This expression made me think that the reason why I wasn’t ready to mould the piece I was working on, was the unfinished object in hand. "I had to make it look nice”, I thought. At this stage it wasn’t clear for me that I could further work on the piece after casting. Now, I know that "The more finished the piece, the better the outcome of the mould”. Reflecting back on that moment, it was crucial to stop crafting the “unknown” object. Sean was there to help me get through the stages of the moulding process and made me realise with “making” that words are not enough to explain the outcome. In a dialogue between makers, materials have the last word! In lines of rapid prototyping, we experimented with quick designed outcomes to test ideas and potentially move the concept forward. "It is important for designers who are using designing through making methods to just get making and not worry too much about the interim results.” Sean Sean was supportive and helpful. He didn’t criticise me. His stance gave me the space to experiment in my temporary space with materials and I felt welcome to ask him for advice at any stage of my experimentation. I felt privileged to have Sean’s and the other technician's expertise. The nice atmosphere among technicians in the small room with the kitchen helped me to feel relaxed and comfortable.
Nantia Koulidou
Creating a dialogue with people with various backgrounds and expertise brought new insights in the design and strengthen the initial concept. Experimenting with various materials in hand, open design possibilities. Gain knowledge in mould making Exploring various interactive possibilities for digital jewellery.