Kedut Light

Our solution to the ceramic and textile brief of Syntropy was the Kedut light. We designed this series of light fixtures to both incorporate both Malaysian songket textile and ceramic ware, and to highlight the beauty of the traditional songket that we had become so fond of. We were aware of the small timeframe we had to produce a product to fit this brief and while many ideas of jewellery and wall art were being thought of, a practical realistic project for the time given was the lighting option. The shape and incorporations in our design, however could be applied to other field of design other than just lighting. 

Our light illuminated the songket from the inside, showing off the small intricate details of the weaving. The ‘crumpled’ looking songket also provides an interactive component to our design. This component is aimed at stimulating people to touch and feel the light, move it and crumple it how they like. This allows all individuals to get up close to the songket and really see the amount of effort that went into weaving the fabric. 

lighting concept

Originally we had planned to use sheer fabric with copper wire woven through it to make it rigid enough to crumple and bend. As we experimented with the qualities of both sheer and normal songket, we found that interfacing the fabric was also successful. Thanks to Aliff, we were able to iron interfacing onto the back of the fabric and steam press the creases we desired into the songket. Each of techniques were successful and we presented both in conjunction with ceramic fittings as a series of lighting fixtures. 

Kedut Prototype

The ceramic fixture was slip cast from water bottles that everyone had been drinking from while in Alamanda (not sure why they didn’t drink the tap water). We were on a very tight schedule and thanks to Ion and Larissa patience we were able to make the molds, cast and fire 2 of the fittings, one of which was successful. Ion also made two fittings, which he then carved into the geometric pattern we desired. Both the cast and thrown fittings were successful and we decided to present both options for final presentation. 

Kedut Prototype 2

Our group worked extremely productively and everyone had a clear direction within the group. Ion’s skills in the ceramics and graphics department were brilliant. His meticulous skill with ceramics really payed off for the final product. Larissa and Aliff worked extremely hard on the fabric side of things. Aliff was the master sewer for all our swatches and helped a great deal with his knowledge of the qualities of certain fabrics. June’s knowledge of fabric also came in handy when she suggested to Blake to use the steam press to create the permanent pleats. Everyone worked well and the tasks were split fairly among all and we were all extremely grateful to be able have worked with one another. 

Team Members : Ion, Aliff, Larissa, Blake,

Blog Post by Blake.

RE:Invigoration

Our final solutions for the Re:Invigoration project included a small range of homeware applications that engaged the delicacy of Songket textile and the functionality of ceramic structures. We developed prototypes for both lighting and seating solutions that we felt reinvigorated the materials by combining them in a dynamic way. By showcasing the Songket textile through illumination and contrasting it with its polar opposites, the rigid attributes of the ceramic and rattan, we were able to produce innovative products that would revive the Songket industry and utilise a beautiful weaving technique of the Iban people. Not only did we aim to preserve these deteriorating crafts by creating a new use for them, we also aimed to reinvigorate the way the public and consumer viewed the textile, by giving it a new functionality that was perhaps in the past restricting this consumer market.

Our Final Exhibition Display

The Lighting Solution

The design concept based on a motif which is incorporated into both the shape and the feature of the lighting is scalable and adaptable. Using extrusion dyes of varying sizes the light can be manufactured in any size. A large feature light as a focus in a foyer is as easy to create as a series of lights which combine to form a dynamic light show in a large shopping centre or a series of tiny motif lights similar to fairy lights in an outdoor setting.

The extruded form could be cut to any length. The carved incision work creates employment opportunities for artisans who would be employed to give each piece the final handmade touch.

The object can potentially be hung from the ceiling or placed on a table or wall as an effective and unique lighting concept.

By varying the basic motif contained within the design bother corprations and individuals may be offered a product which expresses a global message in a public space or a very private and individual narrrative in a home. This is enhanced by the Songket which can be designed to suit the needs of the end user - colour and design creating an endless range of potential markets

The Seating Solution

The backlit Songket serves as the “pearl” of the design, and becomes a more significant feature depending on the time of day. The rattan casing plays the role of the “shell”, and would be woven using the expertise of the Songket weavers.  Both the rattan exterior and the porcelain top would be sourced locally and prepared by its artisans. This manufacturing process would support the economy (through exports), the environment (through efficient use of natural resources) preserve the culture (through design) and its people (through employment).

Therefore, the Songket weavers and Iban people would have their work showcased on the world market and this would ensure the practice’s survival through global appreciation.

An example of our envisioned use of products in a corporate setting

All ideas were arrived at together, however each team member had a crucial role to play in the resolution of the Reinvigoration project. Especially in the beginning, we found our ideas were too refined, and needed to be scaled back to a more appropriate use of materials and to aim the products at wider, more diverse audience. This in turn would compliment our goals to produce a stable income for the craftsmen to continue their traditions. We all played to our strengths to work together- Mitchell brought a technical knowledge of materials and structures to our ideas bringing a much needed practicality to our solutions. Lou brought her design and textile knowledge to aid the production of ideas by linking concept to the outcome. Both utilized their graphic skills to create the poster panels for the final exhibition. Pari was critical in idea generation and brought an acute knowledge of ceramics to the production of the final outcome and prototypes.

Modular Songket & Ceramic containers & seating

As a designer and consumer, questioning individual’s attachment to their objects and the nature
of consumer gains in buying design/craft products was an automatic reaction. Design/craft products acquire symbolic value and serve many purposes for their owners, such as enjoyment of tactile stimulation, admiration of craftsmanship, connection with the meaning of the work. Consumers value the aesthetic pleasure they received from the intrinsic beauty in color, design, or workmanship of design/ craft products. In that context we tried to create the fusion of Malay Songket textile and ceramic, which can solve the issues that traditional Malay Songket has been confronted by industrialized global market. Our expectation through this design/craft collaboration was to lead and adapt the traditional craft- Songket textile-to the opportunities of a global market.
Our group’s approach was to facilitate the continuation, adaption and application of traditional Malay Songket weaving in a contemporary design field through its fusion with ceramic. Based on traditional Songket motifs we developed modular design system, which is standardized units and can be separated or recombined. The basic form of our modular design was initially derived from Ain’s motif design
for Songket textile that displayed the repetitive cat’s eye shape. Through the modular concept, our design development was extended into other ranges of high-end consumer products. For instance, the
modular system can be extended to a tea table/stool set, jewellery piece, jewellery box set or even as decorative wall panels for an interior space.

Modular Concepts

The collaboration of our group – Ellen (Interior Architecture), Olivia (Fine Art), Ise (Ceramics), Min Shin (Design/Ceramics), Ain and Mary (Textile/ Fashion Design) – provided different perspectives to develop the idea. Based on each member’s specialty, our design development and prototype making were the outcome of all team members’ effort. However, most documentation and preparation for our final presentation were completed by Ellen. Our team members’ different perspectives help bridge the gap between tradition and modern, native and foreign, design and craft, ceramic and textile. Our fundamental principle was simple, even though crafts are rooted in age-old tradition, crafts should be enriched and renewed by creativity of each generation and the contemporary needs of societies. Tradition does not simply mean to preserve old methods. We tried to embed this mindset into our design, and decided to make ceramic stools combined with Songket textile. To achieve this we employed several methods (Justine suggested very creative ways to do this): stitching, joining, embedding using cotton, synthetic threads and metallic (copper) threads, which are used for Songket weaving. We have encouraged an innovative approach to materials, extending the capabilities of the hand via industrial or manufactured processes, not to overshadow the traditional techniques but enhance their current usage and application through this collaborative approach. This also essentially provides a competitive edge to our design, as we are able to adapt and interchange traditional processes with contemporary thinking in design.

Songket / Ceramic Container & Seating prototypes

For the final product, different material can be added to improve the functionality of the modular tea table/stool set. If the ceramic material of the stool body is replaced with timber material (such as, Malaysian Sal wood), the durability, and the weight will be significantly improved. The use of native Malaysian resources will also stimulate the Malaysian market and hence the traditional craft practices. 
Team Members:  Ellen, Olivia, Ise, Min Shin, Justine,Ain and Mary  
Blog Post by Ellen.

Pecah

Our aim was to utilize the interesting patterns created by the Iban pottery paddling technique for an interior application. By incorporating the very organic yet beautifully handmade and traditional technique of ceramics with the ever so intricately woven songket textile we could create a new product for the upper retail/interior market. As the product would be situated in a semi-private, semi-public sphere, the aim is to increase exposure and awareness of traditional Malaysian craft and design in the hope to support communities and preserve these beautiful crafts.

Cultural engagement:

By engaging in a cross-cultural, creative enterprise with Unimas and COFA students to design a prototype for Syntropy, we gained a greater perspective of the opportunities of working together, the opportunities of design perspectives and initiative on traditional crafts while also analyzing the negatives of our influence and the possible loss of tradition. Taking all this into account we tried to incorporate both crafts at a similar level, by elevating the iban to a high end level, and making songket easily accessible to manufacture by designing smaller pieces.

Solution: 

Our modular joining partition screen based upon the eight split petal flower design Bunga Pecah Lapan demonstrates the usefulness and aesthetics involved in traditional geometric Malay patterns. Pecah meaning ‘split’ is a screen system that can divide an interior space, provide privacy and showcase two of Malaysia’s greatest creative arts the iban pottery and traditional songket weaving.

Tile Pattern Explorations

The motifs for the songket were based on both traditional songket motifs and the incorporation of iban geometric patterning to create a contemporized and synthesized look between the iban pottery influence and the fusion of songket textiles. As the songket is woven in small pieces, it allows for faster production of the larger modular system. It also means that if a mistake is made it is a matter of starting again a weeks work, not six months work for traditionally woven songket shawls.

Bunga Pecah Lapan - The Eight Split Petal Flower Prototype with Songket Inlay 

Pecah Screen

The materials and joining mechanism used in the final product would differ greatly to the prototype. Fine white porcelain would be used for the tiles, allowing for a lightweight structure. The slip casted porcelain also allows for greater transparencies where the iban textures are located on the tile. This is a highlight of the design. By splitting a room using a screen sometimes you do not get a sense of wonder what is behind the divider, with the Pecah screen, light can filter through allowing the visitor to interact with the space, inching forward to see through or around. The joining mechanism allows for various formations due to the clip on bracket.

Teamwork: 

Working in a team can have its issues, however we found that each one of us brought something useful and positive to the team. We, Adrianna (Applied Object, Ceramics), Kate (Fine Arts Printmaking), Emily (Applied Object, Textiles), Santina (Ceramics, Textiles) and Mahmut (Textiles) could contribute, collaborate and problem solve together. We also separated tasks for efficiency. Ceramic pieces were being made by Santina and Adrianna, while Kate and Emily worked on the textile designs and Mahmud, the all rounder, helped with all aspects of the design process namely computer generating the different formations of the geometric patterning system.

Team Members: Kate, Emily, Santina, Adrianna and Mahmud

Blog Post by Emily.

Cahaya Songket

Continuing our work from the initial concept, we decided to name our object Cahaya Songket or Light of Songket. The name has a double meaning, representing the object as a lighting application but also as what we hope to be a new direction for the use of songket. 

lit up Cahaya Songket

Cahaya Songket incorporates both songket textile and ceramics which can be used as wall tiles, lighting, covering, and at the same time, as a form of art. The approach started by evaluating the current issues faced by the songket weaving industry such as limited usage, competition with mass produced songket which are cheaper and more readily available, and the need to give the craft a new zest of life.

We divided the work accordingly to the skills and knowledge possessed by the members of the team. Dai was in charge of presentations and digital prototyping, Irine led the work in ceramics, Nicole specialised in creating the textiles and its application to the ceramic pieces, and Alicia provided general help in all areas. Even though each of us was in charge of a component of the project, the rest of the group would help out with whatever work was required.

As a team we worked really well. We learned from each other by helping do the work, regardless of whether or not we have had previous experience in ceramics or textiles or presentation. It was a true cross collaboration between disciplines, so much so that Dai is taking ceramics moulding class next semester!   

One of the most important considerations in our design was that we wanted to retain the traditional methods and techniques of both ceramics and songket. We did not want to change the two professions of songket weaver and ceramicist, by creating an expectation that a songket weaver would be able to produce the ceramics pieces or for a ceramicist to be able to weave songket onto ceramics. That is why we have designed Cahaya Songket as a combination of finished products: a ceramics tile wrapped in songket textile.

Protoype Tile &  Lighting 

Our design can also incorporate parts of an imperfect songket textile, which is usually not sellable. In this way, a beginner songket weaver can be assured that the months of work she has done is never completely wasted even if there is an imperfection. We want to promote usability of songket and reduce wastage of such a precious fabric. In our prototype we have also visualised the end result of using double ikat dyeing process, to encourage future exploration by local artisans that can enhance the songket weaving craft.

The production of the ceramic tiles is done using moulds, which is an easier ceramics process and can potentially encourage inexperienced young people to join the workforce. Even though we have mentioned using porcelain to create the ceramic tile, we believe there is an opportunity to use locally sourced Sarawak clay in the creation of Cahaya Songket.

At the exhibition, we were really encouraged to hear from Dr June Ngo that producing Cahaya Songket is very feasible. We hope Cahaya Songket can benefit the social economic issues faced by songket weavers, provide a connection between designers and traditional artisans, and promote Sarawak crafts locally and internationally.

Group 3:  Alicia Tho, Daihyun Jang, Irine Lui, Nicole Crouch

Blog Post: Irine  and Daihyun.

Songket & Ceramic - material impressions

Our group developed personal objectives for the final project of the Syntropy Studio which included a focus upon maintaining the integrity of the Songket process whilst introducing innovation through material choices, encouraging dialogue in public and private spaces about the Songket process and traditional Malaysian craft, and to sustain the Songket weaving centre by utilizing skills that are already present. We believe that a knowledge of the complexity of the Songket process would assist in increasing the perceived value of handwoven Songket pieces, therefore heightening the textiles’ popularity. 

Two concepts were developed that would meet these objectives.

Concept 1: 

Ceramic slabs combined with Songket woven from copper, fibre optic cable or stainless steel filament would be slip cast from molded sections of copper or stainless steel Songket and would therefore have a woven appearance. Naturally raised sections of the cast ceramic Songket would be cutaway to allow for the warp fibres of the metallic Songket to pass through.

This system could be used in corporate, commercial and private settings, or smaller scale, lighting, through the use of woven fiber optics and translucent porcelain. This concept allows for personalization of the system and woven pattern, depending on the application. 

Concept 2: 

Contemporary tableware for an international market featuring imprints of copper Songket that each display poetic remnants of the Songket process, conveying the transition from fibre to fabric. 

The plates and side plates would be packaged in a beautiful handcrafted Songket pouch with an interlocking closure mechanism that alludes to the weaving process. The pouch could then be unfolded for use as a table runner. Stainless steel filaments would be incorporated in the Songket on the pouch to increase durability. There is potential to commission Contemporary Malaysian ceramicists to work in collaboration with Songket weavers to fulfil this concept. 

songket weave impressions as  tableware decoration

As a group, we were able to utilise our individual skills and divide the workload equally, successfully allowing our group to complete the design solutions on time. 

woven copper songket and tile patterns

The ceramics elements were made possible by the wealth of knowledge Kiara, Amber and Fandy possessed and they worked mainly in this studio throughout the projects’ development. Vashti and Hilya focussed upon creating the copper songket pieces and the table runner prototype, employing their joint textile knowledge and capitalising upon the facilities available at UNIMAS. The final presentation poster was also a product of our successful team work, with hand rendered drawings by Kiara, graphic and poster layout by Amber and text by Vashti.

Our group used experimentation, discussions, rendering (hand and computer) to develop and explore our ideas. Throughout the design process we were able to refine our ideas through exploration relying upon individual expertise within the group. Our successful team work combined with clear objectives and an effective design process allowed for quality design pieces to be produced within the limited time available. 

Amber, Fandy, Hilya, Kiara and Vashti

Blog post by Amber, Kiara and Vashti

Suspended Songket & Ceramic Tile system

We are creating a modular system of fine porcelain tiles that can be assembled via a stainless steel joining mechanism.

Application:
The modular tiling system would be suspending from the ceiling of the lobby atrium with stainless steel wire. We are still experimenting with the arrangement of the panels, as ideally people would have to navigate through and interact with the spaces created by layering panels. By doing so both the textural patterns from the front and the incredible intricacies of the back, showcasing the workmanship of the songket weavers.

Method:
Using the rolling mill, roll out a slab of clay.
Then cut out templates for the tile shape.
Imprint the Iban motifs onto the remaining slab of clay.
Using the same template cut tile shapes out.
Holes will be made for the songket to be woven through on the smooth tiles.

We are still looking at different types of joining systems. These include stitching together using simple brackets, framing system, or double pronged fastener.

The Client:The design is appropriate for a high-end semi-public space i.e. a hotel lobby, restaurant/bar or a space that would further promote Malaysian design and craft like a retail store selling songket wearables and fashion accessories. The prototype of our design is intended for a large-scale setting however the system could be commissioned at any scale.

Cultural Relationships:We have decided to incorporate specific sections of some traditional Iban and songket motifs and symbols. References to the Iban culture have been made as we have been struck by the simplicity and textural qualities of their ceramics. This coincides with our pre-existing aesthetic notions of translucency and lightness of objects. We feel that bringing forward and highlighting certain aspects of these motifs will carry forward the narrative of valuing the past and present crafts in the Iban way of life. 

In designing this proposed modular system our intention is to uphold and strengthen the beautiful attention to detail and craftsmanship of the Iban people and the intricacy and precision of songket. Our tiles will have small sections of songket stitched within the tiles. On seeing the skill and time involved in weaving a single garment, using small sections of Songket allows for both reductions in cost and a focus on the intricacy of the weaving, standing out from a larger pattern. The motifs within the songket will be contemporised by manipulating scale, colour and application within the ceramic tile. The smaller designs also allows for fabrics that are otherwise discarded (mistakes having been made elsewhere in the weaving) to still be used.

Development into a series of related itemsIt is a modular design, meaning there are many opportunities for development. The initial shape (a parallelogram) can be altered for other tessellating patters on a two dimensional plane. Alterations to the joining mechanisms between patterns can lead to three-dimensional shapes being built as light fixtures and light sculptures.

Group Members: Adriana, Emily, Santina, Mahmut & Kate

Post by: Adriana, Emily, Santina, & Kate.

The Songket Story

From our experiences in Batang Ai, Nanga Sumpa Longhouse and our observations at the Tanoti Songket Weaving Workshop in Kuching, we felt that a knowledge of the complex and time consuming process behind Songket weaving adds significantly to its perceived value. Our emersion in Malaysian culture, led us to formulate several important personal objectives, that we felt were necessary to maintain the integrity of the Songket weaving process. Visits to SIRIM and the industrial ceramics workshop, revealed the ease with which cultural messages, and subtleties between the symbolism of different cultural groups, become obscured, when traditional processes are replaced with industrial ones. We also became aware of the risks involved in basing decisions on the evolution of traditional crafts purely on how they might appeal to an international market. In many cases this proved to be a poor approach and the results seemed eerily detached from the examples of pure and unaltered traditional craft that we were exposed to at the longhouse. We wanted the object we created to encourage dialogue about the intricacies of the Songket process, and to let the form reflect this.

On the first day of the project we devised two ideas. These are as follows:

   

Copper and Ceramic Songket: “From fibre to fabric”
Our initial idea involved imprinting copper Songket on thin slabs of ceramic, removing sections in correspondence to natural rises and falls in the woven structure, and using the removed sections to thread loose copper warp fibres. This idea could be extended to lighting, with the copper fibres replaced with fibre optics. The copper could also be replaced with stainless steel.

Kringka Tableware Collection
Centred around the idea of meaningful consumption, this collection of tableware would be housed in a beautifully crafted Songket parcel which can also be used as a table runner. Through slowly unfolding the parcel, the Songket weaving process is revealed through a series of imprinted ceramic panels as well as the motifs on the tableware itself. This motifs require further development and will be explored over the coming days.

The dinner table is a great forum for discussion. The tactile nature of the imprinted ceramics is designed to encourage conversation and introduce people to the complexity of the Songket weaving process. The table runner could incorporate stainless steel/ceramic elements to ensure a stronger structure for the parcel.

Group Members :Amber, Fendy, Hilya, Kiara, Vashti
Post by: Kiara Spencer-Smith, Amber Jade Green, Vashti Maynard

Songket & ceramic modular tile system

Today was concept development phase for a product we need to create based on our experience in Sarawak. In the past week, we have all gained much insight into the local songket weaving and the ceramics industry. Many elements of nature are incorporated into Sarawak designs, ranging from plants, flowers and animals. Our group wanted to address some of the issues that the songket industry faces: limited usage, competition with mass produced songket which are cheaper and more readily available, and also to give the craft a new zest of life.




We started by brainstorming on ideas that can promote practical application of both songket and ceramics. After an initial group discussion, we conducted individual research and made sketches based on our experience in Sarawak and personal strengths: Dai on the industrial design aspect, Nicole on songket/batik/tie dye textile techniques and Irine on ceramics.

Combining our research results, we focused on creating a concept that can utilise the strength of ceramics and the versatility of songket, to highlight the beauty of both materials we have come to appreciate during our experiences in Sarawak. Songket, being a laborious fabric to create is precious and often purchased as a family heirloom.





Our initial concept was a series of ceramic tiles draped in songket, inspired by our trip to Batang Ai on the longboats. We wanted the tiles to be modular to create a flexible tessellation. So we started to experiment with various geometrical shapes which are commonly used in songket motif designs. We also referenced the works of M.S. Escher, and Ronan and Erwan Bouroullec for creative inspirations.

We then expanded the idea by adding space for lighting behind the tile, and then utilising a combination of ceramic perforation and songket density to showcase the light. In this way, our object can be used as wall tiling, lighting, wall covering and at the same, a form of art. 

We plan to use a combination of silk and chiffon with varying openness of the weave to achieve various levels of translucency as the light shines through from behind. We will also be looking at incorporating a double ikat (tie) dye method to the songket weaving which also produces geometric shapes similar to that of the traditional songket weave designs. This method has never been used in conjunction with songket weaving and can be precarious but as our object is modular, we can still utilise parts of a songket fabric and just discard parts with inconsistencies. We believe this will be an added benefit to the songket industry to promote reusability of imperfect songket fabric which is otherwise not sellable.

The ceramic base will be porcelain. The shape will be created using press mould technique where a slab of clay is pressed between a two-part mould. Once the shape is leather hard, perforations and an outline indentation in the back part will be applied. The backside indentation will serve as a space to tuck and glue in the songket fabric edges. In this way, the songket fabric will remain free flowing as no glue is used for the front part of the object.

We believe our object can be a solution to the problem faced by the songket industry. We hope upmarket interior designers will be interested to use our wall lighting tile for their clients in Malaysia and overseas.

Group: Alicia, Dai, Emma, Irine, Nicole
Post by Dai, Emma, Irine, Nicole

Songket & Ceramic Lighting

After visiting local artisans and being exposed to the development and creation of both traditional Iban songket and ceramics, our task was to develop a design that combines both songket and ceramics to produce a product with a ‘new zest of life’ while ensuring to preserve the tradition of both handicrafts.

Our project was inspired by the techniques developed by expert local artisans seen in both Nanga Sumpa and at Tanoti Studio. Our original idea focused upon the traditional motifs used in Songket design. These motifs formed a basis to make simple, geometric shapes in which could be applied to both jewellery and wall art.

An interest in copper wire songket weaving formed the idea to incorporate the woven copper motif inside a ceramic frame. These smaller pendant shapes could then be up-scaled and reproduced to form wall art for a corporate and high and interiors. A combination of purely ceramic tiles, frames with songket weaving and plain songket would be arranged to achieve this ‘wall art’.  This idea was successful, however was repeated throughout other groups and pushed our idea to develop into a series of lighting fixtures.

The idea for the lighting fixtures stemmed from the original wall art, using the geometric triangle shape and reforming it into a 3 dimensional form to hold a light. The newly designed lights would combine both ceramic forms and shear and copper songket moulded in the obscure geometric forms shown below. This design provides a contemporary platform to highlight the traditional Malay practices of both pottery and weaving in a modern and respectful manner. This product would be aimed at an international market for high-end interiors, but will not be limited to lighting fixtures. The shape, form will correspond to the tableware and interior of the space, creating an environment where craft and design fuse together. 

We will score polypropylene sheets into a conic shape by folding and taping. It will be then filled with plaster or clay. The form will be used to create a mould. The mould will be casted a few times in porcelain so there is space for experimentation. The base of our design will be made from these conic forms and Songket weavings with metallic threads. Throughout our process of experimentation will are hoping to find the most optimal form that considers the beauty of both Songket and ceramics.   

Considering the amount of time there is we have decided to use the top part of a local water bottle as our main form since it is already shaped in a conic, geometric form. Earthenware slip will be used to raise the chances of firing to succeed and to avoid to complications of porcelain, which can be worked on when there is more time. Most of our ceramics materials can be found at the ceramic studio. Cheap mass-produced Songket weavings will be purchased at a local fabric store to demonstrate the aesthetic and the forms incorporated with the ceramic form.   

Group Members Alif, Blake, Funy, Ion, Larissa, Nicole,
Post by Blake, Ion, Larissa, Nicole.

  

RE:Invigoration

Exploring how elements converge through design and cultural insight. This serves as our over-arching design philosophy through which we intend to breathe new life into ancient practices.

The main aim for this project was to merge Songket textiles and ceramics on a social, technical and physical level. It was envisioned that this would widen the market, and thus produce an increase in the income and contribution that the traditional Iban and Songket weavers would have to the design and fabrication process.

Direct contact and experience with the Iban people has informed our understanding of the culture and potential design opportunities. Also, a visit to the Songket textile workshop broadened our perceptions of traditional Songket weaving and the commercial and social challenges which are presented on the global market. For example, a generational issue has arisen, whereby young people have considered the traditional techniques to be tedious. This foreshadows a loss of an ongoing transfer of skills. Additionally, the application of Songket weaving has a limited market due to its high costs and slow production. Our design strives to address the aforementioned issues by appealing to a wider market.

Our initial design ideas consisted of three objects – a folding screen, coffee table and handbag. These scales would address the environmental, social and personal facets of one’s life; catering for an affluent population with increasing disposable income.

Considering our current design philosophy of putting in new energy by marrying the ancient with the highly contemporary.

The screen was driven by the desire to integrate ceramic motifs from Songket or Batik design into the process of weaving itself. The idea of the leaf motif derived from experiences of flowing leaves in the Nanga Sumpa river.

The screen aimed to combine both Songket textiles with ceramic elements by using an innovative technique. This technique combined porcelain motifs into the body of the fabric through appliqué and cut-work. Other sections of the panel would be a stitched ceramic mesh continuing the motif design (the porcelain would be perforated and wire used to strengthen the mesh).

After inquiring into popular traditional Songket motifs, it was discovered that they were predominantly of an intricate and symmetrical nature. One particular pattern became the inspiration for the coffee table geometry, where the design was turned upside-down and transformed into the supporting legs. In the initial design, the legs were created out of porcelain. A thin band of cotton Songket weaving was applied to the circumference of the table which was made of lacquered timber. This table would reflect the variety of props accommodated, as well as the notion of converging materials.

The clutch bag was conceived in response to the challenge of transposing the design concept to a small personal object. The luxury of the Songket fabric emphasises the item as being valuable to the possessor. A motif in the fabric design is repeated in the clasp of the bag which is strengthened by being embraced in a fine metal support. This allows flexibility in utilisation as a fashion accessory. If a more traditional fabric is the source of inspiration this would be followed through in the design of the clasp. There is potential for the extension of porcelain as a decorative material in the form of delicate pendants as an embellishment to the fold over flap on the bag.

The progress thus far indicates an initial response to the design brief. It is envisaged that the potential for transference into the corporate environment may generate inspiration to bring together ancient ideas with the global environment.

These are just preliminary ideas and we are continuing to explore all avenues using feedback as guidance to refine our response to this design challenge.

Group Members Ikin, Lou, Mitchell, Pari, Suhana.
Post by Pari Gilmour, Lou McMullan, Mitchell Tran

Creeper Vine - partitions, storage and display

Inspiration and Cultural Relations

Perusing marketplaces, visiting the weaving centre and traveling to Batang Ai, I noticed the use of repetitious, geometrical patterns in the local arts and crafts. I was drawn in particular to the creeping vine motif. Sarawak is blanketed by these vines that cover even tall trees and some buildings. They are present everywhere we go, city or jungle, so if I were to pick one thing that symbolises all of Sarawak, the creeping vine would have to be it. Vine motifs are also common in the Western tradition, making this simple pattern a bridge between two cultures. Traditional motifs used in arts and craft are typically inspired by the natural environment, and in Sarawak this still seems appropriate today, however I have abstracted and simplified the design to create a more contemporary aesthetic with a broader appeal.

Concept

The motif is used in a versatile system consisting of separate ceramic pieces in the shape of a tapered leaf that can be stacked, suspended, or stood on end to form the building blocks of furniture, lighting, partitions, and other decorative applications. The system can be scaled up to create large wall partitions, or made smaller to form the basis for lighting or decorative objects. Elements built using the ‘leaves’ vary in size according to the number of leaves used, making the system adaptable to the environment in which it is used. The leaves can be assembled in various patterns and arrangements according to the application.

Songket weaving - in the form of traditional Songket, or using metallic wires such as copper - is incorporated and attached through the means of small holes in the edges of the leaf. The leaves are attached to one another in the same manner. The weaving can be placed towards the front or back of the leaves, and can differ in each individual leaf, creating a dynamic system. Woven copper threads can be used in between leaves if the system is suspended. Ideally traditional songket motifs could be cut away from the ceramic leaves to create intricate patterns that allow light to filter through the layers, making it particularly well adapted to use in lighting.

Methods

The ceramic leaves can be formed by extrusion, with holes and decorative motifs cut away by hand. The woven elements are handmade on a loom from traditional fabrics or from copper wire. Further research is necessary to refine the joining system and method of suspension.

Market

The system is intended for a global market aimed at interior designers and design retailers. As the pieces stack together, empty spaces are reduced in packing and freight costs are kept relatively low. The system is simple to assemble and versatile. 

Justine Daverio

          Sketch of proposed system

Woven basket featuring the creeping vine 

Songket & Ceramic seating and accessories

Considerations

This past week in Kuching has exposed us to preserved and adapted Malay cultures and customs. Our few days with the Iban tribe at Nanga Sumpa enriched our knowledge and understanding of traditional processes and techniques of ceramic and Songket weaving in Malaysia. This newfound knowledge has led to a greater appreciation of the skill and dedication of the artisan, and hence the significant value of the product. Songket is an important part of traditional Malay culture, and its preservation is as crucial to their identity as the Dreaming is to Australian Indigenous culture. It bridges the generational gap through the passing down of knowledge and skills, not just of the craft itself but its environmental sustainability, e.g. varieties in colour are derived from locally sourced plant dyes.

Dr. June Ngo's own PhD research (application of contemporary Songket to broader use) has, on our part, encouraged a more extensive approach to a fusion of materials whilst maintaining the integrity of the traditional techniques.

Modular configurations using the cat’s-eye motif.

Design approach :Modularity.

Employing a set of independent units in a recurring formation in order to construct a more complex geometrical structure. This modular patterning is derived from traditional Songket motifs, which are often symmetrical and geometric in design. Recurring forms included the diamond, the rhombus, the triangle and the cat’s-eye.

Initial prototypes employed the cat’s-eye motif in varying arrangements to create the modular form. We documented this process in order to compare and refine the patterns.


Design development.
The modular seating unit comprises a series of simple ceramic vessels in the shape of a cat’s-eye, providing the structural integrity. It is intended to be hollow with a removable cushion for storage purposes, with the ability to be adapted into a tea table through the insertion of a fixed platform.

Incorporation of the Songket is not yet finalised but two options have been explored. The first of which is upholstery for the cushions, with the Songket patterns to fit within the silhouette of the structure. The limitation of this design is the eventual wear and deterioration of the fabric. Option two is to embed the Songket into the side of the ceramic vessel.

Design development of modular seating.

One of the key strengths of this design is its possibility to adapt to virtually any interior space. Our modular units encourage a creative and interactive relationship between consumer and product, possible arrangements are varied and abundant.

Using the modular seating as a preliminary example, we were able to apply the following process to a range of other high-end consumer products, e.g. jewelry, wall panels and jewelry boxes.

Our fusion of ceramic and Songket weaving will not only attract new interest in the traditional crafts, but their application within a contemporary context also enables us to inject to it a new life and zest, alleviating current problems faced by the Songket industry; such as its limited application and declining engagement by the younger Malay population.

Group members Ain , Ise, Ellen, Minshin & Olivia.
Post written by Ellen, Minshin & Olivia.

Accommodation update

Here is some more information about the accommodation at Alamanda Hostel. Bedlinen is provided at the hostel, however towels and toiletries are not.e.g shampoo, soap etc. No cooking is permitted in the hostel however a kettle is provided.Both fans and air conditioning are provided, and clothes washing facilities are available .

Accommodation at Alamanda College

Our accommodation at UNIMAS is currently being arranged.

To get a sense of living arrangements at the International Student Hostel Alamanda College, you might like to read another students impression. Food is available on campus and you'll no doubt be introduced to the best eating spots and local travel arrangements by local students. Here's a wiki  map of the Alamanda College which gives a good perspective on the scale and proximity of UNIMAS to Kuching.

Visit this  background information for international students visiting UNIMAS, and  useful information on Malaysian customs. For those travelling independently between Kuching International Airport and the UNIMAS, please check the email sent today on travel arrangements to UNIMAS. If you miss the deadline (or the bus), read this Information.- a little old, but pertinent.

Preliminary preparations for the Syntropy Sarawak studio

If you haven't already done so, it's time to make travel arrangements for the Studio, arriving on Saturday 23rd or Sunday 24th June in Kuching. If possible, try to arrive before 9 in the evening.

When you have made these arrangements, please forward me your arrival details as outlined in today's email.

In the links section you'll find two documents published by UNSW to help you prepare for your the International Studio. Please read these and if you have any questions, post them here or email myself of Michelle Kofod. I have also posted a link to the WHO recommendations on International Travel, where you can find vaccination recommendations for travel to Malaysia. 

New Information Session

Hi there!

An additional Information Session is scheduled for:

Tuesday 24th April
COFA, room F212
3.15 - 3.45pm

Come and join us in discussing the project your scholarship application and the good times planned in Malaysia!

Please keep in mind that applications close Friday 27th April at 6pm.

Terima kasih! (TREE-muh KAH-seh)
Thank you!

Welcome to the Syntropy Sarawak Design Studio blog

Through this website you'll be able to obtain background information on the Ceramic and Songket Textile Studio to be held in Kuching from 25th June - 6th July 2012.

The Information Pack and Application Form can be downloaded from the 'Essential Links' list. Please read through these documents, and if you have a question, check the Frequently Asked Questions page first. It may be answered for you there. If not, please send in your question as a comment to a post.

Information updates will be added to the blog periodically as we prepare for the project, so please come back regularly for updates, or sign up to 'follow' the blog.  Good luck preparing your applications!