NICHOLA WAUGH
INFORMATION
Student:
Clients:
Nichola Waugh 08024455 s110724 B2.2 Exchange
V2_ Institute for the Unstable Media Design Academy Eindhoven
Tittle of Assignment/Project:
Assignment/Project Dates:
DPL56 Wearable Senses: TechCrafts
February 2012-June 2012
Assignor’s/Coach’s Name: Simone de Wart Expert/s: Master weavers: Ank Hazelhoff and Bea Burggraaf Project: Marina Toeters Martijn ten Bhömer
DEAF Festival 2012
“Weaving occurred slowly, distilled by practice rather than
dictated by theory. What endures, what does not decay, is the technique of focusing on the right angle…at first glance it makes not sense to liken a ship to cloth. But the craftsman’s slow working through forges the logic and maintains the form.
“
The Craftsman-Richard Sennett
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CONTENTS
6 8 11
Introduction Objective Design Idea Generation and Concept Development Design Problems and Solutions
23 Technology Current Issues Assignment/Project Goals Technical Configuration 27 Users Project Focus User Research Approaches and Findings 32 Conclusion The Story 34 List of References Appendix
INTRODUCTION “This project is about creating alternative ways to merge interaction design and new technologies with traditional techniques and/or materials and their meanings. “ -Wearable senses project description-
Wearable senses: TechCrafts project presented many issues and problems that were addressed, such as traditional crafts and the integration of technology. Questions to be answered in this process will be: the role of the craftsman, learning a craft and understanding the craft? With many emerging technologies in traditional soft crafts, for this project weaving was about the practices, the merge between craft and technology. This project explores weaving and the design process that lead to the final concept. The final project “Hug-me” is a result of exploration and integration of ‘new’ technologies, shape memory wire (nitinol). Smart textiles are becoming more apparent in design and will become less of a science fiction and more of a reality. The final concept was a result of an extensive research and ideation of where weaving could be utilised to bring the essence of the craft. 6 Nichola Waugh
Weaving considered to be a craft was used form utilitarian purposes and decorative only is not considered decorative or excessive by some cultures. Weaving as a craft is valued less and destined to be forgotten. Presently weaving is mass-produced by machines for utilitarian purposes.
In this age of useless products and design on the market there is an importance as a designer that we should create objects that have a meaning, a story, and provokes a sense of nostalgia from the users past and bring these thoughts into their future. “Hug me”- exploration was an important moment to analyse weaving and see its qualities and future applicationsfrom its form. The Craftsman quoted previously is a beautiful explanation to weaving and the process it undergoes, while leaving room for future endeavours” Weaver forgets logic and remains the form” by reflecting the quality of weaving into applications that can truly express its structural composition and form the reflection of something new and innovative can be made (Sennett, 2008).
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OBJECTIVE Learn from an expert in weaving. Finding the essence of the craft and integrating it with technology that conveys a meaningful story. Moveable structure that can conform to the human body. A conceptual design Integrate weaving with Shape memory wire. Shape memory wire is “An alloy that, after being deformed, can recover its original shape when it is heated (Dictionary.com, 2012).” This projects is evoke emotion and encourage the user to see the textile as something living and that it’s ‘just not a blanket’ that gives you warmth. Provokes user to touch and embrace textile. Giving value to textiles that can be seen as a valued part of daily life activity in such a sleep and relaxing. Finding the essence of the craft and integrating it with technology that conveys a meaningful story. Weaving techniques, areas where weaving would add value to design and concept. Weaving structure and technology would create a conceptual meaning. When smart-textiles are used which is a new area to design in. To integrate Shape memory wire into a weft (Githaiga et al, 2009).
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Areas of investigation-Weaving techniques, areas where weaving would add value to design and concept. Weaving structure and technology would create a conceptual meaning. When smart-textiles are used which is a new area to design in.
weaving patterns researched origami-resource-center.com Nichola Waugh 9
Important words that need explanation Wearable technology: Any electronic device that is small enough and light enough to be worn or carried on the body. Interactive textiles: Wearable technology which is woven / sewn into clothing and operated / controlled by an integrated control panel or operation button. Smart textile is a passive textile structure capable of responding to external stimulation such as pressure, temperature, light, low voltage current. Weaving is to interlace (threads, yarns, strips, fibrous material, etc.) so as to form a fabric or material. Interlacing threads, yarns, strands, or strips of some material in order to create. (Dictionary.com, 2012).
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DESIGN The following section will explain the Design, Technology & Users in HUG-ME. This section will describe design process idea generation, concept development and the final design in detail. As well as outline the problems and solutions that have arose from the design and crafting process. Initial exploration that were carried out before a meeting with Weaving experts (Masters).Bottom right. Visit to Tilburg for inspiration, to see the textiles museum.
Tilburg Textile Muesum- visit
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MASTERS One: Bea Burggraaf Meeting in Breda Netherlands Traditional weaver and experimental Basic techniques were explained. How a loom works.
Two: Ank Hazelhoff Meeting in Geldermalsen Netherlands-experimental weaver. Learnt how she integrate copper copper for structural purposes, plastic tubing.
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BEA BURGRAAF
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ANK HAZELHOFF
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Idea Generation and Concept Development Refining of concept and defined by process from idea to concept. Evidence through sketches. Final model sketched? Thought exploration of sketching this has had impact on final concept design model. Initial exploration that were carried out before a meeting with Weaving experts (Masters). Meeting in Breda Netherlands, with Bea Burggraaf traditional weaver. Basic techniques were explained. How a loom works. Meeting in Geldermalsen Netherlands, with Ank Hazelhoff experimental weaver. Learnt how she integrate copper copper for structural purposes, plastic tubing.
Weaving exploration process From meeting with expert weavers, my own experiments were made using techniques, and using their experience to be of inspiration. Plastic and rubber Tubing Wire aluminium and copper. Soft textiles cotton, wool, and acrylic. Thermo cromatic Ink (centred image on previous page) Circuits This was an important part of ideation phase as learning from doing and generating ideas through exploration was apart of the goal and objective.
After the meetings with the expert weavers, exploration and brainstorming occurred. Mid-term- After feedback for a concept/senario descide between an interactive wall hanging or a movable balnaket. Through explorations of both of these ideas. ‘Hug-Me’ was a stronger choice in regards to technology and challange. Light Exploration
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Sketches and brainstorming The previous page there was an important moment after mid-term exhibition where decision needed to be made. An in-depth ideation of weaving used many brainstorming techniques to refine ideas and distinguish between concepts that highlight the project brief.
An important part of the ideation phase was too visualise and sketch down basic ideas. Most importantly make sketch models. Below far right-model is fabric with wire to express ideas.
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Images of insipration
Images 20 Nichola Waughare
referred to in references
Images helped with the procees of designing the textile and were important to think about context/project focus.
DESIGN PROCESS VISION
PROJECT DESCRIPTION
OPPORTUNITY
Story tellling through objects combining
Wearables senses:TechCrafts Technology+craft
Finding the essence in hand weaving and a design that will convey this
old + new. Sustainable
REFLECTION
IDEA GENERATION
FEEDBACK
Midterm Exhibition Meetings Ideas Vision
Exploration, experimentation and learn from doing
Midterm Exhibition coach group members
CONCEPT movable textile that evokes the user to interact with the fabric
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Design Problems and Solutions Designing a clip that keeps nitinol wire in place. This was made in solid works and sent off to shapeways to be printed. Below are sketches of model, modell in textile (image and sketch form). Material 3D printed needed to be made of metal, in order of crrent/hight temperatures going through Nitinol wire.
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TECHNOLOGY Weaving large scale No access to loom, masters Process of how you made textile Planned/ sketched Built weaving frame Hard to make a stable structure that is large Set waft Constructed weft-clumping yarn x8 Started base red Process of weaving Addition Nitinol weaves through at the end
Current Issues In Textiles The idea of integrating Nitinol into the weave might be obvious to create shape changing, responsive fabrics but it created an unpected organic movement. The process is quite complicated and expensive which explains the lack of Nitinol-based shape changing garments on the market (crunchwear, 2009). Power problem- Battery,Arduino or Power suppy connected to mains. Best solotion to get nitinol (shape memory) to work is to use a power suppley Used in a series circuit.
Back ground on memory wire: “Shape Memory Materials (SMMs) have unusual properties (like the shape mem¬ory effect, superelasticity, recoverable strain, high damping capacity, etc.) that make them suitable as major components of smart composites. They can sense physical changes in their environment, such as thermal, mechanical, magnetic or electric (Githaiga et al, 2009). NiTi-alloys are mostly developed and used for biomedical appli¬cations, but NiTinol in the form of fine wires is also suitable for processing on textile machines. The application of thin SMA wires in textiles is still in the investiga¬tion phase, and only a limited number of applications are known. Currently working with one-way shape memory wire after being deformed (typically by a few percent) in a perma¬nent state at low temperature, it recovers its original state after being heated above the transition domain changes (Githaiga et al, 2009). Embedding SMA (shape memory alloys) into textiles, gives researchers and designers the opportunity to start researching and design new possibilities for shape changing materials, from external environmental changes (Githaiga et al, 2009). IRs been referred to as a new scientific frontier of smart materials/ textiles (Githaiga et al, 2009). Many people have attempted the integration of SMA and textile but they failed because it was quite difficult to keep the quality of the weft, such as tension, and equal pitch (Githaiga et al, 2009).” Nichola Waugh 23
Project Goals In constructing the prototype there have been many difficulties, Such as not have enough knowledge and a loom to work on the textile. Because of this the prototype textile was weaved on a large weaving frame, which is based on a ‘hobby frame’. By doing this, method it was hard to create enough tension in the warp and in the weft to have a firm weaved textile. But through this method some truths were uncovered. The process of weaving was broken down to its bare form. Every yarn that was past through the warp the weaver had control over it where it was place and how weft would sit in the warp. This drew closer detail and thought to the meaning of what craft is and how it affects the craftsman. That it wasn’t just a process it became a lifestyle. Nitinol wire programming (shaping) it was a task in itself. Where No access to a furnace to properly ‘programme’ it, this meant wire would have inconsistences and individual characters in is self. Nitinol wire to begin with is difficult to use but this addresses step of forming it add even disadvantage of what could be produced. As well as have the opportunity to create the own shape that as needed. 24 Nichola Waugh
Powering Nitinol Wire has many problems depending on the length and the diameter of wire. For best result for this prototype it is connected to a power supply, which is not ideal. For this conceptual model it works for now, but for future development other avenues will be tried and tested.
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Technical Configuration Previous Images are series of the process of creating a weaving frame made for the construction of the weaving of the prototype. Note: Nitinol was weaved in at a secondary stage because of time constraints from delayed shipping from supplier. Images on the right, is the process of ‘programming wire’ the memory wire has to be heated to a certain temperature around 300-400’c or hot enough for it to regain a shape. Because of lack of time from wire arriving from Flexinol.com late. Wire was shaped in an un conventional way, on a stove top, but it proved to be inconsistence at times but made do with the form that need to be conveyed to the user.
1420mm x 920mm wooden frame that was constructed in a few hours requied sawinf, and drilling. This is then is what was used to construct the final textile. 26 Nichola Waugh
USERS Textile which is a large piece of woven material used as a covering for warmth, either in bed or whilst setting. But this design is for next generation of textiles users that focus on the added value of craft and technology. It is a Niche market as people will be reluctant to adapt to new and conceptual product by furthering experimentation and educating/exposing people to smart textiles. There are possibilities for further adaption and research where this textile with Nitinol wire and wool. Which is a anti-bacterial material, insulator. Possibilities infants blanket, medical blanket and children/ adult bedding. The idea is that the blanket could not be able to be kicked off in the night. As this is only the start of using this technology in fabric there is a lot of development still to come in the future. Above: user test of two people, one sitting and lying with a blanket. This was basic research into fabric and how it conforms to the human body.
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Project Focus Capture the tradition and values that are come alongside blankets and weaving throws. Are potential user research methods to get an answer to these questions? Potential users researcher methods such as Co-constructing stories method was carried out to understand user understanding of weaving and the future applications and smart textiles Results achieved and application towards the overall design? From preforming co-constructing interviews it help construct valuable information. How users values a textile in the past, present, and future. Identified the truths of how textiles go unnoticed. Valuable feedback and confirmation of basic story of concept were revealed from completing a user test through co-constructing stories. Useful exercise as it gave a chance to simplify the concept and create a stronger story. Designing of interactive systems user testing co-constructing stories help with user research focused on user experience and the limitations that a concept that can be created.
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“The humanistic approach in psychology developed as a rebellion against what some psychologists saw as limitations of the behaviourist and psychodynamic psychology (Simply Psychology, 2007).” This highlighted how human psychological in regards to product and how they used object. This approach helped gain depth to project “Hug me” as it was a conceptual take on comfort and security in textiles. Designing pleasurable Products Patrick W. Jordon-This text gave insight to this project. “ Human factors have become seen as something that is inseparable from the design process (Jordon. P, 2000).” As this came apparent in this project that Products must influence and have an effect on human emotions, from past, present and future experience with a product. Sheldon Top Ten needs- psychological needs correlate the same ideas as Jordon’s “Designing pleasurable Product.” Co-constructing stories interviews- Useful conclusions can be taken from this exercise. Seen in the appendix ‘Transcript of Co-constructing interviews’
User Research Approaches and Findings “Weaving creates a certain nostalgia” Current products that are on the market, blankets for bedding and throws for couches are relatively the same and have been made the same for decades. Method of research other than scientific/research article and journals., have been co-constructing stories method that has helped grasp the context, the story behind the prototype and idea. As well as learn about people knowledge in the craft of weaving as well as smart textile. Description of method of co-constructing stories. Method: 1.User test begins with an introductory video with no voice over just a weaver weaving on loon, this is to introduce the viewer to the craft and which allows them to make assumptions. 2. Next, the person conducting test will ask question of : Any Past experiences with weaving. User will respond mostly with a story form past experience, from childhood depending. 3. User will be ask to flick through a slide show that explains project concept and direction. 4. The person-conducting test will ask do you understand? 5. Questions will be answered accordingly 6. Then person-conducting interview will ask do you see “smart-textiles” like one that was explained being adapted into society? 7. They will provide an answer.
Please refer to appendix of the transcript of co-constructing stories. Analyses of research indicted form past experiencesweaving creates a certain nostalgia towards as it was seen as an old past time of relatives or something they took part in as a child. Whereas Future experience people were optimistic and looking forward to the adaption of smart textile sin such a technological developing world. The finding found through research was adapted into the story and the concept. Helped define the outcome of this exploration of traditional hand weaving and the combination of Shape Memory wire. Refer to appendix for full transcript and analyses points. In conclusion this co-constructing stories through past, present and future experience with the craft and technology has helped in the defining factors of this project.
“Re-define textiles in relation to the user.”
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Relection on decisions Decisions made in this project and the creation of ‘HUG-ME’ was not made random choices. At each stage of the process, different possibilities were always considered. Such as the colour pattern choice- this was made from the bases of the experimentation process. Where the red signifies positive and the darker area signifies negative it was a way of conveying movement in a visual/colour form. The placement of wire in the textile itself was decided by a few tests on smaller samples. Where it was decided that there would be varying lengths of wire depending on the movement that was required in the specific area. Longer pieces were at the opposite endings of the weave and small lengths of wire was placed evenly through the middle to create more variance if the movement of the textile. The diameter of the Nitinol (shape memory) wire needs to be smaller in diameter as it was 0.60mm, thinner wire wouldn’t over been able to move the thickness of the current weaved prototype. Size of textile, for this prototype it was bigger enough but through reflection it would need to be larger and therefore weaved on a Floor loom. Technology needed more planning out and a relationship was needed with an expert in Nitinol wire in order to achieve better results and move satisfying movement.
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THE STORY Weaving as a craft combined with Shape Memory wire. Gives life to a flat textile. Normally a Utilitarian use now can be applied into more conceptual situations. The prorotype evokes users into touch, play and use. ‘Hug-Me’ demands touch and interaction. Provides comfort and security. Braekind definitions of what a textile is and transforming into the realm of SMART TEXTILES. Still at experipermental stage as Nitinol is very hard to use and control. As prototype it needs to development, as it has limited movement from issues with powering and heating. Weaving the craft combined with Shape Memory wire which gives life to a flat textile. Normally weaving/blaket is used for Utilitarian use now can be applied into more conceptual situations where this has been re-defined where it is a tactile/movable textile . Still at experipermental stage as Nitinol is very hard to use and control. As prototype it needs to development, as it has limited movement from issues with powering and heating. The process and the concept is the strongst point in this project.
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CONCLUSION Future applications and changes: There are many more aspects that need to be considered in the future of this project ‘HUG-ME’, as there are lots of constraints and many applications. Cohesion of woollen fibre and Shape Memory wire in textile will be a success in the future when more knowledge and research has been carried out. There have been many successes in this project, such as the experiences that comes alongside working with hand weaving as it has given new insights to the future use of this material quality. This process has affirmed that weaving the craft is not an irrelevant skill as it brings meaning and depth to a project. Value can be found in future applications of this craft in present and future products.
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HUG-ME
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REFERENCES Crunch wear. (2009). Retrieved 1st June 2012 http://www.crunchwear.com/category/technologies/nitinol/ Dictionary.com.(2012). Retrieved 31st May, 2012. http://encyclopedia2.thefreedictionary.com/Memory+wire Simply Psychology. (2007). Retrieved 31st May, 2012 http://www.simplypsychology.org/humanistic.html origami-resource-center (2011). Retrieved 1st June 2012 http://www.origami-resource-center.com/weaving-patterns.html Patrick W. Jordon (2000). Designing pleasurable Products Patrick W. Jordon. Taylor and Francis. London. Lin, R. (1996). Shape memory alloys and there applications. Retrieved 1st June 2012 http://www.crunchwear.com/category/technologies/nitinol/ Sennett R. (2008). The Craftsman. Yale University Press. United states. Simona Vasile, Katarzyna Ewa Grabowska, Izabela Luiza Ciesielska-Wr贸bel, John Githaiga. (2009). Analysis of Hybrid Woven Fabrics with Shape Memory Alloys Wires Embedded. Ghent University, Department of Textiles. Insiprational Images: http://8tracks.com/shawnasikora/cover-me-happy http://dann.manifo.com/kontakt http://circusboygotlonely.blogg.se/2011/august/ http://www.gizmodiva.com/home_gadgets/intelligent-blanket-with-temperature-control-provides-sound-sleep-to-your-baby. php
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APPENDIX Transcript of Co-constructing interviews Note: These are short interviews basic questions and not full answers. I recommend not using this data for research. As this was mostly done in conversation and not recorded, only transcribed by note taking.
Yes in a way could you explain it one more time Sure but I will do s in the most simplified form
Me (Nichola Waugh) Interviewee
I have learnt form a weaver have to do basic techniques from this craft That I have learnt I will implement and find the essence of his craft by integrating technology into a textile. In this case I will use nitinol wirewhich is shape memory wire- which is shaped in a particular way this is called programming when high temperatures have set this wire to form a shape when a current/ heat is passed through this wire. Understand?
Example One
Yes I do but what Is the point of doing so?
Video one Introduction shown to interviewee.
Its and exploration I have do to challenge the idea of what textiles are in regards to comfort and warmth. Also haw we as user interact with them.
Story one: Do you have any past experiences with weaving? “ Weaving like this reminds me of my childhood. When we were at school we were given hobby looms/frames to create small pieces of textile. I remember mine was yellow and red How important are textiles to you in your life?
It is interesting, but unlikely to be of any use. What do you mean? Can you think of any abstract ideas? Lets say in medical industry
Do you think people value what fabric is and how it is produced? Do you like stories or a narrative behind products? In more of a conceptual sense? Video two concept shown to interviewee. This is a slide how of my concept for my project please take your time to go through Do you understand what I trying to convey?
Yes I suppose on a sick patient a blanket textile could help the recovery and the condition of the patient in regards to their comfort and body temp. Any other ideas? Do you see interaction of technology into textiles as a valuable addition into the future of what textiles and how their role is in Nichola Waugh 35 our life style?
I can see how they can be implemented but don’t know if the will improve the what we live our life and if they will make our lives harder or easier. Analysis: This conversation helped with understanding of future applications. The story told was more a nostalgia on the part of life and what they remember from their childhood. Example Two Video one Introduction shown to interviewee. Story one: Do you have any past experiences with weaving? “ When I was younger my mother had a friend who weaved on a big floor weaving machine (floor loom after I prompt them). I Have the memory of the pattern still in my mind it was these purple flowers that had specks of yellow in them. She use to do it I the shed out at the back of her Video two concept shown to interviewee. This is a slide how of my concept for my project please take your time to go through Do you understand what I trying to convey? Yes a textile that has movement and almost a personality in an abstract sense. Note: Idea is explained and interviewee understands but gives no feed back Analysis: Visuals are important to this person. Remembers things my colour and by sense.
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Example Three Video one Introduction shown to interviewee. Story one : Do you have any past experiences with weaving? “In what context?” Your childhood “Family friends” “Museum visits” Family that weaved Yes I do. Please tell me them in as much or as little detail as you wish. When I was younger I found comfort in my blanky that I was given as a child, I found that I couldn’t sleep with out it. So this ‘thing or possession” gave you comfort and a sense of security Yes It did. Video two concept shown to interviewee. This is a slide how of my concept for my project please take your time to go through Do you understand what I trying to convey? That you are creating a moveable blanket with shae memory wire and it is conceptual idea Yes, Do you see smart textiles as a big part of future design? I think I do but my knowledge on the subject is very limited Analyses: Final comment on the future of smart textiles in out products and textiles gives me indication that people maybe are expecting a re-definition of what textiles are and what they are use and how the are made and applied in our society
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