MO LUO
BFA Academy of Art University, 2011
Supervisor: Maxe Fisher
A CRITICAL AND PROCESS DOCUMENTATION PAPER SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF
MASTER OF DESIGN
EMILY CARR UNIVERSITY OF ART + DESIGN
2019
© Mo Luo, 2019

Animating Material:
Exploring Spatial Vitality through Performative Textile

By

Animating Material:
Exploring Spatial Vitality through Performative Textile
By
MO LUO
BFA Academy of Art University, 2011
Supervisor: Maxe Fisher
A CRITICAL AND PROCESS DOCUMENTATION PAPER SUBMITTED IN PARTIAL
FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN
EMILY CARR UNIVERSITY OF ART + DESIGN
2019
© Mo Luo, 2019

I would like to first thank my family, my parents, and

Jen Hiebert for helping me out every time when I had

my husband for the unconditional love and support

technical issues and assisting me to achieve all my

that you have always given me in chasing my dreams. I

ideas.

could not have completed my graduate study without
you.

To the tutors from Writing Center, Heather Fitzgerald,
Jacqueline Turner, Ellen van der Hoeven and Lucy

A

I would like to extend my gratitude beyond words

Kinsella for every time patient and meticulous help

to my supervisor Maxe Fisher, for your continuous

me step by step to improve my thesis writing. I could

selfless spiritual support, unlimited time and endless

not have my thesis completed without you.

intellectual guidance even when I was lost. I could

cknowledgements

not see my research through to the end without your

To my cohort, 2019 MDes, it was my pleasure to meet

support.

you, work with you and share the significant two years
with you. Thank you all for appearing in my life and

To my internal reviewer Keith Doyle for your inspired

going through this memorable journey with me.

advice that enlightened my development process.
IV

To my “Co-worker”: 3D Printer, Silicon 3D Printer,
To my external reviewer Angelika Seeschaaf-Veres for

Soft shop: Sewing Lab and all my design works. Thank

your perceptive comments and instructive discussion

you for living with me, responding to me and making

during the defence.

me become who I am.

To Hélène Day Fraser, thank you for giving me the

To myself, for all the efforts and irreplaceable

opportunity to work with the Material Matters Lab. It

memories that I had during my graduate study. Thank

helped me think through a different perspective and

you for never stopping the creation, always being

allowed me to challenge myself with something that I

curious about the world, and never giving up.

am not familiar with.
To faculty members, Laura Kozak, Louise St-Pierre,
Deborah Shackleton, Celeste Martin, Garnet Hertz,
Christopher Hethrington, Katherine Gillieson, Craig
Badke, Gillian Russell, for teaching, feedback and
encouragement.
To our studio technicians and my follow students,
Aaron Oussoren, Logan Mohr, Andrew Drakeford,

V

N

otes to the reader

VI

VII

The structure of this thesis is made up of two parts:
•

“Thinking through Making: A Journey of Designer Thoughts” which introduces and articulates the design
context, method and theoretical framework.

•

“Material Exploration: Learning from Making” which is presented as one series with seven volumes of
documentation and critical reflections of the graduate studio design research works.

Acknowledgements

IV

Notes to the reader

VI

Glossary

X

Keywords

VII

Abstract

VIII

Thinking through Making: A Journey of Designer Thoughts

VIII

T

ABLE OF CONTENTS

A Conversation

1

All Matter has Life

3

Draping: A Language of Design

5

Making: The Meaning of Design

9

Material Reflective Research

11

Nature: An Influence for Design

13

Exploring Vitality through Materiality

17

Being, Knowing and Doing

19

An open ending

21

Experimental Exploration: Learning from Making

23

Living with My Studio Works

26

Volume 1

Waving Jacket

27

Volume 2

Paper Land

29

Volume 3

Bubble Rain

31

Volume 4

Marine Life

33

Volume 5

Soft Concrete

35

Volume 6

Memory of Future

37

Volume 7

Light of Thoughts

39

Conclusions		

61

Next...

63

References and Bibliography

65

List of Figures

71

Appendices
Precedent

73

Related Material Experimentation

77

3D Printing Experimentation

79

IX

Axiology

Ontology

Performative Textile

Spatial Vitality

It is a research philosophy concerned with values,

Ontology is the philosophical study of reality and the

A site of textile-based artifacts that responds to

A sensation described as an environment which

which includes aesthetics and ethics, and the process

nature of being. “This raises assumptions about the

people’s movement, gestures and actions.

promotes the interaction between people and

of research. Axiology plays an integral role that will

way the world operates, and the commitment held to

elevate the awareness of any value judgements that the

particular views by researchers” (Collins, 2015 p37).

Phenomenological Experience

research would make at the conclusion phase (Collins,

It is a philosophical theory adopted to interpret the

Phenomenology,

2015 p37). In this research, it is used to interpret the

research process of “Being(见自己)”. In this design

“accepts the social constructionist

It is knowledge that is hard to transfer to another

process of “Doing(见众生)”.

research, an ontology was considered to understand

understanding of the interrelationship

person by writing or verbalizing its meaning. With

the subjective reality of people and to understand

between human being and objects in the

this research, the tacit knowledge refers in particular

Draping

their motivations and actions in a meaningful way

world and seeks to offer a meaningful

to the draping techniques used in fashion design

Draping is a term that is used in fashion to describe

(Collins, 2015 p37).

reflection on the nature of our world. It is a

development which was applied throughout the

critical paradigm and calls into question what

experimental material practice.

“the process of transforming a clothing design into

X

artifacts to inspire a rich, dynamic atmosphere.
Tacit Knowledge

a three-dimensional form” (Francesca, 2013). In this

Open Specificity

we take for granted in order to construct new

research, draping is adopted familiar technique, as a

A design concept that is applied to the design

understandings” (Collins, 2015 p40).

fashion designer introduced to others, people who

practice as a design framework. It is used as a means

does not have fashion background. It is the design

to develop interactive activity between participants.

The research applies a phenomenological approach

understanding of things through the making of

language and tacit knowledge in the action of making

Following insights from Ramakers, Moors, & Betsky.

as a way to describe the process of interactive

things.

and as an alternative way of thinking.

Open Specificity proposed unexpected and uncertain

participatory experience. This experience for people

conversations. “Open=undefined; specific=highly

through the material experiment developments

Vitality

defined.” (Ramakers, Moors, & Betsky, 2006, p54)

creates this opportunity. It offers people to make

A word to describe the movement, energy and the

through their own acts, to engage with the material,

dynamic in the research.

Epistemology
“Epistemology is the study of the nature of knowledge

A learning process for people to begin an

within a field of study… Understood more broadly,

Material Reflective Research

and to align their own narratives with their own

epistemology is about the creation and dissemination

A research methodology framework that consists of

interpretations.

of knowledge in particular contexts.” More narrowly it

two parts: initial literature review and progressive

concerns the study of knowledge and justified belief

circulatory research exploration.

(Collins, 2015 p36). It is a philosophical theory that

Thinking through Making

Practice-based Research
It is a form of research that focuses on the creative

is incorporated to interpret the research process of

Participants

“Knowing(见天地)”.

Participants were people who were interested with

artifact as a basis for the contribution to knowledge.

the design and were willing to make, share and

Practice-led Research

Hylozoism

communicate in the exhibition space. This differs from

A form of research that leads primarily to new

“Hylozoism” is a Greek word that combines two

the viewers or audiences in a traditional gallery setting

understandings about the practice. This type of

words which are ‘hylç’ which means matter and ‘zôç’

concept where touch is generally forbidden. They

research is an original investigation undertaken in

which means life. (Beesley, 2010 p13)

were encouraged to engage with the design work.

order to gain knowledge and understanding of the

They are not passive observers; they have an integral

researched topic.

role within the research as active participators. In the
research, participants contribute to the vitality of a
space by engaging with the performative textile.

G

LOSSARY

XI

K

EY WORDS

A

BSTRACT

The scope of my graduate thesis identifies and

started with a dominant lean towards an internally

explores design strategies to consider how the

focussed material exploration of the designer

manipulation of textiles can stimulate engagements

and evolved to an approach that sought to create

between humans and the materials they engage

interactive experiences for people. Throughout this

within the built environment. The experimental

process, a wide range of materials and techniques

installations of the research seek to encourage

were explored as means for spatial vitality to occur

interactions between people and textile-based artifacts between the maker and the material. The outcomes

XII

to contribute to the consideration and formation

of this process took the form of a lighting installation

of dynamic spaces. This research investigates how

for people to experience a transformation of their

to provoke gestures of makers and non-makers

imagination within the space of the design.

through interactive designed artifacts that occupy a
determined space. The adaptability of the artifacts

This study not only addressed the significant

are created within the installations, simultaneously

contemporary design issue of the complex relationship

dynamic in both time and space, which elicit corporeal between people and objects, but also aimed to gain
actions. Through time spent with the materials in

a deeper and more meaningful understanding of

a determined space, participants access and align

materiality through design and action in a poetic

the forms they create with their own narratives and

space of performative interaction. Through the design

musings.

of a multi-sensorial lighting installation people were
invited to engage and to respond through various

The majority of the material experiments within

actions, gestures, and movements, expanding the

this research focussed on design within a textile

experience beyond vision. This interrelationship

architecture. Structural forms with spatial implications between participants and artifacts intends to enhance
emerged from the experiments. More specifically,

an awareness and appreciation of life, both of theirs

•

Draping

the concept of spatial vitality was explored through

and artifacts. Animating Material connects people

•

Vitality

responsive textile forms and artifacts with lighting. A

with designed artifacts, such that a passive observer

•

Material Exploration

Material Reflective Research approach was developed

could become an active participant in a dynamic and

•

Dynamic Lighting

in the early stages of the design process, which later

symbiotic reciprocity, a conversation with performative

•

Interactive Experience

shifted from an emphasis on practice-based research

textiles.

•

Tacit Knowledge

to practice-led research. The research described

XIII

T

hinking through Making: A Journey of Designer Thoughts

I believe all matter has life and all life matters.

The design research Animating Material focuses on

through different densities provided by the layers of

I believe in the symbiotic relationship between

exploring performative textiles in a spatial lighting

fabric. The incorporation of a simple snap fastener

humans and artifacts.

installation. These environments are intended to

connection system enhanced an intuitive action-

evoke a dialogue between a person and the material

response from participants. Inversely, the design

world whilst stimulating and incubating dynamic

applies complexity as a means to invite people to

connections of making and interactive actions. In

engage. The scale of the artifacts provided affords

fall 2017, my Master studies exploration was initiated

infinite possibilities of gestures and interactions of

by manipulating materials into new configurations:

the participants. Significantly, this move to providing

three-dimensional structural artifacts were created as

potential affordances to build and create a multitude

extremes of scale to bring about spectacular effects

of form possibilities brought about unexpected

and achieve unconventional outcomes (Newell, 2007

responses from participants. Their interpretation of

p11). These spatial experiences with material are

functionality and purpose of the mutable artifact has

nearly always the intrinsic manifestation of human

challenged any preconceptions.

Humans act.
Artifacts respond.

1

A Conversation

2

behaviours and the empathy that occur (mine and
others). This as interactional vitality.

At the onset when people interact with the
installations within the space, it was envisioned

Creating a performative textile-based installation,

that the whole experience would create diverse

made from the act and actions of making and is

and unique conversations between humans and

responsive to the light have been integral to my

artifacts to communicate a sense of time and space.

practice. Light of Thoughts illustrates this. My own

The anticipation of this research is to offer a new

making aimed to capture the vitality of dynamic

interpretation of materials and their capacity. Not only

lighting. This work also provided a shift in my

does the research create a poetic space that draws

approach. Constructed of individual material pieces

in people to engage with materials and interact with

that could be assembled in various ways to create

the artifacts, it also brings about an awareness and an

diverse lighting and shadows, Light of Thoughts injects

appreciation of human creativity and the enormous

an insight into the expectations of an animated

vitality contained in a dynamic materiality. The section

artifact. An artifact that composes form by working

Light of Thoughts will discuss the degree to which this

with light and its varying degrees of brightness

anticipated behaviour occurred.

Figure 1. Light of Thought detail.

All Matter has Life[1]

A common man marvels at uncommon things; a wise

From a practice-led research perspective, there are

environment. His dynamic architectural installations,

tactile, where they were touching the work of art, but

man marvels at the commonplace.

many artists, designers, and makers who not only

Hylozoic Soil (2007) generate an environment that can

at least moving through the work of art, moving close

experiment with multi-sensory application in projects,

actually ‘feel’ and ‘care.’ In his project Hylozoic Ground,

to the work of art, being reflected in some areas of

but also attempt to create responsive environments

Beesley conceived and constructed an environment

the work of art” (Whitney Museum of American Art,

that encourage a mutual relationship between artifacts

as a living system that “allowed human interaction to

2017). The exhibition of Hélio Oiticica: To Organize

and participants. For example, Philip Beesley’s massive

trigger breathing, caressing and swallowing motions

Delirium is not only “communicated through the user’s

installations of passive interactive kinetic systems

and hybrid metabolic exchanges” (2010, p.13). The

experience and emphasized the dynamics of life”

focus on immersive digitally fabricated lightweight

project’s title ‘hylozoism’ describes the ancient belief

and was “in opposition to attempts to see the world

‘geotextile’ structures (Beesley, 2010a). Hélio Oiticica

that all matter has a life (Etherington, 2010).

as something systematic and static” (Agkathidis &

is known not only for his artworks that arouse in

Hélio Oiticica (1937-1980) was one of the most

Schillig, 2011 p10).

us an awareness of our bodies, senses and feelings

innovative Brazilian artists of the twentieth century

about being in the world, but also for his artwork

(Whitney Museum of American Art, 2017). His work

My world view is influenced by Confucius teaching.

that challenges and encourages people to become

was multi-sensorial objects that surrounded the

I believe that all matter has life and all life matters.

more active as participants in every part of his work

audience and engaged the audience’s interaction

Akin to Beesley and Oiticica, the intention of the

(Whitney Museum of American Art, 2017). Inspired

within. In his earlier object-based works, Oiticica

research through the engagements with the designs

by Beesley and Oiticica’s works, the thesis work

mainly focussed on the objects. And in his later

is that people will subsequently pay more attention

elaborates on the use of the invitation as a means

artworks, the participation of the audiences became

to their surroundings or at least be reflected in some

to draw participants in. Throughout the research

essential. During the exhibition opening at the

circumstances with the design works, referring to what

experiments, this concept was considered as means to

Whitney Museum of American, Oiticica’s work Hélio

Sussman described above. In the case of the spatial

convey the potential reciprocity between the designer

Oiticica: To Organize Delirium (2017) invited people

lighting installations, a site was created for people to

and participants to endow the artifacts with dynamic

into his textile structures and encouraged interaction,

be drawn in, to have a new and deeper understanding

meaning.

which was an extremely radical and bold move

of themselves, and to marvel at what Innes refers to as

during an official exhibition. According to Elisabeth

the commonplace (Innes, 2012, p6). The commonplace,

Philip Beesley is a Canadian artist and architect.

Sussman, one of the curators of this exhibition,

Inns notes is connected to materiality and its

His research and explorations focus on responsive

described in an interview, “Oiticica tried very much

manipulation (Innes, 2012, p6). As such, my design is

architecture in the form of immersive and interactive

to bring the spectator into a more if not precisely

never about looking at. It is always about being in.

CONFUCIUS

3

[1] Subtitle named from Etherington,
R. (2010). Hylozoic Ground by
Philip Beesley. Dezeen: Next Story.
Retrieved from https://www.dezeen.
com/2010/08/27/hylozoic-ground-byphilip-beesley/

4

Draping: A Language of Design

5

My background is fashion design. This has involved a

degree. For instance, early on in the development of

particular set of experiences and training. In my case, I

my project Waving Jacket, the fabric was draped on

would consider myself as a “draper” more than a “flat-

a fixed mannequin. As I was working on the project,

pattern maker”. During the design and construction of

I felt like the project needed more. It called out and

garments. I often start with draping[1] my idea directly

required my focused attention. I responded through

in three dimensions over a mannequin, building the

repeated manipulations and draping. I adapted

fabric on a body, instead of sketching and designing

my draping in order to respond to the materials,

patterns in two-dimensional form, drawing on flat

specifically to various types of the fabrics in different

paper. In this way, draping, which is to manipulate

characteristic such as weight, texture and composition.

the fabric on a body, makes my design come to life.

This act of capturing and creating with the material

Through draping, a more interesting design reliably

was interactive, animated and it brought about

takes shape and form. Thinking and making in three-

outcomes through a symbiotic reciprocity.

dimensionally provides a space for me to create
with open-ended possibilities. It is a more tactile

Through draping, I have experienced the process of

and responsive way to design that relies on intuitive

unpacking, embodying and transforming knowledge.

responses to the space and the cloth and being in the

Draping as an action, meaning to wrap and unwrap a

moment. In this way, opportunities appear within this

body in textile, is made to manifest as tacit knowledge.

material process. “Unlike the two-dimensional pattern

Through a series of evolutions, this tacit knowledge

making process, draping allows the designer to get a

becomes the leitmotiv of how I animate and

‘feel’ for the fabric as the fabric is draped on the form”

experience material and is something I want to share.

(Francesca, 2013).
Later in the development of Light of Thoughts, a
While thinking in three-dimensional space is

dynamic and indeterminate structure was created to

definitely a more effective way for me to create a

enable untrained drapers, people who passed by the

design, it also affects me deeply through connection

installation, to respond to the material. The dynamic

and experience. When I am draping on a body, the

elements in this project included a lighting system,

body structure is still static and fixed to a certain

the textiles, all the connections and notions, and the

[1]Draping is a term that is used in fashion to describe “the

configurable compositions of material, e.g. twisting

process of transforming a clothing design into a three-

and looping positions.

dimensional form” (Francesca, 2013).

6

Draping: A Language of Design

7

8
Plastic table cloth: soft and
resilient; translucent and
reflect blue light; sticky and

Bubble wrap: soft and

have a certain weight; smelly

squeezable; light and transFabric 1: soft and resilient;

Foam fabric: spongy and

Fabric 2: waterproof;
Fabric 3: cotton woven fabric
with waffle texture structure
Paper: roll of white paper;
thin and crisp; easy to fold;
and easy to be wrinkled.

and easy to shape.

lucent; delicate and fragile.

soft; dense porous structure;

Fabric covered mesh:

light and flexible.

honeycomb fabric texture

Copper wire: hard and

with insde spongy fabric

structure; easy to bend.

form; light weight and

Plastic trim and Plastic

structural; soft and permea-

straw: crisp and little stiff;

bility.

iridescent with pore structure; light and easy to be
wrinkled.

Material Swatch Book

Figure 2. Material Swatch Book

Making: The Meaning of Design

9

From a theoretical-research perspective, it has been

(Ingold, 2013 p1). Making as knowledge is a reflection

discovered that the learning process starts by making

on the profound meaning of creating things through

things to know things. The British anthropologist

materials and forms; making as a method helps makers

and educator Tim Ingold illustrated a theory called

make sense of the world through materials; making as

“thinking through making” and “learning by doing”.

a quintessential way of thinking defines the meaning
of design (Ingold, 2013). Reflecting upon the thesis

Making creates knowledge, builds

designs by building knowledge through making and

environments and transforms lives…Making

making to know is a significant meaningful method

offers a series of profound reflections on

addressed and adopted through the entire research

what it means to create things, on materials

process.

and form, the meaning of design, landscape
perception, animate life, personal knowledge

This research revealed that making is methodology

and the work of the hand. (Ingold, 2013)

and making is the meaning of design.

Ingold’s articulation of his theory of making not only
actively supports this exploratory research but also
sheds new light on the research to keep it evolving
and progressing through materiality and process.
Thinking through making generates knowledge

10

Material Reflective Research

Figure 3. Diagram of Material Reflective Research method.

Methods Explanation
11

12

Material Reflective Research is a methodology was

The initial literature review provided an initial framework by

developed and refined in practice-based research

looking into different perspectives both theoretical and practical,

A tangible creation process working through idea

as a starting point towards practice-led research. It

which would be threaded throughout the research process

testing and material practice. It usually starts from

only includes both theoretical literature and practical

from the beginning to the end and would continue to influence

materials, using a variety of skills to manipulate

Monitor the working process and record my

making methods to initiate and support the entire

future practice-lead research. The re-circulatory research and

into 3D forms. Normally, it starts with small-

reactions and feelings by dairy writing. Analyze

research process, it also informs my practice through

practice progressed like a helix in between these two categories

scale or single unit that grows to a larger scale or

the strengths and weaknesses, making adjustments

cyclical planning, acting, observing and reflecting.

of practical and theoretical literature. Then the next loop starts

multiple group units.

or changes.

These two categories of literature in both practical

by building upon what came before into further evolved possible

and theoretical, were meaningful to support and

material explorations of deeper and more effective reflections.

The process of exploration by taking photos or

It is a communication period that allowed me to

to influence the circulatory practice-based and

The method of this research inspires a new spark of reflection,

videos and writing diaries to create a meticulous

review the design with my peers and get feedback

practice-led perspectives. The research commenced

new understanding of the research, which would motivate new

process record of every single step that has been

from instructors from a designer’s and participant

with material explorations, which was then followed

experiments moving forward (see figure 3).

taken in the development.

perspective.

by documentation, artifact analysis, observation,
conversation, and critical reflection.

I. Material exploration

II. Documentation

III. Artifacts Analysis

then recording my reaction and feelings about the
design by dairy writing.
IV. Observation

V. Conversation

VI. Reflection

This a reflection of the artifacts from other artists

It is a full summary of the exploration process

by collecting their works and ideas through

above all. It includes photos, videos, note-taking,

different aspects of material analysis, aesthetic

diagrams, sketches, small samples and dairy

analysis, and interactive analysis. Collecting

writing.

includes picture references, documentaries,
interviews, lecture speeches or other archives. And

Nature: An Influence for Design

13

As a designer, most of my design works are inspired by

the flowing structure of the unique patterns of the

nature. Drawing upon meaningful parallels of material

organism (Trubridge, 2016). Trubridge achieve his

qualities of form, texture and colour experienced in

aesthetic by using thin, light and flexible material

the nature, these are explored with soft structural

to create this internal structure emphasizing the

materials to create complex structures. These may

incredible array of life forms at the bottom chain of

seem both familiar yet inversely strange. The research

the oceans. (see figure 8-10)

looks to nature and specific forms of moving water,
fresh mushrooms, canyons, and mountains, being

Instead of directly capturing a certain natural

intrigued by the abstract patterns found in these

phenomenon as concretely as Trubridge does, many of

organic forms, such as the waves of the water, the veins

my design works draw inspiration from an aggregate

of the mushrooms and weathered mountains, each a

collection of natural form and phenomena. The

construct of layers or layering (see figure 4-7).

configuration of the lighting in the design work Light
of Thoughts, for example, could be viewed as a stalactite

There are lighting designers who draw inspiration

suspended from the caves’ ceilings, hot springs, or

from natural forms by transforming the variation

human-made structures. It is the epitome of a natural

and beauty of nature. For example, David Trubridge,

phenomenon. Light of Thoughts is not a closed circle

a trained naval architect and a self-taught furniture

with a single possibility. It is a phenomenological

designer and woodworker, is renowned for his

experience that opens up possibilities over time.

wooden lighting works that reflect upon the natural
environment. One of his works, Navicula, is a pendant
light covered with the CNC-cut bamboo lamp shade.
The silhouette of this light is derived from one of
the many microscopic diatoms that float around in
the oceans. Even though this design was created and
produced with thin bamboo plywood, it still captures

14

Nature: An Influence for Design

15

Images removal due to copyright

Figure 4-7. Inspiration images. Retrieved from Pinterest. (2017)

Image removal due to copyright

Image removal due to copyright

Image removal due to copyright

Figure 8-10. Navicula created by David Trubridge and his inspiration image. Retrieved from
https://www.davidtrubridge.com/collection/lighting/navicula/

16

Exploring Vitality through Materiality

17

The entire premise of the research is that making to

by providing an opportunity for people to engage

form installation and influence the characteristics

know practice of material manipulations, combined

and re-discover the material world around them.

of the lighting and the shadows as a result of an

with a material reflective process, is to give form to the

The phenomenological experience referencing Paul

unpredictable experimentation through movements

dynamic lighting; and its sense of liveness. The light

Dourish’s definition in his book Where the action is:

and gestures.

sources that surround us from the sun, the moon,

The Foundations of Embodied Interaction described “…a

and our stars to the aurora borealis and fire— exist

sense of ‘phenomenological presence’, the way that

…great lighting can only be created

in constant movement and change. When humans

a variety of interactive phenomena arise from direct

through good design practices and a deep

trapped and captured light into any lighting source,

and engaged participation in the world” (Dourish,

understanding of light and its visual and

the dynamic essence of light shifted from ever

2001 p115). This research explored spatial vitality as a

psychological effect on humans. Designers

changing to a constant existence.

phenomenon through materiality as a lighting and

who can see beyond the technology and

textile interaction.

the ‘next great invention’ hype of the

Can lighting design transform the quality of light? Can

Lighting designer, artist, and educator Malcolm Innes

industry and instead view the output of

the movement of our bodies potentially contribute a

describes the effects of light in this way, “light reveals

those technologies —the light itself —as

dynamic influence over light? How could this occur?

colour and three-dimensional form, while directional

their medium will be the kind of people who

The practice of making that was delved into through

plays of light expose the texture of surfaces and

can transform our built environment into a

a comprehensive knowledge of a diverse range of

materials” and expresses its their integral role in our

glorious feast for the senses.(Innes, 2012, p188 )

materials and techniques pursued a visual ambition to

appreciation of spatial design (Innes, 2012, p6). He

achieve luminous beauty (Innes, 2012 p188) within the

also mentions that “light has the power to influence

lighting installation Light of Thoughts.

the mood and atmosphere of space” (Ibid, 2012, p6),
through the emotions and sensations experienced in

Through this work Light of Thoughts, the exploration

the designed lighting patterns, shades, and/or colours.

of a materiality focus shifted from what had been

“Light is intangible and immaterial, which seems to

developed into how people would engage. This shift

imply that is also uncontrollable” (Ibid, 2012, p6). The

not only brought the designer out of the material

research treated light as soft material similar to fabric,

world with only designer and the material practice,

yarn, and thread.

but also provided involved opportunities and spaces
to invite people’s engagements within material

Light plays a significant role in the design in the

culture. From the perspective of phenomenology,

research to evoke actions from the participants. These

the research created a phenomenological experience

actions generate subsequent changes in the overall

18

Being, Knowing and Doing

19

From a western philosophical perspective, life

human beings “见自己，见天地， 见众生”[1] which

Furthermore, my research seeks to describe a close

This experiential interaction of the body with the

has different phases, but in the end, life can be

directly translated into English as “Seeing yourself,

analogy with the research philosophies of ontology

materials (Agkathidis & Schillig, 2011) embodies the

divided into three components: being, knowing and

seeing the world, and seeing people”. Reflecting upon

epistemology and axiology (see each definition in

meaning of making and the making of meaning. More

doing (a phronesis approach coming from ancient

my design process, I elaborated this philosophy into

Glossary). The research began through the study

importantly, the intentions are for these exploratory

Greek philosophy). According to the Aquileana

this phase which is about: self-exploration, material

of knowledge, then the exploration, creation and

actions to achieve a useful fulfillment through material

website, this phronesis is best acknowledged

experimentation, and engagement between people and

transmission of knowledge in a specific design

practice to express and embody the meanings for this

as a reference from“The Nicomachean Ethics,

artifacts:

context(ontology). Next, I went on to search for the

responsive, dynamic, and spatial materiality to exist.

Aristotle (384 /322) describing three approaches

Be yourself. In this self- exploration

meaningful ways to understand the motivations and

to knowledge. In Greek, the three are episteme,

phase; you see yourself, know yourself, and

actions of the participants(epistemology), and finally,

techné and phronesis. Aristotle classified the three

understand yourself.

to draw conclusions with respect to the design values,

different types episteme (scientific knowledge), techné

Know this world. In this material

including those of aesthetics and ethics (axiology)

(skill and crafts) and phronesis (wisdom)” (Aquileana,

experimentation phase; one begins to fully

(Collins, 2015 p36-37). Critical thinking throughout the

2014).

learn, experience, and experiment within the

design is important to situate it within this broader

material world.

context in order to have an ultimate conversation

From an eastern philosophical perspective, there

Do something. In this engagement

derived from actual human behaviour.

is also a description of three stages in the practice

development phase; it is for people and

of Kongfu. In the Hong Kong-Chinese martial arts

for a better understanding of the material

From a micro point of view, the intention is for an

drama film “The Grandmaster”(2013), internationally

world and for a deeper investigation of the

evocative action to reach a new quality of spatial

renowned Hong Kong filmmaker Wong Kar-wai

relationship between them.

empathy which is not prioritized by observation, but

explains his ultimate philosophical thinking on

[1]The scripts from movie “The Grandmaster” (2013)

by the intervention of participants through haptics.

20

An Open Ending

21

“Everyone is an original” (Ramakers, Moors,

propose unexpected and uncertain conversations.

Furthermore, instead of asking the viewer only

& Betsky, 2006, p54) and every experience is

Light of Thoughts is a collection not only designed to

to observe, each viewer is invited to become a

unique. Architect Jvant Spijker discussed his two

be a product, but to inherently embody the qualities

participant. They become integral to the design work

theoretical design attitudes which provide total

of open specificity as perceived.

and contribute to the actual ‘ephemeral’ design. The

opposite participant experiences: “closed and

research aims to establish a point of balance between

open specificity (open=undefined; specific=highly

The distinction between open and closed

controlled design intention and open-spaces for

defined)”[1](Ramakers, Moors, & Betsky, 2006, p54).

forms of specificity is the degree to which

participants. A new embodied sensibility emerges

Closed specificity does not offer much space for

the perception of these is prescribed or

through the interactive possibility within the design.

interpretation, while open specificity directs space for

predetermined. In other words, in a case

The contribution to the open specificity is when the

everyone’s own comprehension. “This level of freedom

of open specificity, the experience that the

participants become the final receivers of the whole

defines its attractiveness” (Ramakers, Moors, & Betsky,

concept might trigger is not hinted at, even

design process (Ramakers, Moors, & Betsky, 2006, p60).

2006, p60). In the overview of my design works, open

though it is indeed present. (Ramakers, Moors,

In order to approach this limited information, open

specificity emerges through the design practice to

& Betsky, 2006, p60)

specificity provides a more authentic space of curiosity

develop and understand this interactivity so as to
[1]“The concept ‘open specificity’ is related to the openness
of artworks as a discussed by Umberto Eco in The Open
Work. In this book, Eco describes how certain artworks

and ambiguity as an unexpected side effect (Ramakers,
Instead of the designer attempting to control the
artifacts to be perfectly planned, it is for design to

expect an interpretation for the ‘consumer’ in order to be

meet in between “open” and “closed” specificity and to

seen to full advantage. Umberto Eco, the open work, Trans,

find a balance in a shared symbiosis to communicate

Anna Cancogni, rev.ed., 1989” (Ramakers, Moors, & Betsky,

the experience of the viewers/participants/wearers.

2006, p65)

Moors, & Betsky, 2006, p61).

22

E

xperimental Exploration: Learning from Making

23

24

Being: 见自己

Knowing: 见天地

Doing: 见众生

Living with my studio work.

Living with you in the studio.

Participating with your work in the exhibition.

I am looking for materials and searching for

I materials exist everywhere and showing potential.

I was invited and I accepted it.

possibilities.

I answered, I looked back, I surrounded, I reflected.

I picked up the materials and formed it.

I asked, I looked, I touched, I thought.

I was scissored, doubled; I lay, roped, stitched

I wrapped around the light bulbs and sometimes

I cut, folded, tore; I held, tied, sewed.

I was attached, punched and united.

made knots.

I pinned it, drilled a hole and bonded.

I was separated and combined;

I created a unique structure and used it to hold a

I took it all apart and I put it all together;

I grew, stratified and accumulated.

pencil.

I added, layered and piled.

I was crushed, extended and shattered.

I tried to unite the material and I tried to undo it.

I squeezed, expanded and crushed.

I proved, examined and transformed, became who I

I hid, shaded, undressed, and delighted the light.

I tried, explored and made them and through this I

wanted to be...

I felt free and excited, fun and playful.

understood who they are.

I felt overwhelmed and calm.
I loved it, for life.

Thesis Project Series: Living with My Studio Works

25

26

Living with my studio works is a series of experimental
explorations in the evolution of my studio works.
There are seven volumes: Waving Jacket, Paper Land,
Bubble Rain, Marine Life, Soft Concrete, Memory of Future
and Light of Thoughts. Each volume has their own
characteristics and story to tell in a chronological
order. They are not only present as a diverse range
of material experimentation through a variety of
techniques, but they also shared a similar spirit their
Figure 11. Living with my studio work a photograph from studio.

vitality that emerged in a dynamic crowded space.

Volume 1

Waving Jacket

27

This project started with an old denim jacket as the

Clothes are “close friends” to us. They cover us,

base garment. At the back part of this garment, I

present our identities and lifestyles. Sometimes they

deconstructed by cutting out the lower half of the

are not merely objects outside of our body, they are

back and reconstructed by weaving different types of

living in our life and become part of our life. So, in

fabric. At the front of this garment, I manipulated the

this case, they are not a static form, they are a living

curving pieces and layered them together by hand,

form that surrounds us. Looking from another side,

sewing them together with a little stitch at the centre

discussing people and clothes together is essential.

and attaching each layered unit at the front of the

These are two different approaches in opposite

garment in a spatial layout.

directions when the jacket hanging on the rack and
when people are wearing it. Although the curvy

Inspired by the deep denim blue, I experimented

layers and the interlaced back created a dynamic

with the waving pieces to emphasize the movement of

atmosphere, when people are wearing it, every single

flowing water by layering them together to create the

movement and tiny gesture even the beating of

dynamic movement. I emphasize the rhythm through

the pulse are illuminated and bring the jacket new

the repetitive but slightly different layers of the curvy

meaning of life.

patterns. Unlike straight lines and angular shapes,
curvy lines carry continuity and circularity. Trace these
Figure 12-13. Volume 1 Waving Jacket

curves in nature, like the water wave and the ripplingwheat-shaped.

28

Volume 2
Paper Land

29

This project was inspired by a little test sample

According to Ingold (2013), “I want to think of making,

from my very first project during the first semester

instead, as a process of growth” (p.21). The process of

in graduate study with arranging old photographic

this creation grew into the Paper Land in this white

film. I twist and curved this long-exposed waste film

empty space. That process of filling in the empty space

and staple it with mini stapler to create this irregular

situated me as a maker and I became a participant of

ring pattern. The size of this film pattern was about

the world of active materials (Ingold, 2013, p.21). From

8 by 10 inches. The unique part about this pattern is

my perspective, a making process is not creating a

not only the curvy path extruded from lines to three-

new world; design is different from invention-creation

dimensional with depth, but also the light and shadow

in the scientific world. As designers and makers, we

through the translucent material reflect the negative

join the material world and manipulate them with

image create even the fourth-dimension from time

consciousness.

and space. In the most recent, I was trying to expand
in both depth and breadth with different materials to

When people walked in to the Paper Land, they

create a spectacular effect that can invite people into

became participants like me. They touched the

the space and interact with the space.

materials and listened to the sound of friction
between their body and the papers. They squeezed in

Taking a roll of white paper as material, I started

the space to “force” the paper, and to have it squeeze

curving and stapling different waving units by units

into others’ space. The whole process from the

to create this seemingly irregular but traceable shape.

beginning of the making to the end of interrupting

Then I started to layout every unit to fill in a whole

from the participants, all comes down to one thing: we

white box-type space size about 3 by 3 meters. In the

are adding our own impetus to promote and dedicate

project I let the paper stand with the action of twisting

energy in play (Ingold, 2013, p.21).

and turning continuously. I set the paper close at
the beginning and separated them apart at the end. I
left the space in between and held them together for
Figure 14-16. Volume 2 Paper Wall.

support.

30

Volume 3
Bubble Rain

31

What does the world need and what can I do for

Performative Geometries: Transforming Textile Techniques,

the world? As designers and makers, we have been

she explains that “…empathy is not only achieved by

asked this question numerous times. The interaction

the visual sense, but by touch- thus the interaction

installation Bubble Rain is trying to answer this

of the body with the material” (Agkathidis & Schillig,

question by capturing the rain moment of nature and

2011 p10). Although, hanging the clear bubble wrap fill

bringing it to the tangible material world of realism.

all space even fully cover the floor, it was still visually

This installation invited people walking through the

transparent. The realization of this space begun from

space to experiment with this sense of transformation.

the invitation of participants walking into the space
accompanied the sound of plastic bubble breaking.

I did this installation work with strips cut from bubble

The design itself will never be defined or succeed

wrap and also had the entire floor cover with a piece

without involvement of participants whose movements

of bubble warp. The strips not only symbolized the

and gestures became the highlight of the design,

rain drops visually, but also creating the sounds of

analyzed and emerged in this space. The contribution

squeezing out of the air from the bubbles. The site

of the designer will only be achieved when

is built up in a 3 by 3 meters space that can possibly

participants are squeezing the bubble or stepping on

accommodate ten people walking and moving at the

the floor - “which lead to a critical self-reflection of

same time. I was trying to hold this rain moment and

the artist; his/her sole role as creator is relativized”

extend it, giving the opportunity for people to touch,

(Agkathidis & Schillig, 2011 p10). Bubble Rain not only

think and feel. I create this space for people who are

create the physically activity allows people to engage

willing to observe life, love life, nature and the world.

with the materiel by moving their body, but also bring
the conversation between people and the material by

Squeezing the bubble warp is the essential key
Figure 17-19. Volume 3 Bubble Rain.

action of this work. In Gabi Schilling’s prologue for

sounds that are produced by movement.

32

Volume 4

Marine Life

33

In this volume, this installation lighting set occupied

profound and different perception of the past. Light

volume of 1.5 m x 1 m x 1 m created with straws and

as a material in the design work dose not play the

plastic trim. I brought in the blue light which reminds

role of illumination which is being able to see in the

me of marine life, and also the permeability of the

dark. Light, as Ralph Nauta the co-founder of Studio

composition of the straws to create this respiring

Drift explains “…it is about conveying emotion and

space that describes the vitality of nature.

referencing the fact that light is the basis of all life.”
(Drift Studio, 2017). I consider light as one type of soft

When participants walk into the space, Marine Life,

material, just like fabric and yarn. It is alive because

a cluster of twisted straws moves by brushing their

of the luminosity, just like the fabric because of the

shoulder or caressing over the top of their head. It

interlaced warp and weft, just like the yarns of the

sounds like, they are hanging whispers in their ears

twisted fibres. I will discuss the deeper impacts that

through the movement of the straw. Sometimes,

happened on the subsequent work Light of Thoughts,

it spins by the flow of air, these rhythms of straws

another experience of working with light.

movement block the light and create a dynamic
shadow. This communication forms a continuous
internal circulation flowing throughout the space
that creates this dynamic atmosphere that around the
participants.
Light is an integral aspect of my design work.
Although working with simple LED light ball at this
Figure 20-22. Volume 4 Marine Life.

very first experimentation, the process has given me a

34

Volume 5

Soft Concrete

35

In this volume of exploration, I created this textile

hard cold concrete building, with a twist that injects

sculpture with grey foam fabric. It constructed

the ordinary with new insights, and distinctive

with wire inside of each cutting piece through the

expectations where a concrete building could be soft,

middle of “sewed tunnel” to provide the fabric with

warm and animated. It can breathe just like human

a supporting force. Each foam pieces are 3 meters

beings. It has bones inside. It is structure just like us.

long and 50 centimetres wide. The size of this work

When people have first sight of this work, their first

is about two cubic meters. This grey foam fabric

reaction might be thinking it is made of concrete or

symbolizes the architecture from our daily life,

plaster. After touching and feeling of the actual work,

however, the differences from conventional concrete

that “ Aha! “ moment reflects back to the initiate

building is the twisting and entangled construction

intention and enclosing the dialogue between the

that creates this respirable and permeable spaces.

artifacts. The arrangement of these components in this

The process of this work specifically addresses textile

work is not prescribed, it encourages people to rescale,

materiality, concentrate on the relation between the

reconstruct and reorganize.

involved body, mind, the productive space and daily
life surroundings. More than any other material,

The process of “re-doing” not only created a

textile can be manipulated in an alternative structure,

space that interpreted a new understanding of the

such as cutting, folding, sewing or even introducing

interrelationship between people and objects, it

an additional material to create this visually

transformed the original work into the participants

unconventionality.

own unique understanding beyond that of the
designer, the space, and the time. Through the

Figure 23-24. Volume 5 Soft Concrete.

By creating this work, I intentionally arouse people’s

physical transformation to the psychological emotion

attention to different thoughts of our everyday

transmission, Soft Concrete allows the originally passive

habitual thinking through the design works,

observer to become an active participant and to

and appreciation of everyday life. Soft Concrete

promote a different perception of this work.

describes familiar things and everyday life like a

36

Volume 6

Memory of Future

37

The initial ideas and inspirations of Memory of Future

When participants moved across and into the fabric

combine space-time, the fourth dimensions, Albert

structure then they see the outside of the box from the

Einstein’s relativity theory, tesseract and time-travel

inside, and the cut through the texture of this clear

all together. Those theories and objects bring up my

plastic fabric creates this fuzzy vision effect indicating

curiosity to think about the mystery of the universe

an emotional exploration and a psychological state of

that moves toward four dimensions then provides this

human beings. The blurry vision also reflects, makes

huge expanse about time and space.

people doubts and even protests the external world
which symbolizes the future. As individuals, every

Figure 25-26. Volume 6 Memory of Future.

Various scientific inspiration gives me opportunities

participant has their own interpretation of the world,

that evolved the divergent thinking in design concept.

their exclusive memory and the perception of future

There were many different material experiments

world. Memory of Future provides this opportunity

emerged in this particular project before the final

for participants to explore their own imagination

outcome. The final presentation of Memory of Future

based on their own experiences which sublimate this

formed a cube covered with these heteromorphic

work into an open conversation in a broader sense

transparent plastic fabric structures in order to create

of human and artifacts. This experimental process

this illusion space to invite viewers to step into a

not only established with the visual sense, but also

world of this futurism. I would like to interpret the

introduces the tactile and the olfactory sense. The

action as a “time-travel” experience. I create this work

smell of the plastic fabric is an “accent colour” in this

to visualize my imagination and make it tangible, as

project. The unpleasant lingering odour brings a sense

well as to provide a possibility for others to realizes

of discomfort and distance increases this rich layer of

their own imagination.

symbolic futurism and becomes an integral aspect of
this whole experience.

38

Volume 7
Light of Thoughts

39

40

Figure 27-30. Volume 7 Light of Thoughts phase 1.

Figure 31. Stop-Motion video recorded the movement of this

Figure 32. Material manipulation experiments with different

dynamic form.

fabrics.

41

42

Figure 33. Light of Thoughts visual composite.

Figure 34-35. Light of Thoughts close-up details.

43

44

Figure 36. Light of Thoughts un-snapping the fasteners in a stop-motion sequence.

Figure 37. Light of Thoughts snapping the fasteners in a stop-motion sequence.

Light of Thoughts

45

Light of Thoughts is an experimental exploration which

The mesh on the outside of the fabric increased the

diverse accessory materials, such as zippers, tulle

the material by making, creating and leaving

started in the first semester of the second year, and

apparent overall lightness and injected an essence of

fabric, and buttons from which was concluded that the

their narratives. In this phase of participatory

culminated in the final thesis project, which has

permeability.

snap-button fastener more closely met the intention

experimentation, the focus to on explore participant’s

of the original intention, a simple action for endless

interactions and the outcomes from their actions.

experienced and been expressed through a variety
of evolving transformations. A critical and reflective

The coat-shaped textile form (figure 27) with lights was

complex configurations. Assembling and reconfiguring

The collected visual evidence of the participants

methodology, thinking through making and learning from

the first phase of these experiments. As a metaphor for

the individual pieces in various ways created

actions and interactions in their making of Light of

doing, is the core of this research process and project.

the human body, this light/lighting installation allowed

numerous potential light and shadow qualities, to

Thoughts outcomes, opened up discussions based on

people to move and shift the hanging elements

capture the vitality of a dynamic light. The infinite

the topic of materiality. The process of observation,

Early material explorations and fabric manipulations

beyond the main body in order to create various

potential of any lighting configuration in form, scale

documentation and critical reflection through

captured movement in loosely gathered ribbons.

effects on a spatial level. The installation suggested the

and density is in the direct poetic reciprocity of the

participants actions and outcomes ascend to diverse

Instead of tracing the regular corrugations of ‘ruff’[1],

experience of its transformation from bright to dim

gestures and movements from participants. Moreover,

comprehensions and perceptions of people and the

I contoured the line within the materials into organic

by manipulating the density and layering of the fabric

the idea behind the design is to provides imaginative

surrounding materiality within this built environment.

forms, and then extruded the height from the two-

form.

choices for each participant to affect the functionality
and purpose of the artifact in challenging any previous

dimensional surface into a three-dimensional space
(see figure 31). After these manipulations, the three-

The second phase of this exploration continued

preconceptions. The placement of this lighting project

dimensional form of the honeycomb was both light

from the principal ideas of the initial phase and

could potentially be a range of lighting fixtures: be it

in weight and possessed some structural qualities.

focussed on the development and exploration into the

a chandelier, a wall sconce, a floor covering, or even a

The chosen material is a fabric covered foam with

dynamic form of the light to actively invite people’s

waterfall of lights that either hangs from the ceiling,

the interior providing sufficient structural support.

interaction. In this phase, these experiments included

drapes along the wall and down onto the floor.

[1]The definition from Merriam Webster dictionary online:

and incorporated some known garment construction

a large round collar of pleated muslin or linen worn by

techniques and fabric manipulation skills, those of

The third phase of this exploration was engagement:

men and women of the late 16th and early 17th centuries. As

gathering, shirring, and boning. I also investigated

an investigation of how people interacted with

known as Elizabethan collar.

46

From the Observations…

47

The following material explorations from my

and with their friends. As a group, they were talking

were illustrated in the resultant configurations of the

Graduation Exhibition installation Light of Thoughts

to each other. They were communicating and sharing

materials in response to lighting source.

were presented and discussed as a significant part

an energy; that of the dynamic interaction between

of the participatory process. A didactic panel was

people with their friends and with the lighting that

Other interesting observations came about when

presented next to the fabric strips with snap fasteners

emerged from the interactive actions (see figure 40).

children came to interact with the lighting. Their own

and four naked light bulbs hanging from the ceiling.

The people who created light forms individually

tangible tacit knowledge of snap fasteners motivated

People were invited to use these materials to interact

were silent when they were making. It was a quiet

and enabled the play with the tactile material.

with them and the light source, and to then leave

and mindful process of making without other

Snap fasteners were easily understood as a familiar

written notes after making if they were willing to.

interruptions. However, the sounds of clipping the

affordance to them which to start making with.

Observations of the preliminary making and the

snap fasteners could be heard clearly, which as an

Engaging with the design revealed an opportunity

interaction process of the participants were achieved

auditory presence was a communicative interaction

for children and parents to make things together (see

over a period of Graduation Exhibition. It was to

and sharing of another sense (see figure 41).

figure 43). Finally, it was noted that the exhibition

observe how people would engage with the materials

installation provided young children with moments

and would interact with the lighting (see figure 38)

As shown in Figure 42 the degree of familiarity with

to just stand and pause. Several times children were

based upon their own knowledge.

the design affected participants’ actions and

observed in front of the form: looking, watching,

re-actions to the design as some of participants

contemplating and seemingly doing nothing (see

During the exhibition, when people first came into

were friends and peers. Being designers, they were

figure 44).

the space of Light of Thoughts, most of them touched

familiar with the materials and the forms previously

the materials. They seemed to be curious about the

created in the research studio explorations of which

materials. Next, they took a strip and formed it with

the impact of earlier designs influenced their own

their hands (see figure 39). People created a light

acts making and their formal creations. Their creative

through their own act of ‘making’, both individually,

actions were an extension of my tacit knowledge and

48

From the Observations…

49

50

Figure 38. People interacting with

Figure 39. Picking up the material

Figure 40. People talking and sharing

the lighting site/installation to make

from the floor plinth.

with each other when making.

Figure 41. Individually creating forms

their own configurations.

Figure 42. Cohorts and friends

Figure 43. A child exploring the

Figure 44. A child intently looking at

are invited to make their light

materials together with his parents.

the work..

configurations.

Reflecting back to the anticipation in section of A

Jane Fulton Suri notes in her book Thoughtless acts?:

more emotionally engaged with their surroundings.

Conversation (page 1), through the observation of

observations on intuitive design, that

Light of Thoughts leaves open infinite possibilities
through form, scale and density, while expressing the

each the participants who interacted with the thesis

Reflecting Upon…

research project, new discoveries and understandings

“interpretation and speculation inevitably

poetic reciprocity of each gesture, act and movement

about how people engage, adapt and make sense of

take us a step beyond the purely objective to

of its participants.

their surroundings emerged. This insight addresses

a subjective level, where we draw on empathy.

and aligns with how design can engage people, how

And good design is not just about function;

Through the participatory process inclusive of all the

people can shape and form their environment, and

we want it to connect to our feelings and to

observations and critical reflections, it was learned

equally, how we are shaped by it. (Suri, 2005 p166).

promote positive emotions” (Suri, 2005 p173).

that the emergent possibilities that lay beyond visual
evidence of the participants interacting with the

51

Beginning with an installation composed of several

Light of Thoughts is an invitation for people to

project. The design reasercher became enlightened,

naked light bulbs hanging from the ceiling enveloped

participate through their own understanding and

more aware and sensitive to other people’s experience

with fabric strips, Light of Thoughts presented a context

thinking in three-dimensional space by wrapping

with their designs. Light of Thoughts was an exploratory

which offered and suggested to participants to become

and unwrapping the lighting source, using their

installation that revealed an awareness for both the

more active. It invited and provided the opportunity

tacit knowledge in regards to manipulating

designer and the participants of the possibilities,

for people to make or un-make and re-make. When

material. At times their actions seemed random.

potentialities and sensory qualities of various

people engaged in covering the light bulbs, it seemed

A responsive “behaviour that might at first seem

materials, forms and textures (Suri, 2005 p164). The

to act almost as an extension of their thoughts. Their

arbitrary, surprising, or idiosyncratic usually has an

installation provided a site, a context to consider

written responses point to this.

insightful explanation” (Suri, 2005 p167). For instance,

participants’ actions and impacts. It was a means

participants might not know or have any experience

to more fully understand how fixtures can be built

Some people described their feelings as either free

with draping, but they were able to easily engage with

and configured by people without a draping/fashion

and exciting; or fun and playful (see figure 45).

the materials in order to cover or shade the light

background, yet was based on their own expectations

As the observer, the outcomes were collected and

bulb(s) by responding to the affordance of the snap

and lived experience in the everyday. Deliberately

analyzed alongside with the written responses during

fastening system.

observing and noting how participants acted and
interpreted Light of Thoughts became an integral

the exhibition participatory installation. Their actions

Figure 45. People’s written
responses to express their
actions and feeling.

and interactions have informed further future design

In Light of Thoughts, the research aimed to create an

source of insight and inspiration for me as a designer.

in the exploration and manipulation of fabric-based

interactive experience as a combination of materiality,

The next section will discuss insightful details from

materiality by individuals with different levels of

design and performance. Using a mesh covered foam

the observed outcomes of the interactions by each

expertise and familiarity with making through draping.

fabric and snap fasteners as the performative and

participant.

As a designer, the research always equally takes into

interactive materials, the ambiguous forms embodied

account the outcomes of both making or un-making.

the potential to be reconfigured in various and diverse

The observation from acknowledging the way others

ways in the designs to capture a vitality within a

make allowed me to empathize and gain a new found

dynamic lighting installation. These prompts within

awareness of the potential diversity of material

the space invited participants to build and rebuild

experiential knowledge.

their domestic environment, with the aim to become

52

Responses to Light of Thoughts

53

In setting up Light of Thoughts created an open-ended

Some were folded multiple times and gathered tightly

configuration that already existed. The existing

invitation within which to interact with the material

at the top. Other structures were left hanging from

structure seemed to prevent some other possibilities

rather than provide sequential instructions of how to

the extension of fabric strip at the bottom of other

from happening because participants were influenced

make where to place. The space allowed for people

strips (see figure 47). Complex configurations were

by and responding to the existing structure, thus

to choose what to make and where to place their

made by twisting the fabric, layering multiple strips

bound by the preceding example. In the second week,

outcomes. While most of these forms were left on the

and connecting various snap fasteners. These acts

the fully open space for participants demonstrated

hanging light bulbs, some of the configurations were

of making affected the silhouette of the light whilst

that the unpredictable concept of Open Specificity

left on the plinth (see figure 46). This deliberate choice

simultaneously impacting on the overall illumination

would transpire when the designer gave up control of

of participants to experiment within an undetermined

of the site with the diverse darkening qualities of the

any creative space (see figure 50).

context to engage expressed my conjecture about

multi-layering (see figure 48).
Guests who interacted with the exhibit did so in ways

the future direction of this work through the
behaviour of some of the participants. For instance,

During the first week of the Graduation Exhibition

not previously anticipated. From the perspective of a

some unexpected configurations shifted my original

different insights occurred. After having installed a

designer, Light of Thoughts was a lighting installation,

assumption about the function of the design. These

configuration on one light bulb as a demonstration,

however some of the participants responded solely

inspired the pursuance of further possibilities.

it was surprising to observe how people added to it.

to Light of Thoughts in terms of the textile material

These participants mostly engaged their additions

possibilities. Foregoing the light element entirely,

During the three week period of the exhibition, the

to the existing structure. In the following weeks

unexpected creative outcomes were fabricated by

different configurations that emerged offered up

of the exhibitions, the demonstration artifact was

expanding their responsive gestures through the

some fruitful surprises. The lighting structure was

removed. Leaving a fully open the space with just

making of knots. From a form giving perspective,

expanded by people who connected the individual

light bulbs and the materials to drape with. The

these knots served an accessory addition to the overall

light sources using the material provided. The result

official opportunity for participants to create their

configuration (see figure 51), by extending the form

of this structure was a unified larger form. Simple

own Light of Thoughts provoked different types of

beyond light as diffusor, the knots provided unique

configurations were also made with single strips,

forms. The demonstration structure was white, and

potential functions such as a place to hold a pencil.

double strips or more. These covered the individual

the participants were grey, so as to clearly track the

This inspired me. People’s intuitive knotting actions

light bulb both partially and fully. Some structures

participants’ acts of making. In fact, the result was

serve as a sort of poetic reciprocity from which the

were tied on the top with single strip fabric and hung

significantly different than envisioned. In the first

participants responses have enabled the research to

freely without any connection with other light bulb.

week, participants were influenced by the white

expand Animating Material in new ways.

54

Responses to Light of Thoughts

55

56

Figure 46. Some made configurations

Figure 47. Some complex configurations

Figure 51. People put a pencil in the

sitting on the floor plinth.

that people made to create different

knot to interpret their perspective of

moods of the light and its shadows.

understanding.

Figure 48. Some less complex Figure 49. On the left configurations made by people Figure 50 On the right, configurations made by people
configurations.

during the first week of Graduation Exhibition with

during the second week of Graduation Exhibition

part of the white fabric structure.

without the white structure as a fully open space.

The written responses collected from the exhibition were in the

to individual people’s own tacit knowledge. A broader

to create different configurations, to enable different

notes that some of the participants left on the plinth. They are

range choice would reflect on their different interests

thoughts and interpretations. This challenged the

derived from peoples’ actions and feelings during their interactions

and diverse experiences, and thereby draw them in

interpretation of its meaning.

with Light of Thoughts. The familiarity of the snap fastener was

to participate. From a phenomenological perspective,

observed as how it enhanced the approachability. Importantly, the

participants reflect their experiences through the

Furthermore, because of the exhibition setting

softness and flexibility of the cloth provided a space to externalize

material interactions in the built environment.

or insufficient time afforded to each artifact, the

participants’ thoughts elevating the process of research. The

Referring to Paul Dourish’s description in his book,

observations revealed the process of people’s

written responses recorded the actions and expression from

Reflecting Upon…

57

engagement in some form was incomplete. The formal

some participants. (see figure 51), were informative to learn how

“the body can no longer be regarded as an

environmental inhibited a fully interactive play. In

people engaged with light. These outcomes reflected their life

entity to be examined in its own right but

general, people do not interact with the designs in a

experiences as individuals, their own embodied knowledge and their

has to be placed in the context of a world.

public exhibition. Also, some people just touched the

understanding of textiles, more specifically their interpretation of

Moreover, being-in-the-world cannot itself be

material without further interaction, suggesting that

this fabric.

understood as a certain relation that obtains

maybe the affordance or the invitation instruction was

between a central body and a surrounding

not motivating enough to arouse their interaction.

Cloth is malleable and unpredictable. Unlike with other materials

world, but has to be understood in terms of

such as wood, clay, plasters and so on, many people seemed

tasks, action to be accomplished, a free space

As a trained designer who regularly uses draping

to be less familiar with fabrics as material for creation. Many

which outlines in advance the possibilities

techniques. I make to know. As I make, I am thinking

of people who engaged with the exhibition installation would

available to the body at any time” (MacAnn

and re-thinking – I am learning from doing and

touch the materials but would not play or engage with them. This

1993 p174)

re-doing. Through the period of the exhibition, the

insight elicited a host of possibilities for evolution, diversity and

Figure 52. Peoples written
response.

installation invited co-creation, reaffirming that

improvement. What if the material was changed and made softer

The observations of people’s interactions with the

participatory research provides many valuable insights

or harder? The softness of the chosen materials allowed people to

exhibition revealed the different understandings

and opportunities for designers. Letting go and being

easily pick it up and interact with it. The material provided enough

and perceptions of material possibility and aesthetic

open to unknown and unpredictable aesthetic form-

support enabling a repeatable fidelity of form but was inherently

output between novice participants and those of

giving is a space for a designer/design researcher to

flexible. Changing the structure to a less rigid softer material could

a trained fashion designer being well acquainted

discover how to unbind design boundaries between

become more difficult for construction. It could lose the accessibility

with fabric. The form created for Light of Thoughts

designer and participants in a contemporary context.

and familiarity for some of the participants. However, a harder

concentrated on aggregate of natural forms and

material such as wood, plaster or metal carries its own affordances,

phenomenon (see section Nature: An Influence for

In reflecting upon the practice-led research moving

yet over time may create more immersive experiences by occupied

Designer). While it could not be anticipated what

forward, an open space for curiosity and ambiguity

more space for people who were in the space.

inspirations people would have when they were

was quintessential to the research, creatively

interacting with the lighting, it was an important step

anticipating the effects of the unexpected.

Future iterations of this research would involve exploration into

to share a module of interaction with the participants.

different types of cloth and fasteners. More material options

The participants responsive gestures with the light

It is a conversation between myself and the artifacts.

(different thickness, a range of hardness and soft-touch) would

by making a pencil holder with the fabric strips,

It is a conversation between participants and the

be applicable. The patterns of the textile elements could also be

for example, was contrary to the expected aesthetic

artifacts.

explored more extensively to perhaps include organic shapes

responses (see section preceding Figure 50). Their own

It is a conversation between myself and the

inspired by forms from nature. Offering up a larger variety of textiles

tacit knowledge of textiles and the materials of each

participants.

and shapes may afford a more accessible route and clear affordance

one’s former experiences influenced participants, and

58

59

60

Figure 53. Living with my studio work, a photograph of my former graduate studio space.

Being 见自己:

Knowing 见天地:

Doing 见众生:

I am collaborating with you.

I am working with you.

I am participating with you work.

I am engaging with you.

I am connecting with you.

I am interacting with you work.

I am caring about you.

I am in love with you.

I am enjoying your work.

C

…Would that I had wings, a carapace, a shell, - that I could breathe out smoke, wield a trunk, - make
my body writhe, -divide myself everywhere, - be in everything, - emanate with all the odours, - develop

ONCLUSION

myself like the plants , - low like water, - vibrate like sound- shine like light, - assume all forms penetrate each atom - descend to the very bottom of matter, - be matter itself !
- Gustave Flaubert, The Temptation of Saint Anthony.

61

The material studies selected for the thesis which

knowing the materiality as a maker, and the being and

perceptions come from one’s experience (Merleau-

interpreted through new understandings from inert

elaborated and explored the concept of animation

doing with people within this research afforded the

Ponty, 1962), thus Light of Thoughts created a context

to dynamic. The design is constructed of a series of an

through the experiments of designed artifacts,

nuanced insights of practice described in this thesis.

to expand and broaden people’s perception, thereby

interactive experiments in which participants explored

their experiences.

reactive installations and engaged in dynamic form

especially the lighting, expressed movement in the
vitality of space. Most of the material manipulations

In summary, the process commenced with a diverse

originated from practice-based making to know

amount of experiments with and within the material

Furthermore, the research provided a context for

interrelationship between people and artifacts. The

explorations into forms as an expression of life: of all

practice-led the research. These explorations of

discussions and recommendations to develop shared

project, as a whole seeks to enhance awareness and

matter. This evolved into practice-led research which

materiality were focussed on the act of making as a

knowledge and experience in material practice for

appreciation of life, both their life and their artifacts.

investigated the interactions, communication, and

way of thinking. Then, progressed to the second phase

designers, artists, and makers in the field of animating

conversations between humans and artifacts.

by providing tentative small-scale experiences for

material. More importantly, the thesis is not an

As a designer and a maker, the path of this exploratory

each participant. At this point, material and spatial

isolated design development but is an experimentation

research provides recommendations in understanding

The integral influence of nature in the creation of

invitations were developed for known people to

for examining unanswered questions regarding all life

the evolution and relationship in and between

Weaving Jacket to Light of Thoughts and the Material

engage with and to investigate participatory creation

including humans and artifacts. Rather than focusing

practice-based research and practice-led research.

Reflective Research method provided a guiding

opportunities. Later, the scope of the research was

on the decision-making process, the design offers

This research is not solely to create artifacts but is to

framework. Each adapted “draping” contributed to

expanded to incorporate participation from the public

autonomous opportunities to participants, in order

offer insightful experiences and knowledge that could

a discrete design language. The research exploration

during the Graduation Exhibition who saw and

to have them engage with artifacts through open

be adopted by other designers, artists, and makers in

embodies the core principles of thinking through

interacted with the design work. The process of this

specificity (Ramakers, Moors, & Betsky, 2006, p54).

the interdisciplinary space between humans and the

making and learning from doing, following the design

research provided a phenomenological experience

philosophy of “being, knowing and doing”, referring

that offered opportunities for active engagements for

Animating Material: Exploring spatial vitality through

from a phronesis approach coming from ancient

everyone to experience somethings. According to the

performative textile discusses spatial interventions

Greek philosophy. Knowing myself as a designer,

Merleau-Ponty’s phenomenology of perception, all

that can be appreciated in a diversity of ways and

building activities. It is an informal, tacit study of the

materials they engage within the built environment.

62

N

EXT...

63

Throughout the history of art and design movements

fabrics might be performative beyond an everyday

(see samples in Appendence: 3D Printing Experimentation

and derived from studio material explorations, the

inspiration drawn from nature is a recurring thematic

functionality, increasingly drawn to consider how

section). Not only new techniques and materials

research has evolved into creating a unique interactive

investigation. It is a way of celebrating nature, life and

that interaction with fabric can influence a person’s

but new ways of thinking all provided me with an

experience for people that inspires an awareness of

phenomena as being affirmed by designers and artists.

experiential reflection and their understanding of that

alternative creative space to start new conversations

material culture to provoke further thinking in how to

Most of the design works in this research are inspired

experience through the residual acts and action of

about the possibility of making and the potential of

engage and be involved more directly in the material

by specific elements and qualities within the natural

making.

materials. Concurrent with new techniques, it remains

world of our everyday lives.

world which have evolved to incorporate people-

vital to hold onto the preciousness of the skills and

oriented design concepts. Set in a contemporary

Participatory interactive making either with others or

tacit knowledge of our tacit hand, as every single trace

Finally, throughout the design experiments and

design context, Animating Material is a tacit study of

individually is key to a design framework that gives

is unique and dynamic.

outcomes, the intention was not only to find a way

the expressive and performative nature of materials

people an opportunity to re-discover the context of

in fabric, paper, bubble wrap, plastic trim, and plastic

things around them with respect to nature inspired

Looking forward to future experiments and

rich, vivid, and vibrant relationship of people and

straws, and plastic table cloth. It illustrated and

forms. By giving a site for making through simple

explorations, it is intended to develop a new collection

the material culture, the research also offers an

highlights the act of making in our everyday activities.

and/or complex actions and to reflect upon them is

of textile lighting installations based upon Light

alternative way of thinking through materiality, to seek

It enables a meaningful form of expression through

an opportunity within this research to rethink how

of Thoughts as ongoing practice-led research. This

opportunities for interactions, to engage differently

different materials.

to interact in the built environment. The designs in

project will continue with these new ideas and new

from ordinary familiar everyday acts, and to design a

Animating Material offered interactive experiences and

knowledge to expand and experiment in an active

bridge between humanness and materiality.

Within this practice-led research, the term

engagements. It has provided a way to explore and

dialogue between the body and space through the

performative means activated, responsive, and

re-recognize the material world by designing spatially

vitality of performative textiles.

animated. These qualities also reside within textiles:

variable ways of thinking as noted in the section

a textile cannot be performative without action,

Exploring vitality through materiality.

Within a contemporary design context, Animating

I believe that people care that all matter has life and

without response, without manipulation and

More importantly, practice-led research kept pushing

Material engages in interdisciplinary research across

all life matters.

without an interaction with people. In the research

the research forward into uncharted territory. 3D

fashion design and industrial design. This research is

Artifacts act.

process, introducing textiles to others through

modelling and 3D printing technology were brand

driven principally by an interest to reflect upon the

Humans respond.

installations allowed for an experimentation as to how

new experiments for me as a maker and designer

phenomenological experience for people. Originating

to balance, connect and communicate between this

I believe in the relationship between humans and
artifacts as harmonious symbiosis.

64

R
65

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L
71

ist of Figures

Figure 1. Light of Thoughts detail.

Figure 45. People’s written response to express their actions and feeling.

Figure 2. Material Swatch Book.

Figure 46. Some made configurations sitting on the floor plinth.

Figure 3. Diagram of Material Reflective Research method.

Figure 47. Some complex configurations that people made create different mood of the light

Figure 4-7. Inspiration images. Retrieved from Pinterest. (2017)

and shadow.

Figure 8-10. Navicula created by David Trubridge and his inspiration image. Retrieved from

Figure 48. Some less complex configurations of people made.

https://www.davidtrubridge.com/collection/lighting/navicula/

Figure 49. On the left configurations made by people during the first week of Graduation

Figure 11. Living with my studio work a photograph from studio.

Exhibition with part of the white fabric structure.

Figure 12-13. Volume 1 Waving Jacket.

Figure 50 On the right, configurations made by people during the second week of Graduation

Figure 14-16. Volume 2 Paper Wall.

Exhibition without the white structure as a fully open space.

Figure 17-19. Volume 3 Bubble Rain.

Figure 51. People put a pencil in the knot to interpret their perspective of understanding.

Figure 20-22. Volume 4 Marine Life.

Figure 52. Peoples written response.

Figure 23-24. Volume 5 Soft Concrete.

Figure 53. Living with my studio work, a photograph of my former graduate studio space.

Figure 25-26. Volume 6 Memory of future.

Figure 54-56. The living architecture of Philip Beesley”Radiant Soil” installation immerses

Figure 27-30. Volume 7 Light of Thoughts phase 1.

viewers in a state of “delicious vertigo”By Amar Toor on August 16.

Figure 31. Stop-Motion video recorded the movement of this dynamic form.

https://www.theverge.com/2013/8/16/4624738/radiant-soil-philip-beesley-architecture-

Figure 32. Material manipulation experiments with different fabrics.

installation-edf-fondation-paris

Figure 33. Light of Thoughts visual composite.

Figure 57-60. Studio Drift art works. http://www.studiodrift.com/work

Figure 34-35. Light of Thoughts close-up details

Figure 61. Material experiments timeline.

Figure 36. Light of Thoughts un-snapping the fasteners in a stop-motion sequence.

Figure 62. Material experiments with felting wool.

Figure 37. Light of Thoughts snapping the fasteners in a stop-motion sequence.

Figure 63. Peer review and workshop.

Figure 38. People interacting with the lighting site/installation to make their own

Figure 64. 3D print in silicone.

configurations.

Figure 65. 3D print in silicone under the light.

Figure 39. People picked up the material from the floor plinth.

Figure 66. 3D print in silicone with texture paths.

Figure 40. People talking and sharing with each other when making.

Figure 67. Screen shoot of Grasshopper for 3D printing.

Figure 41. Individually creating forms.
Figure 42. Cohorts and friends are invited to make their light configurations.
Figure 43. A child exploring the materials together with his parents.
Figure 44. A child intently looking at the work.

72

A

I. Precedents

PPENDICES

1. Kinetic Architectures & Geotextile Installations by Philip Beesley
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According to Beesley’s discussion in his work:
A key term for my pursuit is empathy. My use of this term draws upon
aesthetic theory that examines nuanced relationships involving projection
and exchange. Combining terms of mechanism and empathy, I hope
to develop a stance in an intertwined world that moves beyond closed
systems. By drawing upon recent revisionist readings of cultural history,
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I want to develop a sensitive vocabulary of relationships. In the terms of
figure-ground relationships the figures I compose are riddled with the
ground. (2010a, p.20)
Philip Beesley is a Canadian artist and architect. His research and exploration focus
on responsive architecture which takes the form of an immersive and interactive
environment that moves around its participants. His dynamic architectural
installation creates an environment that can actually ‘feel’ and ‘care.’ Beesley’s project
created a ‘Hylozoic Soil (2007)’ environment which is a function of a living system that
“allowed human interaction to trigger breathing, caressing and swallowing motions
and hybrid metabolic exchanges” (Beesley, 2010b, p.13). The project’s title ‘hylozoism’

Figure 54-56. The living architecture of Philip Beesley”Radiant Soil” installation immerses viewers in a state of “delicious

describes the ancient belief that “matter is animate and possibly even conscious; and

vertigo”By Amar Toor on August 16

that life is inseparable from matter” (Beesley, 2010a, p.30).

https://www.theverge.com/2013/8/16/4624738/radiant-soil-philip-beesley-architecture-installation-edf-fondation-paris

Precedents

2. Studio Drift

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Figure 57-60. Studio Drift art works. http://www.studiodrift.com/work

Studio Drift was established in 2007 by Lonneke Gordijn (1980) and Ralph
Nauta (1978), who both graduated from the Design Academy Eindhoven (NL)
in 2005. In their installations and interactive sculptures, the relationship
between nature/human/technology is key. Gordijn’s fascination for nature
and that of Nauta for science fiction and technology intersect in an intriguing
way. Over more than a decade of their existence, Studio Drift’s work in
product and furniture design has evolved into increasingly larger, often
site-specific and moving installations which they have realized all over the
world. The works occupy a wholly unique place between disciplines such
as tech art, performance, and biodesign. Data and algorithms derived from
natural phenomena often form the basis for Studio Drift’s work – the flight
patterns of a flock of birds, for instance. With the help of state-of—the- art
technologies they translate this data into poetic, meditative experiences. Their
ideas regularly anticipate technological possibilities (“Studio Drift,” n.d.).

II. Related Material Experiments

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Figure 61. Material experiments timeline.

Figure 62. Material experiments with felting wool.

Figure 63. Peer review and workshop.

III. 3D Printing Experimentation

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Figure 64. 3D print in silicone.

Figure 65. 3D print in silicone under the light.

Figure 66. 3D print in silicone with texture paths.

Figure 67. Screen shoot of Grasshopper for 3D printing.