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Bio-producing bacterial cellulose filaments through co-designing with biological characteristics
Get PDFThe need for circular textiles has led to an interest in the production of biologically derived materials, generating new research into the bioproduction of textiles through design and interdisciplinary approaches. Bacterial cellulose has been produced directly from fermentation into sheets but not yet investigated in terms of producing filaments directly from fermentation. This leaves a wealth of material qualities unexplored. Further, by growing the material directly into filaments, production such as wet spinning are made redundant, thus reducing textile manufacturing steps. The aim of this study was to grow the bio-material, namely bacterial cellulose directly into a filament. This was achieved using a method of co-designing with the characteristics of biological materials. The method combines approaches of material-driven textile design and human-centred co-design to investigate co-designing with the characteristics of living materials for biological material production. The project is part of a wider exploration of bio-manufacturing textiles from waste. The practice-based approach brought together biological sciences and material design through a series of iterative experiments. This, in turn, resulted in designing with the inherent characteristics of bacterial cellulose, and by doing so filaments were designed to be fabricated directly from fermentation. In this investigation, creative exploration was encouraged within a biological laboratory space, showing how interdisciplinary collaboration can offer innovative alternative bioproduction routes for textile filament production
More than a meeting: Performing the workshop in the art institution
Get PDFThe workshop has become a ubiquitous cultural form within art institutions, used by curators, artists and pedagogues to create opportunities for audiences to do everything from acquiring creative skills to enacting social change. Yet, despite its growing popularity, there is surprisingly little published research exploring the use of the workshop within discourses of curating art and performance. In this article we explore the significance of this turn to the workshop as a special kind of meeting within the art institution. We consider what work the workshop is doing within the context of the art institution and what cultural value systems it shifts, or fails to shift, that have been historically prioritized within those spaces. What does this form of meeting, which promises to be more productive, more open, more useful than an ordinary gathering or talking shop, invoke and bring with it? To answer this question, we draw on Judith Butler’s notion of performativity and Sara Ahmed’s reworking of this notion through the idea of institutional non-performativity, to explore further how the workshop promises, limits and demands forms of action that exceed the mere representation of issues within the art institution. Focusing on an example that both exemplified the trend for art institutions using the workshop as the idealized and politicized performance of public engagement and exceeded the boundaries of sanctioned co-production and performance, ‘Disobedience Makes History: Exploring creative resistance at the boundaries between art and life’ by The Laboratory of Insurrectionary Imagination at Tate Modern in 2010, we argue that the workshop levies a promise for action that, even when non-performatively circumscribed, can lead to performative performance
The children's forest pavilion: Commissioner of the Lithuanian Pavilion to the Biennale Architettura 2023
No full textThe Lithuanian Pavilion has been curated by Jurga Daubaraitė, Egija Inzule, Jonas Žukauskas
“Of all the gin joints in all the towns in all the world, …”: Josephine Baker and modern architecture across the colonised Arab world
No full textVariations of a stitched cube
No full textThis installation explores the mapping and recording of time through sixty embroidered cubes, each 60mm in size. Every cube represents an hour of stitching, progressing from one to sixty hours, embodying both precision and futility in attempts to measure time. Arranged in a grid, the work suggests order and infinity, echoing Rosalind Krauss’ reflections on the grid as a fragment of an infinite whole. The embroidered marks form constellations, landscapes, and archipelagos—metaphors for lived time and experience. The work reconnects time with human rhythm, offering a stitched cartography of time and space
“The sun never sets on Energoprojekt … until it does”: The Yugoslav construction industry in the non-aligned world
Get PDFOswald Mathias Ungers and the “City as a Work of Art”: The “Neue Stadt” in Cologne, 1961–64
Get PDFThis chapter is a detailed study of the Neue Stadt Cologne competition entry and eventual partial project realisation (1961–1966) by Oswald Mathias Ungers. Marking the beginning of a series of critical design research projects through which Ungers refined his understanding of urban design, the chapter traces how ideas of habitat and the ‘city as a work of art’ are explored as a compositional problem of volume and space
The elusive subject: Representing the abstract and unseen history of place with photography
Get PDFThis PhD is by practice. Central to its research is Bertolt Brecht's criticism of photography, expressed through an imagined photograph showing the exterior of a factory building, in terms of its limited ability to reveal social conditions. The significance of materiality, in the form of human labour, to Brecht's critique can be revaluated in the light of current theories of New Materialism. Such thinking demands a deeper critical enquiry into material concerns – extending here to the material essences that determine and sustain the materiality of human labour itself. This theoretical position, adopted from new materialism, is applied to the discussion of the thesis and the methodologies of the practice. Within this framework, the research has sought to identify strategies variously employing photographic media and other elements that recognise the potential of new materialist thinking and which can achieve the depth of revelation demanded by Brecht. A range of historical and contemporary photographic and other works, those of Robert Smithson and Bernd and Hilla Becher foremost among them, have been critiqued in part through the filter of new materialism to reveal the deeper material properties impacting upon their making and appearance. The results of this enquiry have been tested through methodologies formulated and applied in practice to the exterior of a specific architectural structure representative of Brecht's factory. The building chosen, the Bank of England, though not a factory is a workplace loaded with historical, architectural, political and social significance. The resulting works, informed by concepts developed within new materialism and realised in photography and digital video, aim to invite interpretation engaging the viewer with material essences of the Bank – both as a structure and as an institution – including such essences that make tangible abstract notions of power, wealth and credit. In this way, the developed methodologies of practice have sought to reconnect the Bank building to the material essences of its history and of its site, thus linking, in theoretical terms, the historical materialism of Walter Benjamin with new materialism. The research demonstrates that theories of new materialism can be usefully applied to the field of photography – to its critique and to the formulation of working methodologies within practice. Ideas of new materialism have developed over the last decade (in areas such as feminism and ecology) but have yet to be applied to photography. Thus, the mapping of new materialist thinking onto photography and photographic practice achieved within this research represents a contribution to knowledge that moves photographic theory forward
Well-making: Understanding what works from lived experience
Get PDFThe importance of looking after our mental health has been a prominent topic of discussion nationally, regionally and locally since the United Kingdom experienced increased levels of stress and uncertainty caused and exacerbated by the COVID-19 pandemic. People working in the arts, culture and health sectors – such as health professionals, artist practitioners, academics, charities and volunteer groups – are concerned with how the pandemic has adversely and disproportionately impacted vulnerable members of society. Encouragingly, invested groups and stakeholders in non-clinical practice have reported on the successes of everyday creativity in the form of psychosocial programmes that tackle social isolation by using the arts and culture as non-clinical opportunities to improve well-being. This article focuses on the Lived Experience Network (LENs) to highlight how involving experts by experience in research provides deeper understanding of what works and what does not when co-creating meaningful everyday creativity to counter social isolation
Post-anthropocentric design lab (PADLab).
No full text[Exhibition] Contribution of the work of PAD to Jerusalem Design Week, exhibiting works produced as part of the Taninim River PAD experience