MothEaten™ Conversations With Nature Design Trilogy
Upcoming SlideShare
Loading in...5
×
 

Like this? Share it with your network

Share

MothEaten™ Conversations With Nature Design Trilogy

on

  • 804 views

 

Statistics

Views

Total Views
804
Views on SlideShare
785
Embed Views
19

Actions

Likes
0
Downloads
4
Comments
0

2 Embeds 19

http://www.linkedin.com 17
https://www.linkedin.com 2

Accessibility

Categories

Upload Details

Uploaded via as Microsoft PowerPoint

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment
  • Our aim has been to apply creativity to and with materials to create potential new products and embed handcraft quality into them. Or in other words, products that embrace bespoke re-invention. People have always looked to nature for inspiration to solve problems. 'Nature as muse' is a way of viewing and valuing nature. It introduces an era based not on what we can extract from the natural world, but what we can glean from it. The Conversations With Nature™ Design Trilogy embraces Mother nature as its muse in the creation of three unique pieces. Taking cues from the natural world, a multi-disciplinary approach, has been applied in order to elicit the potential from exploration into the many differing (physical) characteristics of fabrics and practical technologies. Combining technologies - discovering potential.
  • Biomimicry as well as its close cousin, bio-inspiration are all part of a continuum of drawing information and inspiration from nature's designs that goes back as far as DaVinci's flying machines. The most famous example of biomimicry was the invention of Velcro brand fasteners invented in 1941 by Swiss engineer George de Mestral, who took the idea from the burrs that stuck tenaciously to his dog's hair. Under the microscope he noted the tiny hookson the end of the burr's spines that caught anything with a loop - such as clothing, hair or animal fur. The 2-part Velcro fastener system uses strips or patches of a hooked material opposite strips or patches of a loose-looped weave of nylon that holds the hooks. Diversity - an assortment or variety of different forms or types Design - the arrangement of elements or details Mutation - a significant and basic change or alteration
  • 'Fabric,' in this study's context is interpreted broadly, and defined as material from which 'something' is constructed, especially a building, or the physical structure of something; and placing focus on commonplace objects, a number of practical tasks have been conducted to glean knowledge and experience, in order to design artefacts that embrace bespoke reinvention to create a more unique user experience. Combining traditional cultural activities which represent artisanal uniqueness,ie. lacemaking; The Conversation With Nature™ Design Trilogy embeds an ethos of handmade quality into designs destined for future markets. We have conducted many experiments with different materials and combined many unusual materials.
  • By integrating Scenario-Based Method into the design process, ideas proposed have expressed a new kind of spirit that reflects the vagaries of natural systems. The belief behind this method is that descriptions of individuals using technology are key in the discussion and analysis of how technology is, or could be used to re-shape activities; and that many scenarios can be proposed before a design is created and its impacts felt.
  • Phenomenon found in nature combine many inspiring properties such as sophistication, miniaturisation, hierarchical organisations, hybridation and adaptability.
  • Fabric or cloth is a flexible material consisting of a network of natural or artificial fibres often referred to as thread or yarn. Yarn is produced by spinning raw wool fibres, linen, cotton, or other material on a spinning wheel to produce long strands.Textiles are formed by weaving, knitting, crocheting, knotting, or pressing fibres together (felt). There are many kinds of materials and fabrics such as textile futures like Tyvek.
  • Cyanoacrylate
  • This very simple technique was used at the brainstorming stage to generate ideas and "what ifs". SET factors are the social, economic, and technological factors that together correspond to the gap that exists between available products and the new product to be developed (a POG - product opportunity gap). As part of a synthesis exercise, SET factors help to identify the existence of a product opportunity gap while in an analysis exercise, SET factors highlight the reasons behind the existence of an opportunity. Social factors focus on social interaction and cultural influences including, work patterns, health issues, political environments, and entertainment. Economic factors focus the sources and availability of money for new and improved products. Technology factors focus on the direct and imagined results of new technologies as well as the acceptance of new technologies.
  • 2 presentations from Scenario practitioners Wu, Kun-Chia Hau Huang
  • 'Memento mori,' a Latin phrase, with a tradition in art dating back to antiquity, is translated as 'Remember you must die;' it also names a genre of art that varys widely, but all of which share a similar purpose: to remind individuals about their own mortality. Disintegration is the irreversibility of components breaking into smallfragments and biodegradation is the chemical breakdown of materials by a physiological environment. These 3 diverse elements underscore the conceptual thinking behind Disintegration™. Navigating between materials experimentation with lace and lighting, this piece, infused by the natural world, explores the poetic and emotional aspects of our often dehumanised interiors. And, in this era where almost anything, is only a few 'clicks' away, the unique immediacy of an object along with its multi-sensory properties gain renewed importance, and become cherished for its idiosyncrasies.
  • Society places strong emphasis on the health, energy and future of our habitat; and since governments have taken measures, such as the phasing out of incadescent lightbulbs, in the aim of encouraging more energy efficient lighting like compact flurorescent lamps (CFLs) and LED lights, the classic incandescent glass lightbulb has begun to take on a new significance and charm; and in the same way that moths have an inexplicable attraction to bright lights, hence the expression "like a moth to the flame", individuals are now attracted to this once commonplace household object. Exploiting the decorative potential of lace and its delicate threads and bio-inspiration as direction for form development, this design tells the story of the amalgamation of culture, nature and technology where these extremes co-exist. The moths and their survival instinct, along with the cultural tradition of lacemaking have made a pact to survive in the same way that the classic incandescent lightbulb will continue to glow long after their carbon filaments have been banished.
  • Objects that cannot be created via copy and paste are experiencing an incredible resurgence of appreciation from recipients; yet a dichotomy exists where designers are bound by formal constraints. Typically restricted by sets of limitations, unlike artists who do not have to adhere to any given rules, designers combine calculated, defined processes; and much planning and thought is made to meet requirements while solving real problems. However, isn't it possible that in a climate of blurred boundaries, somewhere between the digital revolution and wishful thinking, that the tangible realm can be a medium for taking creative exaggeration a decisive step further? And, when face-to-face with the 'deception' of digital creation, or in other words, asked the question: artist or designer...which is it? We can answer: "both."

MothEaten™ Conversations With Nature Design Trilogy Presentation Transcript

  • 1.  
  • 2.  
  • 3.  
  • 4.  
  • 5.  
  • 6.  
  • 7.  
  • 8.  
  • 9.  
  • 10.  
  • 11.  
  • 12.  
  • 13.  
  • 14.  
  • 15.  
  • 16.  
  • 17.  
  • 18.  
  • 19.  
  • 20.  
  • 21.  
  • 22.  
  • 23.  
  • 24.  
  • 25.  
  • 26.  
  • 27.  
  • 28.  
  • 29.  
  • 30.  
  • 31.  
  • 32.  
  • 33.  
  • 34.  
  • 35.  
  • 36.  
  • 37.  
  • 38.  
  • 39.  
  • 40.  
  • 41.  
  • 42.  
  • 43.  
  • 44.  
  • 45.  
  • 46.  
  • 47.  
  • 48.  
  • 49.  
  • 50.  
  • 51.  
  • 52.  
  • 53.  
  • 54.  
  • 55.  
  • 56.  
  • 57.  
  • 58.  
  • 59.  
  • 60.  
  • 61.  
  • 62.  
  • 63.  
  • 64.  
  • 65.  
  • 66.  
  • 67.  
  • 68.  
  • 69.  
  • 70.  
  • 71.  
  • 72.  
  • 73.  
  • 74.  
  • 75.  
  • 76.  
  • 77.  
  • 78.  
  • 79.  
  • 80.  
  • 81.  
  • 82.  
  • 83.  
  • 84.  
  • 85.  
  • 86.  
  • 87.  
  • 88.  
  • 89.  
  • 90.