barbara jansen - BADA

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discussion Expressions – future Among all possible expressions, personal interest has led me to look into organic expressions. Over 200 sounds of water and wind have been recorded as a starting point for transferring rhythms and movements based on natural phenomena into lighting sequences. Nevertheless, on the way toward finding this kind of expressions one often finds contrary expressions instead, as can be seen in colour flow and rhythm exercise. In the future, I will continue my work by exploring, with nature as a source of inspiration, how to re-awaken organic and captivating appearances that unfold over time. With this kind of cross-modality in my work I will bring together tactility (in the form of textile surfaces) and light, whereby the experience of those sensations/materials will stand at the center. I will map temporal patterns found in nature and investigate how they can be applied in the design of dynamic light in order to create a composed experience with traces of nature. Rhythms found in nature are familiar and at the same time undergo constant variations. Wherever we are, we recognize the waves of the sea or a river as waves and at the same time every wave is unique, a shifting variation of the former. The work will explore how one is able to design or compose a balance between the known and the unknown, the familiar and the ongoing variations of the familiar, embedding moments of chance and surprise. Although we today are becoming increasingly detached from the presence of nature, we are still deeply related to it through our long, interwoven evolution and the biological rhythms of our bodies, such as heartbeats, breathing or the way we age. This work aims to link our awareness back to those rhythms and doing that, I will be closing the circle created by my previous works (woven light - powered by sun energy, Light Shell and Light and Shadow play - the sun an aesthetic trigger for urban textiles), in which the rhythm of daylight was central to the design process, the expressions and the concepts. 142
Time – Light Warum ziehen gewisse Dinge im Zeitlupentempo an uns vorbei … warum scheint Zeit manchmal endlos langsam vor sich her zu schleichen, wie ein endlos gezogenes Gummiband … + manchmal ist sie im Nu vorbei, schon vorbei, bevor es richtig angefangen hat. Why do certain things pass by in slow motion … why sometimes seems time to sidle endless slowly, like and endless stretched out rubber band .. + sometimes it’s over in a blink, already over, before it has even started yet. Time and light, light and time are intrinsically tied to each other. In TimeLight, Federico Favero defines,“… Light as Time provider signal“ (Favero, 2008, page 5), “The cycle of light and dark is the most compelling physical phenomena that provide variation on earth. The presence and absence of light is the first feature of time, giving name to day and night. The presence of the sun and its continuous change of position produce variations on the natural and built environment. These series of perceived variations create physical connections between the light source, the surfaces in the space, and us; these associations are at the basis of our feeling of time.” (Favero, 2008, page 18) Furthermore he describes, that only through daylight variations (position of sun, variation of light colour, changes through clouds etc.)we are able to perceive change and with it the passage of time. This thesis has investigated how to develop a first understanding of time as a design material in order to compose time-based patterns in and through the use of light. Can you really name time a new design material? I do think so, by giving light a time durations, i.e. activating and turning it off via fading and holding over a specific amount of time, the foundation for time-based 143
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Composing over time, temporal patte
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Composing over time, temporal patte
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PRELUDE. . . . . . . . . . . . . .
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Textiles With the beginning of the
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on the circadian dominated body pro
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in Light Shell (2008) and Light and
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quickly became my main goal. Explor
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This form of physical involvement i
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physical objects, viz. the developm
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“The work of designing light is a
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experiments
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experiments Experimental Set-up: La
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experiments There are two ways in w
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experiments colour flow_part 1 The
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experiments The graphics below, rep
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experiments colour flow_part 1 In t
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experiments colour flow_part 2 Expe
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experiments colour flow_part 2 scen
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experiments colour flow_part 2 Scen
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experiments colour flow_part 2 Rese
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EXPERIMENTS such a solution is an o
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ate complex patterns, compositions
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experiments rhythm exercise Experim
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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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Phrase 12 ... ... ... 87
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Page 158 and 159: acknowledgements
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Page 162 and 163: eferences HEMMINGS, J. 2012. Warp +
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Page 169 and 170: Optical Fibres “What are optical
Page 171 and 172: woven light - powered by sun energy
Page 177 and 178: Industrial weaving MA Studies, 2006
Page 179 and 180: Industrial weaving MA Studies, 2006
Page 181 and 182: Light Shell MA Thesis, 2008 The Swe
Page 183 and 184: Esparteria EL Puerto de Santa Maria
Page 185 and 186: Esparteria Pilas, Andaluzia, Spain,
Page 187 and 188: Textiles, between 2005-2008. Many t
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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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barbara jansen - BADA

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