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
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