barbara jansen - BADA

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prelude LBM and Brochier Technologies, have launched first woven light fabrics incorporating optical fibres (Hietanen, N.D., Nordfeldt Iversen, N.D., Nordfeldt Iversen, 2006, Taylor, 2010, Krogh, N.D., Luminex, N.D., LBM, N.D., Brochier Technologies, N.D., Ligorano, N.D., Fiber Optic Tapestry [video], 2010, Taylor, 2011, Hemmings, 2012, p.6, 8, 40-45). Especially in recent works, Sarah Taylor, Astrid Krogh, and Ligorano/ Reese explore similar materials (particularly Taylor and Krogh, who use PMMA optical fibres in combination with paper yarns/materials) and expressions, in the form of dynamic colour-changes displayed in hand woven structures, to those investigated in this thesis. Their works feature as art pieces and site- specific installations. Unfortunately, almost no informations has been published about these works that discuss their inspiration, design process and technical realization of the colour-changing sequences, or the textile structures themselves. Their works present themselves as pure inspiration for their audience and aim open up the perception towards new textile expressions. However, the research work presented in this thesis aims to provide other designers with the necessary insights in order to be able to create their own time-based works, especially in the area of light-emitting textiles. The light-emitting material used in this project is PMMA (PolyMethylMeta- Acrylate) optical fibres. This type of fibres have been integrated into both industrially woven and hand braided structures, and emit light through the use of white and RGB-LEDs (light-emitting diodes, each LED incorporates one red, green and blue LED) which are controlled by microcontroller digital interfaces. There are three main reasons why I continue to use optical fibres as light-emitting materials in my work. The first two concern the structural integration of the light-emitting material (optical fibres) into textiles, and the last concerns the light quality as such. Textile + Light = one: from a design perspective, PMMA optical fibres are interesting to use as a light-emitting material in a textile context, as they are in their appearance quite close to a transparent thread. Using a “light thread” offers an opportunity to make light become a textile piece in itself. In this way light and textile structure melt into each other and become indivisible. Light expression – even light-emitting surface: especially the integration of optical fibres into woven structures allows for creation of dense surfaces that spreads light evenly. Optical fibres were the first light-emitting materials that crossed my path and I have explored different structural forms of integration of the fibres. The intuitive creation of an even light-emitting surface 12
quickly became my main goal. Explorations in hand weaving have been continued into machine weaving. As more background research into light and health was made (see section Light) it confirmed the need to continue to develop light-emitting surfaces that spreads light evenly, because they may one day make contributions in a light and wellbeing context. Woven structures could easily be applied as horizontal surfaces or applied to ceilings in context of interior design. The woven structure in colour flow is one example of these even light-emitting surfaces. Light quality – variation in light: also in this aspect, research into light and health supports the use of optical fibres. As they are nothing more than light-transmitting media they may be connected to a range of different light sources. They allow the surface to be connected directly to daylight via the Parans Solar System (Jansen, 2008a, p.8, 14, 42, Parans, N.D.) in future applications. Besides that for this thesis the fibres are lit up by LEDs, which can be controlled and programmed through different digital interfaces (see colour flow and rhythm exercise). When I began working with PMMA optical fibres 2005, a white light source (LED lamp) was used to light up the structures, in order to investigate the pure structural and material impact on the light effect. Already at early stage, it became clear that using coloured materials in combination with the optical fibres are colouring/shading the light effect, which would have been less obvious, if coloured light would have been introduced too fast. During that stage the lighting mechanism was either switched on at night and off in daytime, showing two independent static expressions. However, the wish to display changing light inside the structures soon appeared. A standard light projector (Halogen) for optical fibre applications with a colour weal was tried out and equipped with five to seven colours at that time 2006. As colours were screamingly loud and the tempo too fast instantly grew the wish to define the speed and colour myself. Next, videos were projected into the optical fibres (Light Shell, 2008). Although this allowed me to create my own colour range and tempo, it still lacked real precision in respect of colour choice, where in the structure which colour is displayed, as well as timing of changing light colours. This led to the research work presented in this thesis and the introduction of LEDs controlled through a digital interface, into my work. There is no standard LED system on the market today that is able to connect to textile applications (incorporating optical fibres). The present work uses a 13
Page 1 and 2: Composing over time, temporal patte
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Page 5 and 6: PRELUDE. . . . . . . . . . . . . .
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experiments rhythm exercise_part 1
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Third Set-up: Code Microcontroler D
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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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DESIGN PROCESS The starting point o
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