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.