Skin Stories: Charting and Mapping the Skin. Research using analogies of human skin tissue in relation to my textile practice.

The practice based research SKIN STORIES:: CHARTING AND MAPPING THE SKIN deals with issues across the fields of art, design, technology, biology and material science. In an attempt to bridge the gap between aesthetics and technology by investigating the potential of new and industrial materials, the epidermis is used as a metaphor for creating innovative textile surfaces which behave, look or feel like skin. As a result of theoretical enquiry and practical experiments, interactive design solutions have been developed to a prototype stage for possible application in domestic environments and public spaces as well as for integration into body related design concepts. The development of such functional and interactive textile membranes will hopefully enable individuals to experience a polysensual and responsive environment and it is this aspect which is considered to be an original contribution to knowledge in the textiles field. The aim of this written thesis is not only to illustrate the journeys and investigations made along the way and to demonstrate the outcome of the research, but also to situate the practical work in its cultural, critical and technological context. This thesis is accompanied by an interactive CD-ROM which is a visual representation of my 'research map' and holds a record of the practical work carried out during the research project. The ideas of the project SKIN STORIES:: CHARTING AND MAPPING THE SKIN have been developed and tested during a 3-year research programme towards a Ph. D. at The London College of Fashion, University of the Arts London

Organic User Interfaces for InteractiveInterior Design

PhD ThesisOrganic User Interfaces (OUIs) are flexible, actuated, digital interfaces characterized by being aesthetically pleasing, physically manipulated and ubiquitously embedded within real-world environments. I postulate that OUIs have specific qualities that offer great potential to realize the vision of smart spaces and ubiquitous computing environments. This thesis makes the case for embedding OUI interaction into architectural spaces, interior elements and decorative artefacts using smart materials – a concept I term ‘OUI Interiors’. Through this thesis, I investigate: 1) What interactive materials and making techniques can be used to design and build OUIs? 2) What OUI decorative artefacts and interior elements can we create? and 3) What can we learn for design by situating OUI interiors? These key research questions form the basis of this PhD and guide all stages of inquiry, analysis, and reporting. Grounded by the state-of-the-art of Interactive Interiors in both research and practice, I developed new techniques of seamlessly embedding smart materials into interior finishing materials via research through design exploration (in the form of a Swatchbook). I also prototyped a number of interactive decorative objects that change shape and colour as a form of organicactuation, in response to seamless soft-sensing (presented in a Product Catalogue). These inspirational artefacts include table-runners, wall-art, pattern-changing wall-tiles, furry-throw, vase, cushion and matching painting, rug, objets d’art and tasselled curtain. Moreover, my situated studies of how people interact idiosyncratically with interactive decorative objects provide insights and reflections on the overall material experience. Through multi-disciplinary collaboration, I have also put these materials in the hands of designers to realize the potentials and limitations of such a paradigm and design three interactive spaces. The results of my research are materialized in a tangible outcome (a Manifesto) exploring design opportunities of OUI Interior Design, and critically considering new aesthetic possibilities

Designing wearable sensors for Preventative Health: An exploration of material, form and function

The financial burden on global healthcare systems has reached unprecedented levels and as a result, attention has been shifting from the traditional approach of disease management and treatment towards prevention (Swan, 2012). Wearable devices for Preventative Health have become a focus for innovation across academia and industry, thus this thesis explores the design of wearable biochemical and environmental sensors, which can provide users with an early warning, detection and monitoring system that could integrate easily into their existing lives. The research aims to generate new practical knowledge for the design and development of wearable sensors and, motivated by the identification of compelling design opportunities, merges three strands of enquiry. The research methodology supports this investigation into material, form and function through the use of key practice-based methods, which include Participatory Action Research (active immersion and participation in a particular community and user workshops) and the generation and evaluation of a diverse range of artefacts. Based on the user-centred investigation of the use case for biochemical and environmental sensing, the final collection of artefacts demonstrates a diverse range of concepts, which present biodegradable and recyclable nonwoven material substrates for the use in non-integrated sensors. These sensors can be skin-worn, body-worn or clothing-attached for in-situ detection and monitoring of both internal (from the wearer) and external (from the environment) stimuli. The research proposes that in order to engage a broad section of the population in a preventative lifestyle to significantly reduce the pressure on global healthcare systems, wearable sensors need to be designed so they can appeal to as many users as possible and integrate easily into their existing lifestyles, routines and outfits. The thesis argues that this objective could be achieved through the design and development of end-of-life considered and cost-effective substrate materials, non-integrated wearable form factors and meticulous consideration of a divergent range of user needs and preferences, during the early stages of design practice

Full Proceedings, 2018

Full conference proceedings for the 2018 International Building Physics Association Conference hosted at Syracuse University

Design revolutions: IASDR 2019 Conference Proceedings. Volume 4: Learning, Technology, Thinking

In September 2019 Manchester School of Art at Manchester Metropolitan University was honoured to host the bi-annual conference of the International Association of Societies of Design Research (IASDR) under the unifying theme of DESIGN REVOLUTIONS. This was the first time the conference had been held in the UK. Through key research themes across nine conference tracks – Change, Learning, Living, Making, People, Technology, Thinking, Value and Voices – the conference opened up compelling, meaningful and radical dialogue of the role of design in addressing societal and organisational challenges. This Volume 4 includes papers from Learning, Technology and Thinking tracks of the conference

Street Furniture and the Nation State: A Global Process

In the popular imagination, street furniture has traditionally been understood as evoking a sense of national or local identity. From Paris’ metro entrances, DDR lampposts in Berlin, and London’s york stone pavements, the designed environment has been able to contribute to the unique qualities of a place. In some instances this was deliberate. In postwar Britain for instance, the Council of Industrial Design – a state-funded design organization - often appeared to measure the quality of street furniture on the basis of its national characteristics. On other occasions, the relationship between such objects and identity emerged accidentally. In Britain during the 1980s, for example, the replacement of Gilbert Scott's red telephone box with an alternative BT model provoked considerable debate. For many people, this act was not just a Conservative attack on nationalization and state-ownership, but also on the very fabric of British identity. This understanding of street furniture has retained its currency for many years, and cities across the world have used street furniture to provide a sense of visual coherency for neighbourhoods in need of new identities, strengthening their character and improving the public's relationship to them. In this way, street furniture has been employed as a cipher for the narrative of regeneration, in which - as a means of altering the identity of a space - street furniture can project a new face upon the street. Increasingly however, advertising companies are able to lever themselves into the street furniture market by offering to provide the service to the local authorities for free in return for advertising space. In offering this service, global companies like JC Decaux, Wall and Clear Channel command a huge amount of commercial power within the city. The excessive homogenization of street furniture coupled with the overwhelming presence of advertising which is increasingly sanctioned by local authorities keen to reduce costs, has resulted in the perception of poorer quality streets. Thus, the irony of regeneration is that by seeking to promote the unique identity of a city, many places often end up looking more and more alike. This paper will examine recent developments in the process by which the street is furnished and the agents responsible. It will specifically look at how these changes have affected the relationship between street furniture and identity, and equally the effect this process has had on understandings of national design histories. Clearly, evaluating contemporary street furniture through the lens of the nation-state is of very little value, since the international differences between street furniture are considerably less marked than they used to be. This extraordinary aesthetic convergence is partly linked to economies of scale - after all, just how many different kinds of bus stop can Europe afford to have? Yet it also reflects some of the challenges posed by globalization and privatization of public space. This paper will reflect upon that process, and how these bigger narratives increasingly affect the landscape of the street