Lumus

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LUMUS

Graduate Studies Department College for Creative Studies 201 East Kirby Detroit, MI 48202

MFA Thesis Graduate Studies: Color & Materials Design 2019–2020

CHANCE LAUVER MFA Color & Materials Design

Sally Erickson Wilson Advisor

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SPECIAL THANKS

To my wife Diedre, for the unwavering support.

Sandra Olave and Sally Erickson Wilson for the encouragement and guidance.

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Abstract

Lumus is the creation of an unexpected experience with an object

through the integration of lighting into nontraditional roles within the home goods sector. The goal of the project is to create an object that moves beyond what is expected from a traditional light. This is accomplished by creating a piece that is more than just a light but rather provides multiple benefits to the space and becomes one with the environment that it lives in.

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Contents RESEARCH

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What are Electronic Textiles ........................................................................................ 02 Literary Review..................................................................................................................04 Case Studies....................................................................................................................... 06 Sector of eTextile Industry............................................................................................. 14 Why Home Goods Sector............................................................................................... 16 Trends......................................................................................................................................18 Lighting Benchmarking...................................................................................................22 eTextile Sustainability Concerns.................................................................................. 30 DESIGN REFINEMENT

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Overview ............................................................................................................................. 34 Arduino Exploration......................................................................................................... 36 Form Language Exploration I...................................................................................... 38 Lighting Exploration........................................................................................................40 Lighting Integration......................................................................................................... 42 Material Exploration I....................................................................................................... 44 Advisory III Meeting Review......................................................................................... 46 Design Revision..................................................................................................................47 Design Revision - Acoustic Attributes...................................................................... 48 Material Exploration II..................................................................................................... 50 Form Language Inspiration........................................................................................... 54 Form Language Exploration II..................................................................................... 56 Felt Transparency Exploration..................................................................................... 58 Prototype I........................................................................................................................... 60 Prototype II.......................................................................................................................... 62 Design Conclusion............................................................................................................ 66 LUMUS CONCEPT

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BRAND & ENVIRONMENT DESIGN

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Logo........................................................................................................................................76 Logo Color Usage..............................................................................................................78 Color....................................................................................................................................... 80 Materials............................................................................................................................... 84 Environment Design......................................................................................................... 86 CONCLUSION Endnotes Image Notes Bibliography

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R RESEARCH DESIGN REFINEMENT LUMUS CONCEPT BRAND & ENVIRONMENT DESIGN CONCLUSION

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Research

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What are Electronic Textiles?

Lumus is the creation of an unexpected experience with an

object through the integration of lighting into nontraditional roles within the home goods sector.

Before we dig into how a textile can be interactive, first

we must learn what an eTextile itself is. Electronic textiles or generally referred to as eTextiles, is the name for textiles that integrate electronics into the textile itself, with the goal of the integration to be seamless from traditional textiles.

The objective is to design technology into everyday objects

allowing the user to interact with the device through an invisible or disappearing interface.

The goal of my work is to learn, prototype, test, and identify

current and future uses of eTextiles into the Home Goods sector. This will include further research into textile innovation and production processes which allows for the integration of technology into traditional fabrics, with the creation of a platform that incorporates a layer of functionality to the textile.

RESEARCH | WHAT ARE ETEXTILES

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eTextiles | Literary Review

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The first exploration in eTextiles is

properties.1 This form tends to be more of

understanding the landscape of the industry

a derivative of textiles than electronics.

and the jargon that is floating around to

Laminated e-textiles mean that you are

define the space as well as what an eTextile

printing or manufacturing circuitry on a non-

does.

textile substrate and then adding it to a textile

using sewing or bonding. This branch tends

According to Science Direct an eTextile

is a textile that is, or is part of, electronic

to be more of a derivative of electronics than

components that gives it the capability of

textiles.2

sensing, heating, lighting or transmitting

data. How can electronics be integrated

feature a combination of conductive material

into textiles? There are two main ways that

and non-conductive material that are

eTextiles can be created, embedded and

integrated to make a circuit.

laminated. Embedded e-textiles mean that

the circuit is knit or woven into the textile to

development of touch-sensitive textiles by

become part of the fiber of the cloth. This can

proposing novel interactive textile materials

also include directly printing a conductive

that can be manufactured inexpensively

pathway onto a textile to give it conductive

and at scale with standard textile weaving

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In general, eTextiles are systems that

Project Jacquard explores the

technology and equipment.3 The core of the

coming into direct contact with human skin,

textile manufacturing is yarn. Conductive

and to give the yarn a natural look and feel.5

yarns have a number of industrial applications

including construction of antistatic and heat-

approach to eTextiles then Project Jacquard

resistant textiles as well as ornamental uses.

and provides a more entry level example for

me to start my own exploration into eTextiles.

Project Jacquard developed yarns that are

zPatch takes a completely different

multi-component yarns that consist of two

zPatch is an eTextile patch for hover, touch,

structural elements. The core of the yarn is

and pressure input, using both resistive and

made of several strands of highly conductive

capacitive sensing. zPatch creates a sensor

thin metal wires, twisted at about five turns

that is material based that provides a thin,

per meter and braided with two strands of silk

soft textile that can be applied like a patch to

that preserve structural integrity of the yarn

a textile.6 This can allow for the creation of an

during the manufacturing process.4 This core

input channel on any traditional fabric but the

structure is then over-braided to protect the

zPatch project lacks the seamless integration

thin metal core from external damage and

that is provided through Project Jacquard.

abrasions, to strengthen the entire yarn in the tensile direction, to prevent metal wires from

RESEARCH | WHAT ARE ETEXTILES

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eTextile Case Studies

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The market for eTextiles is currently in its infancy with a small range of products that have

come to fruition. There are three companies that have explored embedded eTextiles, Jacquard

by Google, Shy Tech by BMW and H1 by Loomia. Each company has focused on different accepts of eTextile integration which range from conductive threads, fiber optic threads and output sensors.

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Jacquard by Googleâ„¢

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ShyTech by BMW

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H1 by Loomia

RESEARCH | CASE STUDIES

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01 Jacquard

by Google™

Jacquard by Google™ is the result of Project Jacquard and

creates a new dimension of interaction. From the very first touch, Jacquard feel familiar because the company’s focus was to add a new layer of connectivity and interactivity to things that you already know and understand.7 This is accomplished by using the Jacquard Threads, embedded electronics and intelligent software to create an eTextile that can understand gestures and communicate back using light and haptic feedback.8

The Jacquard by Google™ technology is seamlessly merged

with four Levi Trucker Jackets. This is accomplished by weaving the Jacquard Threads in the left cuff of the jacket and connecting the threads to a Jacquard Tag which is tucked into the left cuff and allows your mobile phone to be paired with the jacket. With your jacket paired to your phone, you can perform essential actions on the interactive cuff and receive alerts through the Tag, so you’re in control and connected without looking at your screen.9

RESEARCH | CASE STUDIES

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02 ShyTech

by BMW

Shy Tech by BMW is the integration of electronic materials

into the interior, which means that certain vehicle controls can be interacted with by using gestures on the surfaces of materials.

The project features both wood and textile integrated with technology through embedding techniques. This provides an out of sight yet always available technology which allows for the reduction of traditional switches and knobs in the interior.

BMW’s focus is to shift from technology heavy interior to

more of a people focused design. When driving in “Boost” mode, the control display can be operated using touch functionality.10 In “Ease” mode, the wooden surface of the center console can be used instead. Whenever any inputs are made, points of light follow the finger like magic, providing visual feedback.11 The shy tech also allows for controls to be placed in non-traditional locations which are less driver centric.

RESEARCH | CASE STUDIES

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03 H1

by Loomia

Loomia designs and manufactures soft circuit eTextile

systems for use in medical wearables, automotive interiors and outdoor gear. Loomia has entered the eTextile space with their debut jacket the Loomia H1. The jacket is a heated wool design powered by a two-hour battery and is washable by hand.12

From the outside the jacket looks and feels like any other

wool jacket on the market. But the heart of the jacket features a thin, flexible, wire free circuit board called the Loomia Electronic Layer (LEL).13 The LEL works as a plug-and-play component Ă la Gore-Tex or the YKK zipper, which clothing makers can integrate into their garments instead of having to build and test their own circuit board from scratch.14 The LEL is the true hero element as the jacket is a platform for Loomia to showcase their new soft circuit. The LEL is the brain that brings heating, lighting, touchsensing and data-transmitting capabilities to clothing.

RESEARCH | CASE STUDIES

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Sectors of the eTextile Industry

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Sectors include Automotive, sportswear,

patients. These industries also provide a

home goods, medical and fashion.

hefty challenge in creating a product that

can survive the wear and tear of being worn

eTextiles is an industry that is currently in

its infancy and is in the mist of being explored

as well as washed. There also are challenges

through a wide breadth of commerce. As

to the power supply and size of technology

shown through the literary review case

that is used which leave tech giants such as

studies the apparel industries is becoming a

Google and Apple more equipped to explore

leader in exploring the different materials and

this category.

applications for such technologies. However

it is not limited to clothing, exploration in the

is also investing into eTextile technologies

automotive, medical and home goods sectors

for basic vehicle cabin controls. While this

also offer exciting opportunities for this

industry brings the same challenges of

emerging technology.

integrating technology into the textiles, it

at least has the benefit of a power supply

In the apparel industry, eTextiles are being

The automotive industry, specifically BMW,

explored in high fashion, sportswear and

being provided by the vehicle. The home

embellishment categories. This is perhaps

goods sector also bring an intrigue area for

the most saturated market for eTextiles

exploration that has not seen much growth

across multiple categories of integration from

with eTextiles and provides an easier entry

conductive yarns, fiber optic filament and

point. This is due to the fact that the material

embedded technologies. The medical industry

can have a supplied power source similar to

can start to fall into the same category as

the automotive industry but does not need

the apparel sector as it explores embedded

the same durability of a product that is worn

sensors into textiles that can be applied to

or upholstered.

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RESEARCH | SECTORS OF ETEXTILE INDUSTRY

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Why Home Goods Sector

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With the selection of the home goods sector as the area of exploration, first an understanding

of what exactly the sector is has to be explored. The home goods sector is a category that relates to items purchased by individuals and households rather than by manufacturers and industries.

These companies make and sell products that are intended for direct use by the buyers for their own use and enjoyment. Home goods focus on offerings in furniture, textiles, art, electronics and home accessories which includes lighting. The home goods sector was chosen because many of the things in our homes have been there so long, we don’t even think about them anymore. With all the modern conveniences that we’ve grown accustomed to, these ones seem to get neglected. The last time the light switch was updated, all it got was flatter.15 Lighting is also an element that requires interaction for use and still revolves around the traditional light bulb that is screwed into the fixture to produce light. This exploration is providing an opportunity to try and reinvent the lamp and how a user interacts with it.

RESEARCH | HOME GOODS SECTOR

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Trend 01 Advanced Homes

Today’s consumers are informed, passionate and vocal about

what they need and expect from products. The idea of design for just designs sake is becoming an outdated viewpoint to these new consumers. With the continued advancements of technology taking over more of our daily lives consumers are expecting more from traditional “dumb’ devices. The concept of transparency for product, not only in materials but end of life and production will continue to become the expectation rather than a rarity.

The Smart Home market is expected to grow substantially in

the next decade through 2030, driven by increased adoption of smart devices, high importance of home monitoring and rise in the need for energy saving. The compound annual growth rates in the US Market are experiencing double digit growth from 2016 to 2018, at an astonishing rate of 31% as shown in figure 8.16 The

US GROWTH 31% CAGR

global compound annual growth rate of 12.02% will continue to swell as the market is expected to worth $151.4 billion by 2024.17

2016

Products that can incorporate smart capabilities that can provide ease of use, customization and efficiencies will continue to be of value for consumers.

US MARKET - C

There’s No Plac

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2018

2017

GLOBAL GROWTH 12.02% CAGR

USD 76.6 Billion 2018

USD 151.4 Billion 2024

CONNECTED HOMES

ce Like A Connected Home, McKinsey & Company, 2020

Smart Home Markets, Markets and Markets, 2019

RESEARCH | TRENDS

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Trend 02 Conscious Design

Consumers are pursuing items that are in tune with the earth. Searching

for pieces that are made from sustainable material that can be harvested again and again. Consumer interest in sustainability has been growing for years, with preferences shifting toward products and services that align with personal interests and beliefs. And the trend isn’t slowing. By 2021, Neilson expects sustainable-minded consumers in the U.S. to spend $150 billion on sustainable products.18 Focusing on how the materials are sourced, processed and dyed will be critical to their viability of the product for consumers as well as its post life options.

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Trend 03 Essential Design

As consumers, particularly Millennials, embrace minimalism, demand for simple,

fuss-free products will continue to grow.19 The idea of simplification through the integration of technology can seem like an oxymoron but it can provide a less is more approach for the design. Stripping a product down to the essential components as a way to rethink form and function allows for the cleaner aesthetic to the design.

Allowing technology sensors to perform multiple tasks instead of a cluster of analog control reduce the need for additional materials. Also invest in long-lasting materials that can withstand daily use and only get better with age.20

RESEARCH | TRENDS

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Lighting Benchmarking

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An understanding of the lighting market was undertaken specifically in the realm of non-

traditional lighting. It was crucial to explore what other designers are currently producing in the space and explore how the idea of Lumus could continue to evolve. BuzziSpace, Partisans and Pauline Plus Luis are three brands that are bringing new concepts to the lighting sector in very different ways.

01 BuzziSpace 02 Partisans

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Pauline Plus Luis

RESEARCH | LIGHTNING BENCHMARKING

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01 BuzziShade

by BuzziSpace

BuzziSpace creates furniture, acoustic and lighting solutions

that accommodate the demands of the changing workplace.21 While they are specifically in the home goods sector they produce curious lighting solutions using felt. Focus was put on one in particular, the BuzziShade. BuzziSpace creates elegant noise-reducing lighting solutions which spark a great concept for Lumus, how can a duality be brought to the light design.

The BuzziShade features a felt shade wrapped around a metal frame. It uses a traditional light bulb but the use of felt as a nontraditional shade brings the acoustic quality to the light

RESEARCH | LIGHTNING BENCHMARKING

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02 Gweilo

by Partisans

Partisans bring a completely different approach to their

Gweilo light. Inspired by the idea that light itself could be harnessed and manipulated to create a physical sculpture.22 The light is created from thermoformed acrylic that is lit by a LED light strip from the bottom. This again brings a duality to the piece by not only serving as a light but also as a sculptural element. The use of LED lighting strips breaks it from what we expect to traditional screwed in light bulbs.

RESEARCH | LIGHTNING BENCHMARKING

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03 Luciole

by Pauline Plus Luis

Pauline Plus Luis created a deconstructed light that features

suspended fabric that is lit from the bottom using a traditional light bulb.23 The use of the suspended fabric embraces the natural characteristics of the fabric, allowing it to curve back onto itself naturally and reflect the up lighting that is projected from the base.

RESEARCH | LIGHTNING BENCHMARKING

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eTextile Sustainability Concerns

One major challenge that has arisen

new, more innovative ways to better capture

through an advisor meeting has been

the focus of users.25 An area of contention

the environmental impact of integrating

moving forward in the prototype development

technology and textiles into one product.

is considering how the end of life impact will

This is already an area of heightened

affect the environment. Exploring ways to

concern for the textile industry as combining

integrate technology within the textile but in

electronics and textiles, which both are

a way that allows for it to be separated and

relatively short-lived mass consumer good,

recycled properly.

would intensify product obsolescence and

The Closed Loop Smart Athleisure

lead to even shorter service life. In the worst-

Fashion (CLSAF) is an example of responsible

case scenario, wearable technologies could

production of eTextiles. The CLSAF collection

amplify impacts on the environment, human

is a line of shirts that monitor the wearer’s

health, and societies through increasing

heartbeat and respiration. The eTextiles is

power consumption, of scarce resources and

a printed sensor technology using flexible

generating large streams of hard-to-recycle

substrates, the laminated sensors are

electronic waste.24 However, eTextiles could

designed to produce casual clothing using

also have a disruptive influence on current

traditional machinery.26 The textiles are

mass consumption patterns once they have

provided on a lease and recycle program that

become more mainstream. They could

creates a closed loop cycle for the textile. But

possibly help to slow down the consumption

in order to recycle the shirt the materials need

of new products by lengthening the product

to be separated which is one reason for the

lifespan. This could be realized for instance

lease and return program. The print has been

by manufacturing more durable materials and

designed to be delaminated from the textile

by increasing awareness and knowledge of

therefore separating the electronics and shirt.

correct maintenance and cleaning practices in

RESEARCH | eTEXTILE SUSTAINABILITY CONCERNS

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Refi RESEARCH DESIGN REFINEMENT LUMUS CONCEPT BRAND & ENVIRONMENT DESIGN CONCLUSION

Design finement

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Design Refinement Overview

The design ideation for Lumus has been

constantly evolving from the initial concept, through the understanding of programming using the Arduino software, to the use of rapid prototypes for form language, the exploration of materials and techniques that could be used to create the final piece, the technology exploration that could allow for the greatest result, as well as valuable feedback from the advisor panel during reviews.

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Arduino Exploration

My first exploration into the realm of eTextiles was to gain a working knowledge of

software development that is needed to control the electronic portion of the textiles.

Through my secondary research I gained an understanding into the techniques and programs that are being explored in the field to create sensors and wearable controls. I sought to gain this knowledge through prototype creation using the Arduino starter kit to familiarize myself with the process and capabilities of using the software.

The goal of working through the Ardunio starter kit is to gain knowledge into the

components involved to control microcontrollers, which perform like tiny computers and are what make objects interact. The Starter Kit walked me through the basics of using the Arduino in a hands-on way. The initial exploration taught me the electrical properties of voltage, current and resistance while gaining an understanding of the process to build the circuit on the breadboard which is a board that allows you to build circuits on. The project involved working with LED’s, resistors and switches to create simple interactive systems. These projects provide the groundwork to build the next stage of sketches.

As the project continued to evolve the opportunities for errors grew and the

need for problem solving arose quickly. As more and more components needed to be involved in the sketches, I found simple errors involving the breadboards to be a common occurrence. The intricacy of the codes needs to be exact for the sketch to run properly.

The final project with the starter kit involved creating a sensor from a piece of

aluminum foil. This project was very beneficial as it involved importing a library into the software to expand the capabilities to allow for capacitive sensors. It also gave exposure to an area that I am wanting to expand into for my eTextile exploration.

The ability to create a sensor from an object instead of a button allowing for a more seamless interaction with the material and removing the need for traditional analog controls.

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Form Language Exploration I

Rapid prototyping using chipboard

and paper allowed for a quick exploration into the form language for the concept.

This was valuable to move the ideas from sketches into a 3D form that allowed for the exploration of how and where the lighting and technology could be integrated into the final design.

The form language concept for the light

is built of a single piece of material that is manipulated to create the final aesthetic.

The use of one piece allows for a natural free flowing form and allows for an easier integration of lighting within the textile. The aim was also to reduce the amount of waste fabric used to create each piece.

During the first phase of form exploration

the piece took the shape of a spiraled element. Having the material curve around itself creating a lamp shade-like aesthetic that was either unraveling or spiraling onto itself as shown in figure 10. The inspiration was to create a sculptural form that mimicked a hanging piece of fabric.

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Lighting Exploration 01

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The next phase of ideation explored the technology that

almost any length and connecte

could be used to create the lighting element for the light.

They also provided the greatest

With the form language translating to a soft and malleability

language as well the greatest clu

aesthetic, it was important to explore options that allowed for

largest problem with LED light s

the greatest flexibility. As well as the exploration of how the

light creates as visible in image 0

technology could be integrated into the textile and create a

a defined circle of light instead o

soft, diffused light.

is expected with lamps.

The lighting elements that were explored through

The second exploration into

prototypes were LED light strips (01), LED lighting mats

similar results to the LED strips b

(02) and Electroluminescent panels (03). With the goal of

The mat allowed for a lower den

exploring to find the best option for light emitting, flexibility,

the same area of space and less

customization, light diffusion and integration.

shape. It also faced the same iss

The first exploration into LED light strips provided the

The LED mats would allow for ea

greatest ease of customization as the strips can be cut to

because each light would not ne

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ed together to create any form. flexibility to follow the form

other like the individual LED strips but that did not provide enough benefits to become a better option then the LED strips.

uster of lighting elements. The

Option number three provided a completely diffused

strips is the hot spot effects the

lighting source as the Electroluminescent panel produced a soft

01 and 02, which means there is

diffused light across the entire panel as shown in figure ??. But

of a diffused glow of light that

the Electroluminescent panel brought numerous challenges that hindered the product. While the Electroluminescent

LED lighting mats resulted in

panel is flexible, it was not as flexible as the LED light strips

but with a few more negatives.

and required a large amount of pressure to hold it in any form

nsity of lighting elements in customization to the size and

sues regarding light diffusion.

asier integration into the textile

that was not flat. The light emitting qualities were also very low and struggle to be able to shine through a textile. The Electroluminescent panel also did not allow for customization of the size.

eed to be reconnected to each

DESIGN REFINEMENT

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LIGHT DIRECTION

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Lighting Integration

With the conclusion of the three prototypes, the LED light

strips provided the greatest ability to integrate the technology and achieve the highest level of flexibility, customization, light emitting qualities.

Exploration was needed to explore the proper way to

integrate the LED Light strips within the material. The largest problem with LED light strips is the hot spot effects, which means there is a defined circle of light instead of a diffused glow of light that is expected with lamps.

Prototype were constructed that explored introducing a

diffusion fabric layer to help soften the lights. The final result concluding that multiple layers needed to be integrated between the lights and fabric. By layering the diffusion fabric would was the only way to achieve the soft light aesthetic in a tight space.

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Material Exploration I

In order to achieve the organic experience for the user, the integration of

all technology and lighting is to be embedded into the material itself. Allowing for an unexpected quality to the final piece when the lighting is turned on. To accomplish this, exploration into weaving was explored, specifically the use of a double weave on a loom.

The double weave involves the creation of two wefts on a loom as

compared to a tradition weft that has only one. The purpose of the double weave is to create pockets between each weft that allows for the integration of the lighting and in turn creates a seamless piece of fabric that has the technology embedded within it.

While the process of setting up the loom is very intensive and time

consuming it happened to fall during a critical review that would pivot the design thinking of the project. The third advisory review meeting would have a large impact in the direction of the project and halted the material exploration into the double weave process.

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Advisory III Meeting Review

The advisory review meetings provided a great opportunity to gain outside feedback and

questions regarding the project. This is critical as it allows perspective that the designer might not have thought of as they can become too close to the project and the final deliverable.

During the third review a heavy weighted question was asked that had a glass shattering effect for the project.

“Why does it have to look like a light?�

While the exploration into nontraditional light sources and form language had been a

priority for the design and aesthetic of the project, the exploration seemed to still evolve around the notion of what a traditional lamp looks like, as well as acted like. For the example that the form language was inspired to feel like a new take on a lamp shade by providing the lighting and technology within it and removing the need for a traditional light bulb and structure.

This started the exploration into thinking of the design as the end of the light bulb era

and how it could become more than just a light. Pushing the idea to explore the unexpected beyond the light and how to incorporate a duality to the final piece.

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Design Revision

With a change in mindset for the function and form of the final piece,

new exploration needed to be taken on the materials and form language for the concept. Investigation into a multi-purpose object for the home goods environment that could incorporate lighting as well as other attributes. This led to the idea of creating a form that would serve as an acoustic panel and lighting source. The goal is to create a large-scale form that continues to build off the natural form language associated with the first concepts but in a shifted viewpoint on being more a flat plane design that could be wall mounted.

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Frequency Determines the tone of the sound

Decibel Determines intensity of so

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the ound

Design Revision Acoustic Attributes

With the addition of acoustic elements to the final design more

exploration needed to be done in the realm of how acoustic panels function. Understanding how sound consists of pressure waves running through the air which can be described as energy, created by vibrations, transmitted through air or any other medium.27 Frequency is how sound waves travel and determines the tone of the sound. Decibel (dB) is the intensity of sound and is an indicator of background noise level. Why does this matter in the home environment? In today’s open floor plans the exposure of noise pollution is heightened. The level of noise can range from 60 to 80 dB, whereas the recommended background noise level is around 45 dB.

For the purpose of this project, focuses were put on three essentials

to define the performance of acoustic attributes which are density, size and shape.

Density refers to the mass and the volume of acoustic materials.28

Mid to High tones can be captured using felt products. These tones include noises such as speech, ringtones, clicking, and typing sounds.

Acoustically, size is critical, especially in terms of the air gaps or

cavities that the products have as this impacts the ability to trap sound waves.29

Just like size affects acoustic performance, so does shape. Creating

openings that are rounded in shape allow the core of the design to capture sound waves more efficiently.

DESIGN REFINEMENT

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The material u

into materials tha

sound absorption

Material Exploration II

lighting and tech

end of life use is a

An exploratio

and Cork (03). W

design, Cork coul

receiving sample

option for flexibil

and cork were als

01

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02

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used in the creation of Lumus now needed to have more qualities then just aesthetic. The exploration

at could bring multiple values into the home goods environment lead to the realization of adding

n qualities to the final design. The material also needed to be able to support the integration of

hnology and be able to be shaped and sculpted to a desired form. The narrative of sustainability and

also vital for the product as consumers are ever shifting to more environmentally conscious products.

on in sound absorption material led to three options for the design, Felt (01), Polyester Fiber (02)

While the Felt and Polyester Fiber continues the idea of a fabric material being used to create the

ld provide an unexpected quality as well as adjust the form language to a more rigid approach. After

es for each material, felt always seemed to be the direction that was leading the design. Having the

lity ruled out the cork and the lack of transparency that could be achieved with the polyester fiber

so strong negatives for each material.

03

DESIGN REFINEMENT

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Wool felt is one of the oldest man-made textiles. To produce felt, raw wool undergoes a wet felting process that involves matting, condensing and pressing the fibers. Felting is the natural characteristic of most animal fur to entangle and form matts.

Derivatives 100% Wool Production Needle Felt uses only mechanical operation to interlock the fibers together Features Non-woven fabric composed of interlocked fibers As a non-woven fabric, felt holds its edges and will not unravel when cut.

Non-directional, has no right side or wrong side, and the color is consistent throughout.

Can be obtained in various lengths, widths, densities and thickness.

Mouldability Naturally repels soiling and moisture The felt’s thickness and density also give it a structural quality Excellent insulator for both temperature and sound, suitable for both residential and industrial applications Sustainability Felt has a life cycle that is substantially longer than other upholstery material. And since wool felt is made of sheep’s wool and viscous staple fibers, this means that after the felt product has been used or become worn out, it can be safely disposed of as it is 100% biodegradable.

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Material Exploration II Eco-Felt

Felt provided the possibilities for flexibility,

the possibilities of creating a structured shape

moldability, sound absorption as well as being

without having to incorporate other materials.

the most sustainable of options. Being a wool

product, the material is produced without

eco-felt option was sourced from The Felt

harming the animal as the wool is sheared off

Company. The Eco-Felt is a 100% tan wool

of the sheep. The wool then can be turned into

product that comes straight off the sheep

felt by using two different forms of production,

with no post-processing or dyes applied. It

pressed or needled. Pressed felt is produced by

is washed, needled punched and pressed to

applying heat, moisture and friction to entangle

thickness. A 1/8 thickness was chosen for the

and bind the fibers together.30 Needled Felt

project. This allowed for a proper thickness

uses only a mechanical operation of punching

for the final piece after the felt is layered to

thousands of needles through the material to

create the final which will be explained further

interlock the fibers together.31 This produced

in the Form Language II section. The Eco-Felt

a non-woven product which is ideal because

also coordinated with the color scheme that

it allows the felt to be cut to any form without

was evolving for the project. Focusing on

having to worry about the material unraveling. It

naturally produced colors the cream and tan

can also be obtained in various width, lengths,

variation of the natural wool provides a light

densities and thickness. The thick quality of the

natural pallet for the light. Felt also features

felt is intriguing because it allows for a level

impeccable sounds absorption properties. The

of rigidity to the piece that creates a strong

absorption of sound waves is achieved by the

form along with providing the space needed

vibration of individual fibers within the felt.

to incorporate the lighting and controls. Felt

The energy is dissipated by frictional heat loss.

can also be molded to different forms through

Felt is ideal material for sound absorption due

wetting or heating the material. This provides

to its structural makeup.

For the creation of the Lumus light an

DESIGN REFINEMENT

53

The form language concept evolved through

the same process as the first phase through

Form Language Inspiration

rapid prototyping using paper, chipboard and felt. This allowed for the form to take shape quickly and efficiently. With the exploration into multiple form languages beyond a cylindrical shape with the concept of the final design being wall mounted, the goal was to continue to use a single piece of felt to create the final design instead of it being pieced together. Exploration into creating a flatter design that featured the felt rolling back onto itself was explored. For the intention of speed with the prototypes the paper

01

54

02

LUMUS

was folded to create the initial forms with the

communication rather than a pedantic or

final intention of the form to follow the natural

rational communication. Martha’s Brass

movements of the fabric.

Landscape 1907 design features elegance,

softness and simplicity to the brass sculpture.

Inspiration from various artists spurred the

evolution of each concept. Artist Pietro Conti

Cheryl Ann Thomas designs incorporate the

sculptures, which consist of metal folded in

concept of chance or happenstance into her

organic like forms that create a soft delicate

work. Featuring material like qualities the

expression, was the goal of achieving a rigid

forms appear to be fluid folds of cascading

aesthetic from a soft material with the final

cloth. These artists influenced the form

design. Martha Sturdy’s work which strips

language design as a quality of simplicity and

down forms and maintaining a dominant

natural respect of the materiality of the felt

scale was an inspiration for some of the softer

was desired.

elegant designs. Her work approaches physical

03

DESIGN REFINEMENT

55

02 04

01 03

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Form Language Exploration II

Once the general concept for the form language was

explored in paper and chipboard it was then transitioned into using felt. Creating form concepts in the final material allowed for the final evolution and understanding into the strength and weakness of the form. Through wetting and heating the felt’s different forms were able to be created. Wetting allowed for the felt to easily take a 3 dimension shape and maintain it. Allowing for the cyclincial explorations to take shape as well as explore the flatter concepts where the felt is rolled back onto itself as illustrated in image 01 and 04. Alternative form languages were also explored that were only achievable by using the felt. This involved molding the felt to a specific form as well as creating wrinkles and subtle various in the material as shown in image 03.

Heating and pressing the felt was explored for some

of the flatter form language. This allowed for the material to achieve the sharp angles similar to the paper forms as image 02 shows. While this provided the desired effect, it comes with negatives to the design. By creating a flatter form, it reduces acoustic qualities by not creating openings that are rounded in shape to allow the core of the design to capture sound waves. It also will reduce the available location to integrate lighting elements.

DESIGN REFINEMENT

57

Felt Transparency Exploration

Felt in itself, is a dense product as it is constructed from fibers that are

entangled together to create it. This provides challenges when attempting to use the material in a lighting environment, even at just 1/8� thick. Figure 23 shows an example of the felt when it is backlit with light as well as not backlit.

As you can see there is a minimal change in appearance as the material allows for a marginal amount to pass through it, but the nature of felt allows for this to be altered. Since it is a non-woven material it can be altered through wetting and stretching to change the density of the material.

STRETCHED FELT B

The Eco-Felt was wetted and stretched in an attempt to pull apart the

fibers of the material and reduced the density. During this process, great care was taken to only pull a small section of felt at a time to ensure that the material would not fail completely and result in holes. The felt was also periodically rolled to ensure a flat surface was maintained. The goal was to alter the density of the material which would allow for light to pass through it but not to alter the appearance of the felt when not lit. This not only would allow for the integration of the LED light strips but also sensors for the controls of turning the lights on and off as well as dimming the lights. Figure 24 shows the result of the manipulation while the felt is backlit and while not backlit. It successfully allows a generous portion of light to emit through the felt as well as maintaining the same appearance of the material before stretching it. This now allows for the creation of an acoustic lighting design that allows the light to glow from within the fabric thereby creating an unexpected experience with an object and softening the feel and interaction of technology with the user.

58

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FELT BACKLIT STRETCHED FELT B

BACKLIT

STRETCHED FELT NOT BACKLIT

BACKLIT

FELT NOT BACKLIT

DESIGN REFINEMENT

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60

LUMUS

Prototype I

For the construction of Prototype I the felt was scored

at the fold points to encourage the material to fold and follow the desired form language. This was done as an attempt to accurately follow the desired form language.

While it was successful for the form language it did not provide the proper feel for the felt material. This would be explored further in the second prototype variation of the design. The felt was tacked in place with thread at each fold point in order to hold it to the desired form. By allowing the material to continually fold back onto itself it covers up these stitch marks and creates large cavities.

This is essential to help increase the acoustic qualities of the design as well as provide the opportunity for lighting.

The lighting was embedded to the undersides of the

folds for the model. This allowed for the light to shine back onto the felt from the viewers perspective. It also allows for a radiant glow to emit from the piece providing a soft aesthetic to the piece as shown in the top image.

For the second version of Prototype I the same form

language was followed but allowed the material to control the narrative more by not scoring the folds. This provided a natural feel to the piece as well as create a rounder cavity to the form. This will improve the acoustic qualities by allowing the core of the design to capture sound waves more efficiently.

DESIGN REFINEMENT

61

For

a feeling

Prototype II

features

transpa

each lay

allow fo

lighting

62

LUMUS

Prototype II the form features a more subtitle effect then Prototype I. The goal was to achieve

g that the bottom corner of the design was peeled up to create the light. The prototype

s three layers of the Eco-Felt which allows for the integration of the LED lighting and the

arent felt piece. Figure 26 shows how each layer carries a different element to the design with

yered labeled. The prototype was critical to learn if layering the three pieces of felt would still

or a natural curve for the fabric, sufficiently emit light, ensure the proper placement for LED

g and ensure that there are no unexpected qualities from the design.

DESIGN REFINEMENT

63

The Three Layers Needed To Construct The Light. Layer three representing the transparent felt that emits the light with layer two providing the structure to contain the lights.

64

LUMUS

Prototype II

With the completion of Prototype II there were

numerous successes and learning moments with the design.

The form language was achieved even after each

piece of felt was adhered together. The success came from wetting each piece before applying the adhesive and then forming the piece while everything was wet, this allowed for the felt to shift when rolled and not cause any unwanted bunches or creases in the fabric. By wetting the felt it also allowed for it to be easily molded to the shape and maintained the form once dried. Layer 3 successfully allows for light to emit through it while also maintaining the same look and feel of the layer 1 and 2 as figure 27 shows.

The LED lights proved sufficient lighting for the

design but also brought some challenges. The lights still produced hot spots when shining through the felt. This will need to be addressed with diffusion fabric for the final piece. The light also brought an unexpected aspect to layer 1 by slightly shining through the layer. Exploration into a blackout material may be needed to insure there is no unexpected light pollution on the layer for the final design. The placement of the light also needs to move into the curve of the form more as Figure 28 shows. This will create a softer glow of light onto the piece from the viewpoint of the consumer.

DESIGN REFINEMENT

65

66

LUMUS

Design Conclusion

Through the design refinement a final design conclusion was

reached for the final concept. By looking at prototypes, material, lighting and form language explorations, an understanding into the best process to move forward could begin.

Prototype II featured the most promise for the form language

concept and interaction capabilities of the integrated lighting and sensor technology. The form also allows the greatest appreciation for the felt as it creates an elegant soft form that creates a simplistic stripped down approach to the design that is a reflection of the goal of the project. Not only is the form refined to the natural respect of the materiality of the felt through color, shape and feel, but integrating lighting and sensors to control the functions continues the minimalist approach to the design.

Reducing the traditional components, materials and shapes of what is expected from traditional lamps furthers this streamlined approach.

DESIGN REFINEMENT

67

C RESEARCH DESIGN REFINEMENT LUMUS CONCEPT BRAND & ENVIRONMENT DESIGN CONCLUSION

Lumus Concept

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LUMUS

Lumus Concept

The influence of conscious design is explored through

the color and materials selection for Lumus. As well as the decision made for the assembly style and technology integration for the final concept. The final design is a celebration of truth in material design by embracing the honest form of the materials and colors without changing their nature. This acceptance of the material and veiled integration of lighting strips the design to a simplistic form that creates an unexpected quality to the final design.

LUMUS CONCEPT

71

Satin Latour Pantone 720 C Pantone 9.28.40.0 230.187.153 #E6BB99 Dusty Moon Pantone 475 C Pantone 4.20.28.0 243.207.178 #F3CFB2 Cameo Rose Pantone 487 C Pantone 3.41.37.0 239.166.147 #EFA693

72

The material used for the construction

and structure of the felt as the light passes

of Lumus is an Eco-Felt that is one eighth of

through.

an inch thick. The material was chosen for its

natural form as it features no post processing

a translating of essential design through

or dyes applied. The wool simply comes off

color by embracing minimalism, fuss-free

the sheep, is washed, needled punched and

aesthetics. This is achieved by incorporating

pressed to the desired thickness. Felt was

natural, sustainable color options, which strips

ideal for its acoustic properties and natural

the products down to the elemental colors

ability to be molded to a desired form after

and invests in the natural characteristics of

being wetted. It also could be easily cut to

the materials instead of pollutant dyes and

the desired form without fear of unraveling

chemicals to alter the material. Satin Latour,

because it is a non-woven material. Felt also

Clear Moon and Cameo Rose are embracing

enabled fiber manipulation through a process

the imperfection of the felt, praising the

of wetting and stretching that allowed for a

natural feel of the material through its color

semi-transparent material that could allow for

and earthy tactility.

emitting light. This also exposes the beauty

of the material by highlighting the fibers

for Lumus continues to embrace the idea

LUMUS

The hue for Lumus revolves around

The assembly and lighting integration

of conscious design. The light is assembled

but also for their lifespan of 50,000 thousand

through three pieces of felt that are layered

hours which eliminates the need for wasteful

together. Each layer has a different purpose

replacements. The assembly process was also

and makeup for the final design. Layer 1 is

chosen with the end of life of the product in

a solid piece of unaltered felt that provided

mind. The layers can be undone which allows

the base for the LED light strips, wires .and

for each element of the light to be separate

sensors. Layer 2 provides the depth needed

and recycled.

for the lighting to be integrated as well as

provides air gap from layer 3 which creates

integrated together the final piece is wetted

room for a diffusion fabric that will soften the

and rolled into the final form of the light. By

light. Layer 3 features the transparent felt that

wetting the felt, this allows the material to

allows for the lighting to emit through the felt.

mold into the desired shape and once dried

Each piece is adhered using a natural nontoxic

becomes rigid. The final form takes an honest

adhesive to ensure the felt is compromised.

shape for the material by allowing it to guide

the design resulting in a soft rolled edge that

The LED light strips were chosen for

their qualities of light emitting, flexibility,

Once all the layers and elements are

emits light back onto itself when lit.

customization, light diffusion and integration,

LUMUS CONCEPT

73

B Envir RESEARCH DESIGN REFINEMENT LUMUS CONCEPT BRAND & ENVIRONMENT CONCLUSION

74

LUMUS

Brand & ronment

LUMUS

75

76

LUMUS

SECONDARY

PRIMARY

Logo

The logo was designed to feature elegance, softness and

simplicity. A reflection of the modern lighting design that embodies the brand.

Lumus features one primary logo and two secondary

logos that can be used in conjunction with the primary logo.

The logo should always be featured on a solid

background due to its elegant nature.

BRAND & ENVIRONMENT DESIGN

77

78

LUMUS

A

B

C

D

Color Usage

The color usage for Lumus is fairly minimal. The primary

color usage features the primary colors (A, D) when a dark background is present. When white or light background are available the logo should be featured in solid Deep Ocean color (B) or in black (C) when color is not available.

Clear Space

BRAND & ENVIRONMENT DESIGN

79

80

LUMUS

Color

Translating essential design through color by embracing

minimalism, fuss-free aesthetics by incorporating natural, sustainable color options for the lighting and environment hues. Stripping the products down to the elemental colors and investing in the natural characteristics of the materials instead of investing in pollutant dyes and chemicals to alter the material.

BRAND & ENVIRONMENT DESIGN

81

Deep Ocean

Myrtle Green

Satin Latour

Pantone 5395 C

Pantone 3302 C

Pantone 720 C

Pantone

Pantone

Pantone

89.73.56.67

90.47.65.40

9.28.40.0

13.31.44

2.78.72

230.187.153

#0d1f2c

#024E48

#E6BB99

Color

Satin Latour, Clear Moon and Cameo Rose are embracing the imperfection of the felt and

tactility. The tan hue for the felt comes from the lack of post-processing or dyes to the mater

to thickness. The light untreated birch wood adds another enhances to the juxtaposition from touch of Miami Deco flare into the palette.

82

LUMUS

Dusty Moon

Bonfire

Cameo Rose

Pantone 475 C

Pantone 164 C

Pantone 487 C

Pantone

Pantone

Pantone

4.20.28.0

0.63.78.0

3.41.37.0

243.207.178

255.127.64

239.166.147

#F3CFB2

#FF7F40

#EFA693

d wood, the design celebrates the natural feel of the material through its color and earthy

rials. The felt comes straight off the sheep, it’s then washed, needle punched and pressed

m the deep mysterious Deep Ocean and Myrtle Green backdrop. While the Bonfire brings a

BRAND & ENVIRONMENT DESIGN

83

Materials BIRCH WOOD

For edge trim and wood slat

accents on the walls.

3D PRINTED FORMS + HIGH GLOSS PAINT

Logos used throughout the

display COMPOSITE PANEL WALLS

Sing Core system that utilizes vertical

grain technology for structural stability, insulation, sound deadening qualities, all the while maintaining its non-warping qualities.

Provides a lightweight wall that can be easily constructed.

TEXTURED VINYL FLOORING

Durable and provides the opportunity to

carry the Lumus pattern across the floor.

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BRAND & ENVIRONMENT DESIGN

85

INSPIRATION

86

LUMUS

Environment Design

The goal for the environment design for Lumus was a

simplification of the home. Creating a minimal shape of a home like a child would draw. Allowing the consumer to visualize the featured product as a part of their household.

The environment provides an immersive experience to

the product. Creating an appealing and captivating story to the consumer that grabs their attention and encourages interaction.

The audience should feel welcoming and accessible.

Allowing ease of entry and exit into the space. Creating stages within the environment that illustrate what the product is, how it works and then the final piece.

Intuitively conveys what the product is and how it works.

This is accomplished through the integration of a full wall touch screen on one of the exterior walls. Invoking a sense of interaction with the piece.

BRAND & ENVIRONMENT DESIGN

87

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LUMUS

Environment Design Beginning:

Looking to engage the audience off of the form of the

product coupled with the changing color of the lights and the engaging environmental colors. Creating a simple and sophisticated environment through solid colors paired with birch wood accents and the subtle integration of logos and patterns.

Behavioral:

Looking to draw the audience in with an intrigue of “what

is it.� Evoking an interaction with the product to dim/brighten the light and play with the colors it produces.

Reflective:

Incite the idea of lighting becoming more than the

traditional concepts of home good lighting. As well as the characteristics that made the experience unique and engaging. Having the environment feel creates a visual that allows the consumer to envision the product in their own home.

BRAND & ENVIRONMENT DESIGN

89

Environment Design Front

A stripped-down

canvas is provided for the feature wall of the environment, allowing for the design to be the crown jewel that glows from the center. Framed by the birch wood edges and accent slats of the surrounding walls.

90

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BRAND & ENVIRONMENT DESIGN

91

Environment Design Back & Side

The back and side walls

feature two interactive elements to the environment. The side wall has a six-foot touch screen that provides information about Lumus and allows for custom alteration to the design. The back portion of the environment features the Lumus logo icon which features a subtle inlayed light to mimic the design qualities of the light. The main feature is the build in bench that allows consumers a space to rest as a well as provides a branded backdrop.

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LUMUS

BRAND & ENVIRONMENT DESIGN

93

Environment Design Detail of Design

The Lumus environment

features juxtapositions of colors and materials. The contrast between the saturated hues and birch is to provide a frame effect to the design. Logo’s and small details feature a high gloss finish that distinguishes them from the mate finish of the walls and wood. This allows for a pop effect through the monochromatic layering.

94

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BRAND & ENVIRONMENT DESIGN

95

Con RESEARCH DESIGN REFINEMENT LUMUS CONCEPT BRAND & ENVIRONMENT CONCLUSION

nclusion

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Conclusion

The aspiration for Lumus was to create an unexpected experience with an

object through the integration of lighting. Creating a design that moves beyond what is expected from traditional lighting by striping it down to its natural state of materials and form. The goal, as a designer, was to push the boundaries and pursue a truth in material type of thinking and allowing the felt to become the hero and driver of the design. The materiality led to multiple revisions to the concepts and a duality to the final piece beyond the idea of just lighting.

The desire of full integration of controls was cut short due to the inability to fully explore sensor technology and programing because of unforeseen circumstances. But the creation of a light that allowed for the integration of lighting that created an invisible element was achieved. Creating an unexpected experience with the design and the creating of textile that integrates technology within the material.

Lumus can continue to be evolved through the exploration of different

interaction design approaches to create various forms of interaction with the design. The form language could also continue with different aesthetics and scales that create lighting opportunities on ambient and direct lighting. The possibility of customization by the user creates numerous options for uses of the design.

CONCLUSION

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Endnotes 1 Madison Maxey. “A Brief History of E-Textiles / Soft Circuits - LOOMIA Soft Circuit Systems: E-Textiles.”

LOOMIA Soft Circuit Systems | E-textiles. LOOMIA Soft Circuit Systems | E-textiles, April 20, 2019 2 Madison Maxey. “A Brief History of E-Textiles / Soft Circuits - LOOMIA Soft Circuit Systems: E-Textiles.”

3 Ivan Poupyrev, Nan-Wei Gong, Shiho Fukuhara, Mustafa Emre Karagozler, Carsten Schwesig, and Karen E. Robinson. “Project Jacquard.” Project Jacquard: Interactive Digital Textiles at Scale, 2016.

4 Ivan Poupyrev, Nan-Wei Gong, Shiho Fukuhara, Mustafa Emre Karagozler, Carsten Schwesig, and Karen E. Robinson. “Project Jacquard.” Project Jacquard: Interactive Digital Textiles at Scale, 2016.

5 Ivan Poupyrev, Nan-Wei Gong, Shiho Fukuhara, Mustafa Emre Karagozler, Carsten Schwesig, and Karen E. Robinson. “Project Jacquard.” Project Jacquard: Interactive Digital Textiles at Scale, 2016.

6 Strohmeier, Paul. Jarred Knibble, Sebastian Boring, Kasper Hornbaek. “zPatch: Hybrid Resistive/ Capacitive eTextile Input, 2018.

7 “Jacquard by Google - Technology.” Google. Google, n.d.

8 “Jacquard by Google - Technology.”

9 “Levi’s® Trucker Jacket With Jacquard™ By Google - Dark Wash: Levi’s® US.” Levi’s® Trucker Jacket With Jacquard™ By Google - Dark Wash | Levi’s® US, n.d.

10 The BMW Vision iNEXT. Future focused.

11 The BMW Vision iNEXT. Future focused.

12 Maghan McDowell. “Why Electronic Garments Are the next Fashion Frontier.” Vogue Business.

13 Maghan McDowell. “Why Electronic Garments Are the next Fashion Frontier.” Vogue Business.

14 Madison Maxey. “An Intro to E-Textiles / Soft Circuits - LOOMIA Soft Circuit Systems: E-Textiles.”

LOOMIA Soft Circuit Systems 15 Annelise Schoups. Why is Nest Called Nest? Rewind & Capture. 2017 https://www.rewindandcapture.com/why-is-nest-called-nest/ 16 Kabir Ahuja, Mark Patel. There’s No Place Like a Connected Home. McKinsey & Company. 2019 https://www.mckinsey.com/spContent/connected_homes/index.html 17 Kabir Ahuja, Mark Patel. There’s No Place Like a Connected Home. McKinsey & Company. 2019 https://www.mckinsey.com/spContent/connected_homes/index.html 18 The Evolution of Sustainable Mindset. Nielson. 2019. https://www.nielsen.com/us/en/insights/report/2018/the-education-of-the-sustainable-mindset/

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19 10 Key Trends for 2020 Furniture and Lighting. WGSN. 2020 20 10 Key Trends for 2020 Furniture and Lighting. WGSN. 2020 21 Happy & Healthy Workspace. BuzziSpace. 2020 https://www.buzzi.space/brand 22 Reimaging the Source of Light as a Sculpture. Lightform. 2018 http://lightformblog.com/gweilo/ 23 Luciole. Pauline Plus Luis. 2020 https://paulineplusluis.com/LUCIOLE 24 Jenna Vaajakari. How Sustainable is Wearable Technology. Medium, 2018 25 Jenna Vaajakari. How Sustainable is Wearable Technology. Medium, 2018 26 Paula, Veske, Kristi Kuusk, Marina Toeters, and Barbro Scholz. 2019. “Environmental Sustainability of Etextile Products Approached by Makers and Manufacturers�.

27 Understanding the basics of noise reduction. BuzziSpace. 2020. https://www.buzzi.space/noise-reduction/noise-reduction-basics 28 Understanding the basics of noise reduction. BuzziSpace. 2020. https://www.buzzi.space/noise-reduction/noise-reduction-basics 29 Understanding the basics of noise reduction. BuzziSpace. 2020. https://www.buzzi.space/noise-reduction/noise-reduction-basics 30 Felt Characteristics. The Brand Felt LTD. 2020. http://brandfelt.com/resources/charasteristics-of-felt 31 Felt Characteristics. The Brand Felt LTD. 2020. http://brandfelt.com/resources/charasteristics-of-felt

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Image Notes Images without a Note were created by Chance Lauver for Lumus PAGE #

02 Jacquard by Google™. https://atap.google.com/jacquard/technology/ 04 Jacquard by Google™. https://atap.google.com/jacquard/technology/ 05 zPatch. Strohmeier, Paul. Jarred Knibble, Sebastian Boring, Kasper Hornbaek. “zPatch: Hybrid Resistive/Capacitive eTextile Input, 2018 06 Jacquard by Google™. https://atap.google.com/jacquard/technology/ 06 BMW ShyTech. https://www.bmwgroup.com/en/innovation/bmw-vision-i-next.html 07 Loomia. https://www.businessinsider.com/loomia-startup-electric-fabric-ethereum- token-sale-2017-9 08 Jacquard by Google™. https://atap.google.com/jacquard/technology/ 10 BMW ShyTech. https://www.bmwgroup.com/en/innovation/bmw-vision-i-next.html 12 Vogue Business. Maghan McDowell. “Why Electronic Garments Are the next Fashion Frontier.” Vogue Business. https://www.voguebusiness.com/technology/loomia-heated- electronic-jacket-etextiles.

12 Loomia. https://www.loomia.com/ 12 Loomia. https://www.loomia.com/ 15 Jacquard by Google™. https://atap.google.com/jacquard/technology/ 15 Nottingham Trent University. https://www.ntu.ac.uk/research/groups-and-centres/ projects/electronically-active-yarns.

16 Alexandr Tyan. https://www.behance.net/alexandr_tyan 19 Chris Barnes. https://www.behance.net/chris_barnes 19 Nest. https://store.google.com/us/category/google_nest?hl=en-US&GoogleNest&utm_ source=nest_referral&utm_medium=google_oo&utm_campaign=GS102516 20 O Stool. https://store.leibal.com/products/o-stool 21 Lemanoosh. https://lemanoosh.com/tagged/bmw/ 22 BuzziSpace. https://www.buzzi.space/products/buzzishade 22 Light Form Blog. http://lightformblog.com/gweilo/

23 Pauline Plus Luis. https://paulineplusluis.com/LUCIOLE

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24 BuzziSpace. https://www.buzzi.space/products/buzzishade 24 BuzziSpace. https://www.buzzi.space/products/buzzishade 24 BuzziSpace. https://www.buzzi.space/products/buzzishade 26 Light Form Blog. http://lightformblog.com/gweilo/ 26 Light Form Blog. http://lightformblog.com/gweilo/ 26 Light Form Blog. http://lightformblog.com/gweilo/ 28 Pauline Plus Luis. https://paulineplusluis.com/LUCIOLE 28 Pauline Plus Luis. https://paulineplusluis.com/LUCIOLE 28 Pauline Plus Luis. https://paulineplusluis.com/LUCIOLE 30 Medium. https://medium.com/datadriveninvestor/how-sustainable-is-wearable- technology-88608a932cb4 40 LED Light Strips. http://gabbagoods.com/glow-10ft-white-led-light-strip/ 40 Printing News. https://www.printingnews.com/trade-services/consumables- supplies/product/10093807/3m-commercial-graphics-3m-led-help-and-3m- flexible-light-mat 41 Adafruit. https://www.adafruit.com/product/414 44 Double Weave. https://schachtspindle.com/getting-started-with-double-weave/ 48 BuzziSpace. https://www.buzzi.space/ 48 Felt. https://www.archiproducts.com/pt/produtos/hey-sign/biombo-em-feltro- de-la-wave-biombo-em-feltro-de-la_158409 51 Cork. https://www.atrafloor.com/floors/cork/ 54 Pietro Conti. http://pietroconti.de/#skulptur-2015 54 Martha Sturdy. https://marthasturdy.com/ 55 Cheryl Ann Thomas. https://www.danesecorey.com/artists/cheryl-ann-thomas 70 Original Alexandr Tyan, Modified Chance Lauver. https://www.behance.net/ alexandr_tyan 72 Original Japenese Ceramics, Modified Chance Lauver. https://www.behance.net/ gallery/92143153/Japanese-ceramics-CGI-exploration

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Image Notes PAGE #

80 Abstract. https://k9b.tumblr.com/ 80 Fade. https://filesaveas.co/tagged/pink 80 Wave. https://benbentobox.tumblr.com/post/170640053145 86 Sammode Studio. https://www.sammode.com/en/ 86 Pentagram. https://www.pentagram.com/ 86 Zinus. https://www.zinus.com/products/trisha-steel-low-profile-platform- bed-rame-with-headboard 86 Vonderhude. http://www.vonderhude.de/1-0-Portfolio.html 86 Leeds College of Art and Design. https://www.creativebloq.com/graphic- design/new-talent-leeds-college-art-degree-show-2015-61515218?page=1 100 Original Japenese Ceramics, Modified Chance Lauver. https://www. behance.net/gallery/92143153/Japanese-ceramics-CGI-exploration

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