AN EFFERVESCENT EXHIBIT THAT USES COATINGS ON RIBBON THAT SMELL WHEN RUBBED_BY JYOTI KAPUR.
The ArcInTex Network, spring 2017 meeting was held at the Swedish School of Textiles in Boras 6 and 7 April in Boras Sweden. ArcInTex is a group that connects architecture, interaction design and textiles. This spring’s meeting call was Body and Space: Cross Disciplinary Dialogues.
Before I report briefly on these activities I want to say that I am deeply saddened at the loss and harm after the attack in Stockholm and my thoughts are with the people and families who were immediately affected by this event.
There were many great presentations to be inspired by and I will mention the ones that have websites, links, or are on exhibit that permit further exploration. Sarah Kettley, a reader in product design at Nottingham Trent University presented the Electric Corset_ an Exploration of Historical Dress Archives for a Non-Fast Fashion Strategy for Wearables Innovation. She discussed the curious Electric Corset and its implications for innovation strategies in wearable tech which was quite exciting. Also
#ElectricCorset on Twitter will get you close.
Other presentations announced new opportunities for sustainable wearables including WEARsustain presented by Berit Greinke at University of Kunste in Berlin.[Missing umlaut] WEARsustain is a new initiative in the EU to fund projects in the EU that focus on innovation in sustainability and ethics of wearables using smart textiles.
The ArcInTex conference closed with a fantastic collaborative presentation titled HAPTICA: How Haptic Experiences Feed the Gestalt Process. The presenters were Cheryl Koler, a professor of industrial design at Konstfack University in Stockholm, Annika Rodell a professor in Culinary Arts and Meal Science at Orebro University and Asa Ostrom, [Sorry about the missing Swedish accents on my keyboard!]. Professor Asa Ostrom is a professor of sensory science also at Orebro University in Stockholm. They presented a collaborative course and workshops that engaged a number of methods including haptics, smell, taste, vision, cultural studies, mapping and other methods to help culinary arts students design with all of their senses. Cheryl Koler also announced a workshop running this summer Back to the Land: Reconnecting Urban and Rural through Food Systems. For more information email email@example.com
During the conference attendees were treated to an exhibition by the ArcInTex PhD students in the Textile Museum, Skaraborgsvägen 3, Borås, Sweden. The photograph above shows one of the pieces on exhibit in the Speculate, Collaborate, Define :Textile thinking for Future Ways of Living Exhibition. The concept for the exhibition was based on the question ‘How can we design for the future?’ The exhibition runs from 23 March to 15 May 2017.
At the scale of the body under the category of speculation students wanted to highlight ” the fragility of the human body, dependence on technology, limited resources, loneliness, and dystopian future of the Earth.”
A FOOD GROWING OTTOMAN BY SVENYA KEUNE
In the define category proposed by the exhibition title were a series of Farming Textiles that supported the cultivation of edible plants in furnishings, and textiles used to create an interior setting. In the photo immediately above you can see the beginnings of new growth on the ottoman. Below is a close up of a woven textile containing seeds in the loosely woven white stripe by Svenya Keune.
CLOSE UP OF WOVEN STRIPE CONTAINING SEEDS BY SVENYA KEUNE
A colorful hub in the exhibition was Dr. Marjan Kooroshnia’s exhibition of her dissertation work On Textile Printing with Thermochromic Inks. Dr. Kooroshnia’s work is temperature and time based. The first photo shows two thermochromic dresses Kooroshnia fashioned. They change color marking the body’s temperature map.
THERMOCHROMIC DRESSES BY MARJAN KOOROSHNIA
There is a video in the exhibit that shows how moving in the dress, even hair that may fall onto your shoulders on the dress makes a warmer spot that becomes temporally registered. In the exhibit you are invited to touch the dresses to make your own imprint.
THERMOCHROMIC PRINT PATTERN BY MARJAN KOOROSHNIA
Last, here is a photo of one of her pieces in the exhibit. A photograph does not do this work justice as her pieces change when you use a blow dryer, cooling spray or body heat on the textiles. Kooroshnia has provided dryers and cooling spray for you to play and explore the prints on exhibit.
There is a lot to interact with in this exhibition which really engages all the senses including smell, sound, touch and I suppose taste if you consider smell is also tasted.