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.
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.
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.
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.
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Modular configurations using the cat’s-eye motif. |
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. |
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.
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