barbara jansen - BADA

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prelude daylight as much as possible and, when daylight is not sufficient, artificial light should include: an optimized light spectrum (this means a continuous and full light spectrum), changing over the day from short wavelengths in morning and daytime to long wavelengths in the evening, and also changing of light illuminance over day from i.e. increasing in the morning and decreasing in evening. This also includes large-area light sources that cover extensive the field of sight, especially from above a 45º–90º light wave angle to support an optimal lighting for the eye (Dehoff, 2008, see graphics below), and an interactive individual controllable lighting system for the user. Hence, light is an indispensable field of design both today and in the future. It also offers designers and artists an interesting field to work in. Although this thesis doesn`t aim to improve wellbeing through light design, scientific research strongly encourages a designer working with artificial lighting to develop an understanding for dynamic light. Yet, in earlier projects such as woven light – powered by sun light (2005-2006) and especially 10°-30°: ineffective, 30°-45°: less good, 45°-90°: good, optimal, 90°-180°: not wanted, risk for glare 10
in Light Shell (2008) and Light and Shadow Play – the sun as an trigger for urban textiles (2009-2011) the natural rhythm of the sun has been placed at the centre for new concepts, using it as part of the expressional and functional possibilities in design (Jansen, 2007b, Jansen, 2008a, Jansen, 2011). See Appendix 1: . Light and Textiles Integration of light into textile surfaces opens up new possibilities in lighting design, as textile surface are flexible as media and materials. In the last years, a range of light-emitting materials have been investigated in textile applications by artists, designers, researchers and companies. The integration of LEDs, electroluminescent wires, fluorescent and phosphorescent materials, as well as optical fibres have been tested and first prototypes, art pieces, site-specific installations and products have reached different audiences and the market, both craft and industrially produced (Glofab, N.D., Nordfeldt Iversen, N.D., Nordfeldt Iversen , 2006, Layne, N.D., LBM, N.D., Lumalive, 2004-2008, Luminex, N.D., Wingfield, N.D., Worbin, 2010). Each of the light-emitting materials supports different forms of light expressions. Three main forms of expressions can be observed and created inside textile structures: dotted, pixel like (created via LEDs), linear (created via electroluminescent wire or optical fibres), and even light surface (created via electroluminescent film or optical fibres). For example the work of Barbara Layne (Layne, N.D.) features messages emitted via LEDs embedded in woven structures, Spår (Traces) by Anna Persson and Linda Worbin (Worbin, 2010) incorporates electroluminescent wire inside woven carpet, as well as Moonlighter by Delia Dumitrescu (Dumitrescu, 2008) inside a knitted structure. Dimma (Foggy) by Persson and Worbin (Worbin, 2010) involves electroluminescent film under a tufted structure and Inner Light by Sarah Taylor (Taylor, 2010), Ikat I-III by Astrid Krogh (Krogh, N.D.) and works by Barbara Jansen (Jansen, 2007a, Jansen, 2008b, Jansen, 2009) involves integration of optical fibres inside woven structures. The research conducted in this thesis should be considered in context of work carried out by other designers, artists, researchers and companies involving optical fibres in connection to textile structures. For example Helena Hietana (1996), Lene Nordfeldt Iversion (2001), Sarah Taylor (1996-2012), Astrid Krogh (2002, 2011-2012), and Ligorano/Reese explore optical fibres through hand crafted lacemaking and weaving. Companies such as Luminex, 11
Page 1 and 2: Composing over time, temporal patte
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Page 5 and 6: PRELUDE. . . . . . . . . . . . . .
Page 7 and 8: Textiles With the beginning of the
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experiments There are two ways in w
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experiments rhythm exercise_part 1
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experiments rhythm exercise_part 1_
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hythm exercise_part 2 “step by st
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1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11,
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1 2 3 4 5 6 7 8 9 10 11 12 13 Movem
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play 83
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Third Set-up First Second Third Set
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Third Set-up: Code Microcontroler D
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experiments avoiding making them ap
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experiments The following descripti
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experiments The element in Part 1 w
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Third Set-up Fourth Set-up gives th
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Creating timing/timeline for each L
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Expressions - achieved The research
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Timing order: Voice/LED 3 Voice/LED
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Time - Light Warum ziehen gewisse D
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Composition Research Diary Note (rh
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∞ ∞ elements unit composition =
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Non-physical Variables: Notions: Li
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Design process: Instrument + Compos
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come of my work in the form of text
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Research Results Concluding the res
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acknowledgements
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eferences
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eferences HEMMINGS, J. 2012. Warp +
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efernces NOSAD. N.D. NOSAD. Availab
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Page: 10 Graphics: DEHOFF, P. 2008.
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Optical Fibres “What are optical
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woven light - powered by sun energy
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Industrial weaving MA Studies, 2006
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Industrial weaving MA Studies, 2006
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Light Shell MA Thesis, 2008 The Swe
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Esparteria EL Puerto de Santa Maria
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Esparteria Pilas, Andaluzia, Spain,
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Textiles, between 2005-2008. Many t
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Figure 1 Figure 2 Figure 3 on indus
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Figure 4 Figure 5 Figure 6 a heat s
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into knitted structures 3D knitting
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cepts incorporating dynamic lightin
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This paper has discussed a varying
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SMART TEXTILES BARBARA JANSEN rhyth
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of designing textiles using a new v
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SMART TEXTILES BARBARA JANSEN, MARI
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206 52
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DESIGN PROCESS The starting point o
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barbara jansen - BADA

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