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.