MPHIL THESIS

A Surface Dialogue:

Electronically responsive surfaces in the built environment

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Rachel Joanna Wingfield

MPhil

Textiles

2002

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Research Abstract

The research explores electronically responsive, light emitting surfaces as a form of visual communication in the built environment. This is done by a technical investigation into advancing flat display technologies that digitalises interior surfaces and textiles. The basis of the practical work is formed through the integration and application of electroluminescence and light emitting polymers to interior textiles and surfaces in order to create reactive, sensed environments. By programming and using electronic sensors, a surface can become intelligent and responsive to its surroundings. It can provide a visual reflection of its environment making evident the dialogue between space and occupancy, reflecting and enhancing the activities of social behaviour. The prime objective in this research is to explore the interactivity between people and spaces. Without the presence of people many of the surfaces created remain inactive. It aims to address the point where ambient space ends and surface begins bringing a new depth to otherwise dormant, decorative materials that contain space. A main emphasis is on domestic living spaces with research into how technology has played a part in enhancing and advancing our habitat. The primary research will be contextualised by exploring existing examples of automated intelligence.

Introduction This text documents both the theoretical study and the practical outcomes of the integration of flat display technologies to interior textiles and surfaces. The main body of practical work has been broken down into smaller projects that explore specific interactions and modes of expression. One of the key premises examines how light is used to relieve the problems of sufferers of seasonal affect disorder, SAD. In these cases, the absence of daylight causes medical problems ranging from depression to migraines. Light has a profound impact on our emotional being and by integrating light sources into our everyday objects and surfaces we can enhance our lives for a sense of well being. Surfaces can adopt the role of illumination and take on the form of an interface that can communicate and respond to external stimuli. Another element of this work is to look at light as a silent communicator that aims to reduce unnecessary noise levels within domestic and public spaces through the visualisation of sound. By using technology that detects electromagnetic waves with a display/ light output a mapping of the invisible is possible; be that noise levels or electromagnetic waves from mobile communication systems with the unseen flow of data from information technologies.

With a background in printed textiles the aesthetic relationship between image, surface and texture has been a key element in developing prototypes. Current work is based on an extensive investigation into chemically active printing inks such as microencapsulated photochromatic inks that respond to temperature change, phosphorescent and ultra violet inks. This led to a realisation that almost any illuminating function could be integrated into a textile surface.

With the advances already made in the electronics industry, such as the miniaturisation of components, conductive fibres and electronic inks, textiles and surfaces are eminently suitable to house electronic devises. For example, one previous piece of work contained a simple LED electronic circuit within the fabric, which then illuminated specific areas of a print. Each fibre or yarn that forms the structural element of cloth can be enhanced with the ability to conduct electricity giving it the means to trigger sensors and switches. This integration and possible merging of previously unrelated industries has major implications and relevance to the evolving function of textiles. Much media interest has been generated as the prospect of leaving behind the hard black boxes that encase today’s electronics are gradually being replaced by the tactile nature of fabric.

The initial stages of the research challenged the existence of the light bulb by testing the potential and viability of embedding light through a printing process. This is possible with the use of electronically responsive polymers. The light bulb is a perfect metaphor for electricity and the invention of a technology that has revolutionised the way we live today. Why not integrate present display technologies that have the ability to emit light with the same amount of lumens as the incandescent bulb. This could create an interactive luminous source, with flexible ambiance and economic use of energy that interacts and responds with its environment.

The practical work produced has a strong reference to the historical solutions of applied interior coverings, using traditional surfaces with a strong emphasis on functioning decoration. This is in line with the idea that we don’t always have to change form to create some thing new. The principal aim is integration, combining inherited decorative and textile construction techniques with processes from the electronics industry. This research explores the functions of applied surfaces within the built environment, with a particular emphasis on the domestic space. It looks at the historic solutions we still relate to today as surfaces play an adorning, protective function. Textile surfaces within the interior are multiple, including upholstery, curtains, blinds and wallpaper. These applications form the skin of spaces and objects in our homes. Interior coverings offer us the facility to become highly intelligent membranes with various electronic sensors integrated.

It is important to question what surfaces are and how they can be used as a communicating interface within a space. These ideas can be contextualised by looking at the current work of designers and architects working with responsive materials in the built environment.

Chapter 1

1.1 Surface Function, Reactive surfaces 1.2 LEPs Light Emitting Polymers 1.3 Electroluminescence

1.1 Surface Function, Reactive surfaces

This chapter deals with the interactivity and reactivness of surfaces in the built environment, where a surface responds to an external input. In this case the external input is always electronic and the interaction detected by electronic sensors integrated into the surface. In other reactive surfaces the metamorphosis can be very physical and composite to the material. The changing of colour, texture or shape, images that warp and double as illusions are created on a surface that appear to come to life. This is often demonstrated in retail display where shop windows transcend from transparent to opaque, a most recent example of this can be seen in the Knightsbridge Karen Millen shop. Surfaces have the ability to experiment with that ‘fourth’ dimension of space, virtual reality. Surfaces become expressive tools to be used by designers and architects as a whole array of interactions are possible. This section will be discussing the possible functions of this two dimensional world that every textile designer is faced with. But firstly how do we define and conceive a surface? The Internet oxford dictionary definition gives us: “The exterior part of anything that has length and breadth” “The outer or the topmost boundary of an object” “A material layer constituting such a boundary” Where as the MIT book on materials and technology ‘The Materials of Invention’ 1989, defines a material surface as: “the location of the point where an object material ends and the surrounding ambient begins” ‘ Ezio Manzini introduced the concept of reactive surfaces in this book with the notion that surfaces can evolve to become intelligent membranes that sense and respond to external stimuli. Surfaces can be thought of a final layer of atoms, the skin, that constitute and contain the object. Skin can be seen as the ultimate example of an intelligent, interactive surface, receiving intricate information from its surroundings and delivering this data to the central control system, the brain. Professor Ezio Manzini is the Director of Design at Domus Academy and was one of the first design analyses, in the early eighties, to use the analogy of product surface as a skin. He studied the function and sensitivity of skin and sought to bring this intelligence to the exterior of objects. This is now a relatively dated concept that is increasingly being realised as the demand for intelligent objects grow.

In this case luminosity is taken as the surface function or output and explores the ethereal quality of light, as it has the power to flirt on the boundaries of physical or virtual. It is this eminence of light that fascinates just as the illuminated animation from a television or monitor has a physically changing activeness that depicts a created world with space and structure. So too can a textile hover on this parameter of virtual, portraying an illusion. A surface is also an interface for our material world giving access to the virtual fourth dimension.

“The surface of objects should grow in importance, becoming itself an interface, filter and privileged location of exchange and information”

Surface treatments can significantly alter an objects identity, bringing a mutable aesthetic reality to today’s products. The history of reactive surfaces, named ‘the special effects of the narrative dimension’ by Clino T Castelli for the Italian Design Journal Interni, can be seen with the reduction of television screens to a two dimensional structure. The work of Conceptualist Artist Bill Viola in a recent exhibition was provoking in his use of Sony’s new ultra thin plasma screens to give the illusion of a still photographic portrait. These portrait video films were slowed down and appeared to be conventional stills that on closer inspection were moving and alive as one figure broke into a slow yawn.

Japanese designer Tokujin Yoshioka is one example of the experimental new breed of designer being drawn to the allure of the ‘special effects’ of surfaces focusing on materials and effects rather than the form of the object. His surface creations play with space as can be seen in his recent project for Issey Miyake’s Boutique in Tokyo, which is famous for it’s windows that duplicate the images of the garments on display. The Mori building, again in Tokyo, is characterised by a façade in special effect glass that plays with the spatial dimension as a visual inside/ outside interaction created by the illusion of the floor rising at angles. Another designer using reactive surfaces as special effects is Matthew Sindall, who has covered his ‘Chaise Chromatique’ with a lenticular film with normal associations with moving cartoon images found in cereal packets and cheap advertising gimmicks. The chair changes its image as you walk around it and the colours shift from violet to red then green giving the appearance of a virtually projected object, playing with the illusion of animation. Artists are also using the effects of interactive surfaces as can be seen with projects such as Moller’s ‘Electronic Mirror’. Where a full-length mirror with an integrated sensor shows your reflection at a distance in space and then as you move closer the mirror becomes an opaque surface.

Figure 01, Electronic Mirror, 1993, Christian Moller

There has been a recent technological advance in the field of surface function and performance with particular relevance to wearable technologies in textiles. Inter-active fabrics and surfaces are finding applications in an increasing amount of consumer items, for example, research and development companies such as Electex who have developed a flexible textile based keyboards for use in the computer market. Material science research of the past twenty years has also delivered fibres of unequalled strength and function. These smart, interactive and thermally active fibres and textiles are changing the preconception of textiles as an inert material. The study of reactive surfaces has lead this research on to exploring the developments of flat display technologies, which themselves are a perfect example of electronically responsive surfaces, waiting to be applied to a new area of industry.

The technological side of this study explores the range and advances made with flat display technologies and assesses their potential application and integration within interior textiles and surfaces. It is the cross pollination of industries that push these technological and often industrious advances into unprecedented spheres of multifunctional products. The potential of these flat, active displays to the art and design world offer an exciting future with a new form of creative digital expression.

Printed circuitry can be viewed as a special surface treatment, as it is an applied secondary function to an existing surface. It is now possible to print formerly three-dimensional components onto a two dimensional surface. This electronic utility is integral to the material and it is possible to inject mould these materials, allowing new forms to be created. The very function of electronic objects, such as mobile phones, televisions and computers, can be integrated into the material itself, therefore challenging existing shapes and forms as opposed to a structure of casing and protecting the electronic circuit. Transfer printing is the technology utilised in these instances alongside the meeting of thermoplastic substrates.

The flat display technologies to be discussed are light emitting polymers (LEPs), Liquid crystal displays (LCDs), electroluminescence (EL), on which much of the practical side of the research has been concentrated. These evolving displays are to replace the cathode ray tubes (CRTs), which have been present ever since the birth of television. The bulky technology, which fills the monitor box, has many drawbacks, it consumes a large amount of power (150w for 17 inch monitor) making it economically inefficient and it has been proven to be harmful due to the frequency of the magnetic field in conjunction with the high voltage electric field.

A number of the above displays have the potential to replace the conventional television and computer screen and huge investments are being made by multinational companies into developing a highly flexible screen. A new design potential has been opened up and it is predicted that within a decade the computer screen will be so thin and flexible it can be folded up and put into your pocket like a handkerchief. The BBC Tomorrows World has predicted that we will have ‘TV wallpaper’ with changing images and video links that will be globally networked. It is also suggested that display screens are to be integrated into our clothing with camouflage capabilities, constructing an image from your surroundings picked up by a camera that allows the wearer to blend into the background, and many more seemingly futuristic concepts. These forecasts involve integrating electronics with textiles and they deal with the same surfaces qualities as they rely heavily on flexibility and tactility, which are inherent attributes to the cloth industry.

1.2 LEPs, Light emitting polymers and their market potential

Plastics have long been controversial materials, frequently criticised as the epitome and symbol of over consumption and waste. Today’s plastics however, challenge these preconceptions with a new family of ‘conjugated’ polymers being developed whose structure gives them the ability to conduct electricity and turn it into light. This revolution offers us ultra thin flexible ‘plastic’ TV screens, printable light sources and electrical components. The electronics industry has seen a great shift towards polymer-based components such as LEDs, sensors, and transistors, and it is predicted that these active polymers will replace silicon in many electronic devices in the near future.

There have been numerous advances in the field of electro-active polymers with an increasing relevance to textile surfaces. Flexibility and a two dimensional plane is becoming foremost in the display market. This research investigates physically active polymers and their application to a textile surface. Cambridge Display Technologies have pioneered this technology from the time when they first discovered the semi-conducting polymer in 1982. They now lease this patent to a large number of companies such as Philips, NEC Corporation, Samsung, Sanyo, Seiko-Epson and Pioneer.

It was in February 1998 that Cambridge Display Technology and Seiko Epson revealed the first plastic television screen to the market, it was a 50 Millimetres Square and only two millimetres thick. The screen can be viewed from all angles without distortion. The companies predict that a full-size colour TV screen will soon be ready for the market, overtaking the plasma screen. Philips Components estimates that LEP will take 10 times less power than existing light emission displays. Its most immediate and commercial application will be manufactured for small displays such as digital readouts on electronic devices. With further technological advances, however, the LEP industry would like to apply the technology to large area applications such as high-resolution flat panel displays.

The initial focus of this research was based on the development and application of this technology to the lighting industry. The polymer could have the potential to revolutionise not only the display market but lighting design as well. It is a recent development that manufacturers of LEDs and LEPs have made significant effort towards creating white light that is suitable for general illumination. Having interviewed the Director of this company, Dr Richard Friend, it has been learnt that a lighting prototype is under development between the light bulb manufacturers Osram and Cambridge Display Technology.

While progress has been made in producing white light with LEPs, problems still exist. The different emissive materials required for white light age at different rates. Recently, researchers have demonstrated that highly efficient white light emission can be obtained by combining the LED and LEP technologies. LEP manufacturers have yet to solve the current issues of low efficiency and short operating life. The successful development and commercialisation of solid-state white light sources that are more efficient than tungsten lamps would clearly have a major impact. These devices would have longer life span, increased heat resistance, higher energy efficiency and are far cheaper to produce.

The lighting industry has seen a shift from the use of conventional light sources, often using damaging chemicals in the manufacturing process, for the research and development of new and advanced lighting technologies. In Japan, their effort is focused on developing efficient ultraviolet LEDs and it is predicted that they will eventually replace the incandescent and fluorescent lamps within five years. Organic light emitting diodes, OLEDs, are another form of a flat display technology and are a direct development from the LED technology. Light is generated in a similar way with a polymer forming the active light emitter.

1.3 Electroluminescence

Luminescence is a low temperature light emission that has always been present in our material world, for example the glow from bacterial life and insects such as glow worms. The first example of an artificial luminescence occurred in Paris in 1936 when George Destriau applied an electric charge to phosphorous powders sandwiched between sheet metal electrodes, he had discovered the first electroluminescent phosphor.

During World War 2 further research was carried out on various phosphors for military applications. This material was first utilised by the aviation sector to illuminate the aircrafts and later a transparent conductive coating was developed for de-icing the aircraft windshields. This phosphorous technology has been further developed allowing an image to be printed and illuminated with a large number of thin and flexible applications, such as the illumination of watches, mobile phones and providing back-lighting for laptop computers and pagers.

Electroluminescence (EL) is a flat and flexible technology that is cool to the touch, generating up to 97% less heat than conventional display / light sources. When an alternating current is applied it emits a consistent and even illumination. The phosphor is electronically charged and loses this energy in the form of light. The natural colour of light from the phosphor is a crisp blue/ white, yet by varying the chemical composition and adding dyes almost any colour of light can be achieved.

Figure 1, Electroluminescent screen printing laboratory at EL Technology Ltd in Leicester. November 2001

Figure 2, Electroluminescent electronics laboratory at EL Tech Ltd in Leicester. November 2001

The advantages of EL to other light sources are numerous. It can illuminate unreachable areas, as it is thin (0.3mm) and flexible. Architects wanting to highlight special architectural features often exploit this advantage. EL is also very robust as it can be folded and rolled up without damage, giving credence to the concept of EL taking on a textile/wearable quality. It is a very economical material with low energy costs and low power. It is also safe to the touch, generating no heat. EL is manufactured to have consistent and even illumination that has crisp visibility for miles. Signal sequences with the use of sensors can also be used to give the material an interactive quality.

Figure 3, EL matrix display, front Figure 4, Matrix display, reverse November 2001 November 2001

This research has focused on the current advances being made in the EL industry and a number of industrial contacts have been made in order to realise the practical work. British manufacturers Elumin Ltd, Kleenkut Ltd, DuPont^? Photopolymers Dept and EL Technology have all supported the research by way of material sponsorship. There is a growing interest in developing textile-based displays and cross-disciplinary collaborations are being viewed more seriously. The American based firm, Elastolite, have been at the forefront of EL printing technologies and have recently developed a flexible, rubber like display that can be applied to a textile substrate through a heat transfer process. The fact that their results are gimmicky with crude plastic flashing graphics adhered to the front of t-shirts illustrates the way in which innovative technologies can be downgraded by association with cheap ‘novelty’ products. The technological breakthrough though is interesting with a larger design potential than ‘flashing’ clothing.

Endnotes www.dictionary.com/surface

2 Manzini, E., The Material of Invention: Materials and Design, Massachusetts: The MIT press, 1989 3.5.1 providing surface quality p.183

3 Manzini, E., The Material of Invention: Materials and Design, Massachusetts: The MIT press, 1989 3.5.1 providing surface quality, p.204

4 Interni, reactive surfaces, Castelli C, T., June 2001

5 www.elektex.com Comments from the Company Chairman Mr Chapman

Chapter 2 Intelligent Textiles

3.1 Digital/ Electronic Media in Textiles Short summaries of commercial projects addressing electronically active, intelligent textiles 3.1.1 MIT E-broidery 3.1.2 ElekTex^? 3.1.3 Philips 3.1.4 Visson, The Textile Active Display

2.1 Digital/ Electronic Media in Textiles

There has been extensive research and development into electronically active, intelligent textiles with many corporate electrical companies and research centres investing in the concept; to name a few, Philips, Levis, Motorola, Orange and Prada’s recent collection where an electronic tracker is embedded in a jacket. Demand is increasing for highly functional fibres, which include sports garments and protective clothing, interior textiles and other architectural membranes with communicating capacities.

With the advances already made in the electronics industry, such as the miniaturisation of components, conductive fibres and electronic inks there is an increasing relevance to the textile industry. Fabric has the ability to take on the form of an interface that communicates and responds to external stimuli, the very nature of new flat display technologies lend themselves to the creation of textile based displays. Having visited a number of trade fairs, such as Tech-Textile in Frankfurt, April 2001 and Avantex ‘Future Trends in Textiles and Technology’, December 2001 in Frankfurt, which are dedicated to the advancing of electronic textiles, a short summary of the more commercial research projects in this field will follow.

2.1.1 MIT E-broidery

Highly intelligent, flexible, and even washable electronic circuitry can be assembled on a fabric substrate utilising conductive yarns and miniaturised electronic components. E-broidery is a project being developed at The Massachusetts Institute of Technology, MIT, where conductive textiles are being explored using computerised embroidery techniques. Sewing and weaving processes are employed as a means of creating electronically active textiles. Fabrics are compared to existing flexible circuit substrates with regards to durability, and wearability. MIT’s research also integrates the construction of sensors and user interface elements in textiles to create flexible multilayer circuits.

MIT have produced a creative solution to an interactive wearable light called ‘The Firefly Dress’. This creative application works in response to the wearer's movement, which results in an ever-changing display of light. The first part a skirt has been constructed from two layers of conducting organza. One layer supplies power and the other (electric) ground, separated by a layer of netting. Light-emitting diodes, LEDs, with conductive Velcro ends used as electrical contacts are then placed throughout the netting. When both ends of an LED brush against the power and ground planes, the circuit is complete and the LED illuminates. This project is can be seen on the MIT website.

2.1.2 ElekTex^?

ElekTex^? are a British research and development company developing conductive structures that enable a two-way tactile communication. They manufacture soft switching and sensing interfaces. ElekTex^? claim to build interactivity into the very materials that their products are constructed from. Their products range includes, ‘soft’ phones and responsive car seats, but their main achievement is a fabric keyboard. It is predicted that the keyboard will revolutionise mobile computing as the fabric forms the protective case of the palmtop. The director, Mr Chapman, has his eyes on the wearable industry as he proposes sensing clothing.

“We can put our sensing and switching technology anywhere that there is fabric, so having a computer keyboard for example, in your jacket presents no problems”

2.1.3 Philips

This MPhil research is not about wearable electronics yet many of the developments being made stem from a wearable application. It is important to touch on the work achieved by the electronics company Philips, as they were one of the first companies to commercially address wearable, textile-based technologies. It was in 1997 that Philips and Levis launched their wearable electronics. Philips has a human based approach to the project with a multi-disciplinary team of fashion and textile designers, electronics and software engineers, product and interaction designers; all aiming to integrate the soft, emotional aesthetic within the product function.

Figure 5, Images of the surround sound audio jacket from Philips.

Their aim is to enhance communication with increased entertainment and information carrying garments. With networked hardware elements such as a mobile phone and an MP3 player integrated into a jacket and with’command’ micro pone in the jackets collar. Director of Philips Design Stefano Marzano believes that integrated electronics will eventually become apart of every ones life as he states below. "Our ultimate vision is that people will consider wearable electronics as part of getting dressed, that in future all clothes will contain some infrastructure and some elements that add value to the network of electronics that you have around your body"

The result of this collaboration with Levis is a crude integration of technology. On closer inspection the garments are heavy and bulky with the only development being added textile pockets to contain the portable gadgets. Yet, it is only the beginning for wearables and the market has to be tested.

The power source is a big problem with embedded technologies and Philips have been addressing this issue by generating electricity through kinetic energy. Concepts include pulling a zip up and down and kinetic levers in the heels of trainers to charge the battery power. Philips Design’s Visions of the Future Project is also developing flexible solar cells that can be woven or printed onto fabric. They have proposed a reactive solar dye printed on a t-shirt to be used for charging walkmans and mobile phones. Photovoltaic cell’s mimic one of the most important functions in nature, photosynthesis. Sarah Braddock also foresees an intelligent future for textiles as she assesses the current trends in an article for Point, The Art and Design Research Journal.

“ Environmentally aware fabrics with solar panelling is increasingly important while wearable technologies will allow digital circuitry to be incorporated into clothing such as pc’s and telephone systems. The twenty first century promises us responsive, mutant textiles which are both stylish and functional”

2.1.4 Visson, The Textile Active Display

The Israeli based textile company have developed a flat, fabric matrix panel display. The multi layer flat panel structure, conventionally constructed with inflexible materials, has been replaced with a woven fabric structure. Thin film processing techniques are combined with traditional weaving processes. It is possible to produce information technologies that look and feel like cloth. Visson’s textile screens consist of a woven conductive structure, using wires with a phosphorous light emitting coating. The woven structure forms the X-Y matrix system for the electrodes and employs a development from the EL technology. The material is described as having the appearance of cloth with no size restriction, high quality resolution that can be viewed from both sides of the fabric and from any angle.

Visson have collaborated by licensing the technology to the consumer electronics giant Philips and aim to manufacture the electroluminescent textile display in the near future. The display market has grown since the wide spread use of computers and companies like Visson are hoping to dominate the market with their textile based product. Flexibility, price and size are the dominant factors with this industry. They also aim to integrate the display function into our clothing.

“Since it is flexible and foldable, we will be able to add a display and integrate it into the clothes. Then for example you can see the information on the sleeve of your shirt or coat.”

Endnotes 6 www.research.philips.com Comments from Stefano Marzano, Director of Philips Design, 1997 7 Braddock, S., Point, Art and Design research journal, Number 9, Spring/ Summer, 2000 p.17

8 www.visson.net/interview.html Mr Lev Zaidenburg, Chairman and Founder, 6/06/01

9 Kaempffert, W., Miracles you’ll see in the next 50 years, 01/02/1950, article from http://architecture.mit.edu/house_n p.4

Chapter 3 Cultural and social change in a technological revolution

3.1 The domestic environment, the automated home 3.1.1 Future predictions from the 1950s 3.1.2 Future Home Projects

3.2 Electronically responsive surfaces in new hybrid architecture 3.2.1 Oosterhuis, transPORT2001 and the Salt Water Pavilion 3.2.2 Hypersurface Theory by Stephen Perrella 3.2.3 Projects by architectural firm Nox 3.2.4 The Digital Space 3.2.5 A Visual Dialogue

This chapter addresses the predicted and actual changes to our lives through the advancement of technology. It will be looking at the transformation of the domestic space with examples of recent projects by technology and communication companies. Major investments have been made into predicting the way we will incorporate technology into our lives. This chapter will review the validity of some of the former visions of the human/ technology interface.

There has been a profound change in the way we communicate with each other; this is mainly due to the widespread adoption of digital technologies. Our day-to-day activities are being challenged, the way we shop, receive news, manage our finances, new methods of learning, how and where we conduct business and manage resources. Increasingly, these activities will take place directly in the home. It is recognised that the home will take on an astonishing new importance as our concept of banks, shops, communities, and cities change in response to new technologies. The home as it exists today cannot meet these demands or take advantage of new opportunities created by social and technological changes.

Digital and electronic media have revolutionised the field of architecture with regard to building construction methods allowing new and previously unimaginable forms to be built. Computer generated buildings in conjunction with the growing information cyberspace created by the Internet has brought about new issues regarding the real and virtual worlds. Technology has brought an artificial intelligence into the built environment with buildings themselves becoming intelligent membranes that can behave in a biomimetic way adopting the role of a sensitive, responsive.

3.1 The Automated Home.

Our home lives and work lives are merging due to increased mobility and the capacity to obtain information from virtually anywhere. A complex and symbiotic relationship with technology is developing, as we become more and more reliant on the data stored by our gadgets and their connections to our social life. Many households in the Western world contain a computer with access to the world wide web of information. This piece of technology has revolutionised society, challenging our preconceptions of time and space. Our homes are changing.

There has been a large amount of research into improving our living spaces recently and attempts are being made to create ‘intelligent’ homes that respond to our needs. It appears that many of the predictions of the 1950’s could now be a reality, but are these solutions really what we want and are they as incongruous as they were fifty years ago?

Figure 6, Predictions of the 1950’s, plastic upholstery

3.1.1 Future predictions from the 1950’s

The 1950’s predicted many solutions for the homes of their future and many of these predictions seem comic or preposterous in their representation today, for instance, the plastic upholstery illustrated in Figure 6, where the housewife of 2000 can do her daily cleaning with a hose as everything in her home is waterproof. The whole interior is to be hosed down as furniture upholstery, rugs and curtains are to be made of synthetic material and waterproof plastics. After the water has run down a drain in the middle of the floor a blast of hot air is suggested to dry the interior and contents. Tablecloths and napkins are to be made of a woven synthetic paper that has the appearance of linen. The soiled “linen” should then be thrown away after use. Bed sheets are to be made of a more substantial plastic, to be hung up and washed down with a hose. This is clearly before the tactile aesthetics of plastics were truly explored and before it was considered a low grade, unethical material. But plastic then represented the ‘easy care’ future and was promoted from all sides of industry. DuPont^? was, and continues to be the major manufacturer of synthetic materials and there were many utopian visions built on the magic of disposability. “There are no dish-washing machines, for example, because dishes are thrown away after they have been used once, or rather put into a sink where they are dissolved by superheated water. Two dozen soluble plastic plates cost a dollar. They dissolve at about 250 degrees Fahrenheit, so that boiling-hot soup and stews can be served in them without inviting a catastrophe.”

But essentially, it was a ‘desensualised’ material being offered to us, with the tactile pleasures of cloth, ceramics, materials and even the pleasures of food being removed.

“ Cooking as an art is only a memory in the minds of old people. A few die-hards still broil a chicken or roast a leg of lamb but the experts have developed ways of deep-freezing partially baked cuts of meat. Even soup and milk are delivered in the form of frozen bricks.”

Figure 7, predictions of cooking in the year 2000

The 1950’s talk of the future is our near reality with many predictions proving accurate regarding machine and electrical technology. Increased connectivity was predicted with the use of mobile telephones and the invention of the Internet. It was suggested that television screens would be networked resulting in the ability to shop and communicate to others.

“Of course the Dobson’s have a television set. But it is connected with the telephones as well as with the radio receiver, so that when Joe Dobson and a friend in a distant city talk over the telephone they also see each other. Businessmen have television conferences. Each man is surrounded by half a dozen television screens on which he sees those taking part in the discussion”

Many of the inventions formally depicted in Science Fiction films, could be said to have inadvertently made a major impact on technology and even the aesthetic of product design today. With present designers being brought up on writing and films like that of Stanley Kubrick’s film ‘2001 A Space Odyssey’ and more recently in films such as ‘Ghost in the Shell’ by Mamoru Oshii and the very commercial ‘AI, Artificial Intelligence’ from Stephen Spielberg, which touches on the fusion of organic matter and machine. The relationship with technology has been a continuing focus throughout twentieth century history yet the curiosity today concentrates on a true embodiment of technology as our evolution is predicted to transform us into semi-cyborg beings. It is proposed that eventually smart chips will be embedded into our skin and that environments, and others, will sense our presence, identities and requirements. This is a development from initially carrying smart electronic objects to embedding technology into clothing. A couple of years ago The Swedish Interactive Institute explored the state of mind as a means to control our technology with experiments in concentration and relaxation to physically move magnetic, electronically controlled objects. The work involves sensors that detect changes in brain wave frequencies to control or trigger a piece of technology. These experiments propose that telepathy could be a near reality when communicating to each other and the technology in our environments.

3.1.2 Future Home Projects

Having visited two commercial projects that address future living namely, The Orange Home of the Future located near London and the Internet Home in Milan, it can be said that the products have not yet caught up with the technology. Issues of security are yet to be fully addressed; this can be seen with the use of the Internet in the Milan project. The Internet home aims to promote the presence of the World Wide Web as a functional tool for improving the quality of living as opposed to something uncontrollable and intrusive. Web technology is integrated in a ‘soft’ way to the homes equipment, appliances and systems. The house is operated and controlled through the web with a computer and monitor in each bedroom. The most alarming function is that the security system is managed via the Internet and with the current dilemma of increasing crime on the net it seems to be a high risk function.

Figure 8, The Internet Home in Milan, 2001, showing a ‘connected’ kitchen with computers in every room

The house is a beautiful showroom with the finest of Italian design, yet it offers nothing new in its approach to technology. It could be said that by studying and learning from the intricacies of humanity, such as the natural and intrinsic communication between people, technology can truly enhance our lives. The project appears to be more of an advertising strategy as opposed to serious research into the sociology of living. The Internet home offers more boxed, complicated button controlled technology, as opposed to simplifying technology and developing more people centred products that utilise voice recognition and gestures.

Figure 9, An attractive living space Figure 10, each room is connected with numerous wires to a central service.

The Massachusetts Institute of Technology on the other hand approach the subject very differently. Researchers are investigating methods for merging new technologies with people centred design. MIT’s Future house_n project forecasts a better future. The research is focused on how the home and its related technologies, products, and services should evolve to better meet the prospects and challenges of the future.

MIT has installed several future home environments with hundreds of sensing components installed in nearly every part of the home. Their aim is to develop pioneering user interface applications that facilitate people in controlling their environment, whilst remaining mentally and physically active. Researchers monitor the created environment in order to document how people react to new devices, systems and architectural design in the context of the home.

There are many communication companies latching onto these concepts of ‘future living’. Exploring home automating with complex networks linking our communication devises to household appliances. This can be seen with the house prototyped by Philips design and the recent ‘Home of the Future’ developed by Orange and recently discussed on the BBC programme ‘Tomorrows World’

Figure 10a, Oranges Home of the Future. Outside view of the house supplied by Orange.

The Future Home developed by Orange was the second project to be visited. There has been huge financial investment, so far costing two million pounds to develop. It appears to be a very expensive experiment in discovering which gadgets are useful or not. The Orange research team have observed several families living in the house over a five to six week period and are continually improving the home from these user related experiments. The converted detached house is designed as a showcase for future technology and exhibits voice activated controls. The central system, named Wild Fire, controls all the household appliances and systems. Wild Fire is still very primitive and the voice command often has to be repeated several times slowly before the voice activator responds and it would have been far quicker and easier to switch the appliances and lights on manually. It is a strange experience talking to your house and it is unlikely that any house in the future will be quite like this. Figure 10b, Inside the Orange House, 2002, showing solar cells in the conservatory ceiling Having spent some time in Orange’s home developing possible textile/ lighting concepts it became apparent that the technology should be truly valid and hold integrity. The market is inundated with gimmicky gadgets that offer to change our lives but are they really enhancing? This can be seen with expensive toys like Sony's ‘Aibo’ robotic dog that, using 16MB of memory and an infrared motion sensor, supposedly mimics the behaviour of a real dog, this is illustrated in figure 10c.

Figure 10c, Sony's new ‘Aibo’ toy introduced in May 2001.

A vital component of humanity is a sense of community, as life styles change this aspect is diminishing yet there is a strong ‘digital’ network that connects people. Communication occurs over thousands of miles at any time giving us instant accessibility to information and each other. We can see a fashionable new emphasis on technology with the work of Motorola where real consumer lethargy would occur as their ‘smart’ clothes are designed to direct you what and where to purchase as product descriptions are downloaded in response to your programmed interests. Philips Design explores the emotional value of communication with a seemingly strange relationship being developed towards our objects and technologies with objects having the capacity to store memories and emotions. Yet are these gadgets really valid in an already technology saturated market?

3.2 Electronically responsive surfaces in new hybrid architecture

As the MPhil work is placed in the realms of digital design and interactive media, with a strong reference to the built environment, it is appropriate to look at the changes in the world of architecture and interiors since the introduction of the digital tool. Ubiquitous computing is being integrated into the structural elements of buildings that are now controlled by intelligent, sensing membranes.

Digital and electronic media have revolutionised architecture with two main changes, firstly the building of previously unconceivable forms, with the use of time based animation software such as Maya, in the creation of buildings such as the Guggenheim in Bilbao and the Ginger Rogers Building in Prague by Frank E Gehry, as seen in Figure 11 and 12. The latter change can be seen in the use of new electronic building material, juxtaposed with the invisible ‘digital’ realm that transforms the functions and interactions of our physical spaces, this will be discussed in more detail later.

Figure 11, Guggenheim, Bilbao, 1998 Figure 12, Ginger Rogers building, Prague, 1997

We are faced with a complex layering of worlds as the impact of the digital age is dawning. The abundance and speed of digital data challenges all our inherent, fundamental concepts of time and space. It could be said that we are learning to facilitate this flow and filtration of information within the built environment. Buildings are developing into complex communication and information delivery systems. There needs to be a more definitive boundary as we move into the digital era. Borders are dissolved as a constant flux of information runs riot through our environment. The question is, how do we contain and mediate the invisible flooding of the virtual digital world?

Below are brief summaries of recent architectural projects in hybrid space. Discussing the work of Kas Oosterhuis in the project transPORT2001 and the Salt Water Pavilion. The theories and future projections of Hypersurface Theory by Stephen Perrella and the projects by Dutch firm Nox.

3.2.1 Oosterhuis, transPORT2001 and the Salt Water Pavilion

Kas Oosterhuis is the founder of the Rotterdam based, multidisciplinary, architectural practice Oosterhuis Associates. His work concentrates on the fusion of electronic art and architecture and frequently collaborates with programmers and creative producers. His view of architecture is as follows and is discussed in the book Hybrid Space. “As an evolving, technologically enhanced means of organizing sophisticated spatial data and programming information into structured mediums that synthesise complex geometries and aspects of human actions.”

The firm’s basis lies in the integration of form and information, creating environments that develop their own intelligence. Buildings are becoming structures of data with unpredictable behaviour.

Figure 13 illustrates the project transPORT2001 is an exploration of the experience of public spaces and the publics interaction that changes the surface of the space. Inter-twining virtual and physical structures become a coherent organism. The very structure and surface of the space is to be manipulated and modified via the Internet. A space frame of bars can be separately controlled with software, working together like muscular filaments. This project is a prime example of new approaches to architecture, where fluidity and change is foremost.

Figure 13, transPORT2001, Project proposal

The core philosophy in Oosterhuis’s work is the uncontrollability and changeability of information and advises us to engulf our selves in this growing flood.

“It is a legacy of the past, when humanity mistakenly had the feeling of being in control of its own inventions…Today one should learn to swim in the data oceans”

Figure 14, Active Innerskin, 1999, simulated proposal for a responsive space, Rotterdam.

The project ‘Active Innerskin’, as illustrated in figure 14 deals with the, surface of a space as an interactive membrane proposed as a work and living environment. The skin is a flexible membrane and works in a similar way to the above project where controllable bars move to alter the space. The skin is covered in LEDs and LCD panels that form the display function that delivers images and text. He explores surface image in an environment with a play on inside and outside. Images from the exterior are displayed on the interior to create a real time ambience.

3.2.2 Hypersurface Theory by Stephen Perrella

Hypersurface is a highly theoretical approach to the technological material culture in architecture. It is Stephen Perrella’s concept for information and spatial structures that respond to cultural transformations. Figure 15 Illustrates a study on Hypersurface where a physical model is proposed. A synthetic membrane covers intricate metal frames that constantly distort and mutate changing the space and exploring the fluidity of built structure and surface.

Figure 15, Hypersurface Theory

Perrella believes that virtual technologies are producing new and interactive realms of human experience that bridge the real and virtual. His work and theories explore this virtual dimension in architecture with a strong reference to surface image and a fluid textile quality. Computer culture has affected society in ways not fully recognised yet, Perrella explores this culture as he questions the disorder of the information age, as discussed in Hybrid Space by Peter Zellner.

“Perrella’s hypersurfaces attempt to reflect a social condition in which we have become an integral part of the media we have created.”

Using animation software, electronic images are projected onto the surfaces of spaces. He challenges our perception of space with images as can be seen in the project The Mobius House, where the intimacy and privacy of domestic space shifts into a public, exposed interior. “The house functions as a transversal membrane, reconfiguring the binary notions of interior and exterior into a continuously deformed intermediary surface.”

3.2.3 projects by architectural firm Nox

Nox is the Dutch architecture and multi media company founded by Lars Spuybroek. They develop intelligent built structures inspired by the biological mechanics of the human body. Electronic media is combined with human action resulting in a ‘liquid’ architecture. Spuybroek states that, “We are experiencing an extreme liquidising of the world, of our language, of our gender, of our bodies…we have entered a situation where everything becomes mediated, where all matter and space are fused with their representations in media, where all form is blended with information.”

Nox combines the practise of architecture with interactive media and high technology a perfect example of this is the freshH20 eXPO, a water pavilion for the Dutch ministry of Transport, Public Works and Water Management. The interactive installation, as illustrated in figure 16, is an exhibition environment where sensory-triggered electronic media is integrated into the building.

Figure 16, illustration of freshH20 eXPO. Exhibition space in Rotterdam

The ‘smart’ building responds to the activities and movement of the visitor. Inside the structure floor merges into wall and wall into ceiling resulting in a fluid interior defying the horizontal Plaines in conventional buildings. Sensors throughout the spinal structure of the building control and trigger a 65-metre row of lights that are attached to the sound system. This spine of light and sound, pulses rhythmically to the movement of the visitors. Figure 16 illustrates an example where the actual world is created in mimicry of the virtual, digitally simulated world.

3.2.4 A Visual Dialogue

It could be said that that an increase in visual dialogue will enhance the relationship between the virtual digital world and the physical one. Historically, communication has relied on visual representation. A visible language allows for faster delivery and recognition of information, removing the complexity of the digital dialogue with instant messages. This is ever more paramount today as we become more and more computer literate. The dialogue relies on symbols and metaphors to navigate us through the man-constructed digital space. These icons and images simulate the physical as can be seen when we place unwanted data in rubbish bins. These all provide a sense of familiarity connected to the physical world and created by us to extend the power of computing to the masses. Originally this language was highly complex and only understood by the elite few. The use of a visual, iconic language has transcended the computer experience to experiential rather than reflective, with an instinctive navigation and filtering of information.

Endnotes 10 Kaempffert, W., Miracles you’ll see in the next 50 years, 01/02/1950, article from http://architecture.mit.edu/house_n p.3 11 Kaempffert, W., Miracles you’ll see in the next 50 years, 01/02/1950, article from http://architecture.mit.edu/house_n p.5 s 12 Zellner, P., Hybrid Space: New Forms in Digital Architecture, London, Thames and Hudson Ltd, 1999, p.72 13 Zellner, P., Hybrid Space: New Forms in Digital Architecture, London, Thames and Hudson Ltd, 1999, p.76 14Puglisi, L, P., Hyper Architecture: Spaces in The Electronic Age, Basel. Boston. Berlin: Birkhauser, 1999, p.28 15 Zellner, P., Hybrid Space: New Forms in Digital Architecture, London, Thames and Hudson Ltd, 1999, p.113 16 Zellner, P., Hybrid Space: New Forms in Digital Architecture, London, Thames and Hudson Ltd, 1999, p.76 17 Photonics Spectra, “light-emitting polymers will evolve to become as flexible as fabric and thin as paper”, April, 1997

Chapter 4 Project work diary Concepts and Applications

4.1 Motion responsive wall tile 4.2 Digital Dawn/ Light Sleeper Pillow 4.2.1 SAD, Seasonal Affect Disorder 4.3 Light, a silent communicator 4.4 Sound responsive wallpaper ‘Walls with Ears’ 4.5 Reactive Blind 4.5.1 A solar powered light source

Figure 17, Prototypes for a digital dawn, pillow and blind.

This chapter discusses the practical work created for the MPhil in chronological order, highlighting the progress of ideas and concepts. A range of prototyped interactive products has been produced for the domestic and public space. These products range from the motion reactive wall tile, alarm clock pillow, illuminating blind, sound responsive wallpaper and a floor proposal for an office environment.

The preliminary phases of the research were spent exploring a range of traditional textile techniques that could be utilized in the integration of electronic components. Initially electroluminescent cord was used in yarn form alongside hand and computerized jacquard weaving methods. Hand knitting and felting were also used to incorporate the light source. Figure 18 shows the results of these samples. A traditional aesthetic was being sought as electronically functioning high-tech yarns were combined with Angora, Silk and Mohair.

Electroluminescent cord is a plastic yarn three millimeters thick that consists of a metal wire core coated in a phosphorous powder, that forms the active ingredient, with two metal hair wires wrapped around the core that supply the positive and negative charge. The cord is then coated in a transparent plastic sleeve that protects against moisture and acts as a safety guard. The EL cord requires a high alternating voltage, which can be supplied by a 9v battery.

Figure 18, Exploration of textile techniques, November 2000

The sculptural property of the EL cord was explored, as seen in figure (?) when the illuminating cable was knitted into a moldable form. This proved damaging to the material as the phosphorous cord broke away when bent.

Figure 19, Knitting Electroluminescent Cord, December 2000

4.1 A Motion Responsive Wall Tile, with public and domestic applications, December 2000

Figure 20, ‘Light Shadows’ A proposal for illuminating public spaces

The wall tile is the first concept to be prototyped in this research and is based on the idea of supplying light only when required. This is an energy saving solution to a growing problem in public spaces as the lighting industry uses vast amounts of electricity. This concept proposes casting ‘light shadows’ that sense the movement and presence of people that then maps their journey with light through a space. The concept uses wall tiles as a large scale, motion responsive pixel to create a moving image across the walls of a given space. The tile is also suitable for home living with an integrated source of illumination into the walls of the home. It provides an intelligent localized light when and where it is required as opposed to energy inefficient lighting systems that require switching main lights on and off. The light is a reassuring glow when entering a space and could be used as an internal security light alerting others of the presence of an intruder.

Figure 21, ‘Light Shadows’, a domestic setting

Figure 22, Prototype for wall tile

The above image shows a prototype for the responsive wall tile. Electroluminescent Cord has been knitted to provide a dense material of light that is then cast into a clear resin with a magnifying curve to the mold. A proximity sensor is used within each tile to vary the light intensity emitted. The closer the proximity to the tiled surface the brighter the illumination.

Figure 23, Resin cast from mold

The prototyped tile employs expensive manufacturing processes and an alternative would have to be sought if produced. The casting process means that the electronics are fixed within the resin material and are inaccessible. This product is to be further developed with research into removable and interlocking components. The initial concept was that there would be a wall of interconnecting tiles that were then connected magnetically allowing power to flow to each added tile; this aspect is still to be explored further.

4.2 Digital Dawn/Light Sleeper addressing sufferers of Seasonal Affect Disorder April 2001

The Digital Dawn/ Light Sleeper pillow was created after been given the opportunity to develop a product to prototype stage for Oranges Home of the Future. The ‘intelligent’ house projects future living with automated appliances and security systems.

An illuminating, personalised alarm integrated into your pillow that wakes you and you alone, as this intimate textile surface communicates to the individual. A soft ambient light gradually pulses from the fabric and as the light intensity increases it stirs you from slumber, leaving your partner undisturbed. The pillow can also be programmed to replace the phones ringing tone.

Figure 24, the pillow’s final wake up sequence

Using light as a communicator this project aims to reduce unnecessary noise levels within the domestic space. Alarms and mobile phones are obtrusive and demanding to the whole household, and often only relevant to the individual. With the development of display technologies such as light emitting polymers and Electroluminescence, fabrics and surfaces have the ability to adopt the role of illumination and take on the form of an interface that can communicate and respond to external stimuli.

Figure 25, various pillow styles, July 2001

Figure 26, Illuminating Pillow and Duvet, April 2002

Figure 27, Digital dawn, pillow and duvet prototype

4.2.1 SAD

The pillow also could be used to treat sufferers of seasonal affective disorder (SAD) where insufficient levels of daylight cause medical conditions caused by a hormonal imbalance ranging from depression, loss of energy, pre-menstrual syndrome, weight gain and migraines. It is recognised by most scientists that SAD and other sleep/ mood disorders are linked to a shifted circadian rhythm, in other words the ‘body clock’, and it is recommended that a bright light stimulus is needed to reset the body clock everyday. The body clock, or suprachaismatic nucleus, controls our daily sleep/ wake cycle and hormone functions. It uses signals from bright lights such as the sun to reset these functions. Therefore in the winter our bodies can receive these signals at the wrong time of day. By using a bright light, 10,000 lux, our bodies reset and the right hormones are released to ensure we feel active and energetic throughout the day and the need to sleep at night. Exposure to intense artificial light suppresses the secretion of the night time hormone melatonin, and may enhance the effectiveness of serotonin and other neurotransmitters. It is believed to be the only way of shifting the circadian rhythm. The hypothesis being that the body’s internal clock only responds to bright light at certain times of day. This ‘peak’ time in normal people occurs when the circadian rhythm is in R.E.M sleep, which is approximately 1 to 2 hours before waking. This hypothesis provides evidence that the Light Sleeper Pillow is the most effective product for treating SAD. The pillow is also suitable for those travelling and preventing jet lag. As light is required at certain times of the day the timing of the light is crucial to keep your body synchronised.

Using the natural process we have evolved to wake up with the sunrise our body clock responds to a realistic imitation of a sunrise by accelerating the wake-up processes. Research indicates that it is important that the light comes on gradually, and that having a light on a (on/off) time switch will not have the same effect. If you wake up fully earlier in the day then you will probably find yourself ready to sleep that much earlier in the evening. The evidence is that your body clock is becoming synchronised with the hours you are keeping. This means that the idea is suitable for people who have to keep unusually early hours or who have fallen into the pattern of going to bed too late and waking up too late.

Figure 28, Light Sleeper/ Digital Dawn Pillow

4.3 Light, a silent communicator, November 2001

This project follows on from the ‘Light Sleeper’ Pillow where one of the functions was to reduce noise levels in a domestic space by replacing the mobile phones ringing tone with a subtle light. Mobile phones are obtrusive and demanding to everyone when often only relevant to the individual. Using light as a communicator this concept aims to concentrate on the problem of ‘noise pollution’ in a work environment by utilising the office floor as the surface to communicate. A soft light is emitted from the surface of the floor tile as it receives signals from the phone or computer; this is possible with the development of thin display technologies such as electroluminescence. Figure 29, Proposal for communicating floor surface in a public space, November 2001

With a continuing interest in mapping the invisible, noise levels or electromagnetic waves from mobile communication, the floor detects when the phone is going to ring with an integrated sensor. This idea could work with numerous personal communication technologies such as email. The floor surface has the aptitude to implement the form of an interface that responds to external stimuli. By utilising the fact that a person has sole ownership of different points on the floor at different times the surface has an intimacy and ability to communicate to the individual.

Figure 30, Tile designs for a responsive floor

Figure 31, floor concept, EL sheet trapped between layers of transparent floor vinyl forms the active light source.

4.4 Walls With Ears, Sound responsive wallpaper, January 2002

The prime agenda in this work explores the interactivity between people and spaces, and aims to bring a new language and depth to otherwise dormant, decorative materials that surfaces and contains space. This project deals with public spaces as opposed to domestic and was exhibited in a recent installation titled ‘Walls With Ears’, as seen in figure 32, in the RCA Interim Show, January 2002. Traditional archetypal wallpaper comes to life as it responds to the spaces noise level. The traditional technique of flocking has been used to introduce a soft textile surface to the EL sheet. This interactive wallpaper stems from the idea of visualising sound. The louder the ambient noise level in the space the brighter the wallpaper will glow. Without the presence of people the wallpaper remains dormant and off. It provides a direct reflection of our presence in the space and it highlights the fact that everyone affects the space as they enter. It aims to be a literal mapping of this by taking sound as an input. It is hoped that this project will be developed further as an ambient lighting product; the development of this can be seen in figure 33. This project also has applications in dedicated ‘quiet’ work spaces where a wall panel can discreetly inform the occupant if the noise level exceeds the spaces given limit.

Figure 32, Close up of responding flocked wallpaper

Figure 33, Example of flocked Wallpaper as an ambient lighting product

Figure 34, ‘Walls With Ears’ installation, Research Interim Show, 12/01/02

4.5 Reactive blind

This project stems from an earlier textile piece where in the early stages of research a knitted blind was produced with an integrated light source in the form of electroluminescent cord. The blind was produced on the Industrial 9 inch gauge knitting machine and used a steel / cotton mix yarn as the textile base. Opening the bed and inserting the cord along the knitting integrated the EL cord. The fabric was then steam pleated.

The blind responds to its surroundings as an integrated light dependant resistor sensed a change in light levels that affected the light being given off from the blind. Figure 35 shows this earlier blind.

Figure 35, Initial blind prototype, April 2001

The piece currently being produced explores how changing light levels within a built space can have a profound impact on our emotional being. The current blind is to use the EL printing technology as opposed to a textile constructed where the EL Cord was knitted into the cloth as in the previous prototype. Using organic imagery with reference to a decorative aesthetic. The print will appear to grow naturally. The gradually illuminating foliage will develop from the centre until a full bloom of flora consumes the entire surface of the blind. The intelligent print will be realised using electronically conductive inks that emit light; exploring the physiological effects light and colours have within a space. As discussed earlier it is a medical fact that insufficient levels of daylight can cause severe medical conditions. The blind therefore appeals to not only sufferers of SAD syndrome but to all who experience the space.

Figure 36, Interior visualisation of interactive screen/ blind

Using windows as a metaphor for light with historic reference to the way architects utilise the sun to cast light into a space. The blind challenges conventional light sources where traditionally light fills the space from the centre of the room. The blind aims to communicate an intelligent function, which is alive in constant flux with a digital blooming of light. It reacts to an ever-changing environment maintaining a balance within the space. This proposal for the blind focuses on the need for a constant light source that can fluctuate and respond for the individual.

Figure 37, Printed blind concept, February 2002

Using electronic sensors that monitor the lighting conditions of the chosen environment the blind becomes a high performance fabric within textiles. The print structure allows elements of the foliage to be controlled separately, as illustrated in figure 37, programmed to respond to different external inputs.The blind interacts within the space addressing the virtual reality of digital media combined with the real and physicality of textiles and surfaces.

Having studied the mechanics of electronic circuits there has been an understanding of the capabilities and boundaries of this medium. The majority of the discussed projects could only have been realised with the use of Stamp Chips and simple programming. These chips are micro controllers and when integrated into a simple circuit multiply the functions and behaviours of the created surface, allowing various modes of interactions to be explored. Stamp chips are programmed via the pc and have been used to control the responses to various electronic inputs. By taking an input from a light dependant resistor (LDR) an output or behaviour for the textile can be programmed. This is the method used for the reactive blind as each element of the print is viewed as a separate lamp component in the circuit. They printed lamps are programmed to gradually illuminate at different times in response to the input from the LDR.

4.5.1 A solar powered light source

The supply of power and energy consumption is an important issue in this research as many of the proposals created for the practical work rely on the supply of electricity. The lighting industry uses 20-30% of the UK’s electricity and only 25% of this is fully utilised in the most efficient lighting systems. If LEPs and other flat display technologies were to replace today’s illumination then one of the advantages would be improved energy efficiency with substantial savings through eliminating heat loss. Significant developments within this industry have already been implemented with the developments of energy saving light bulbs and designers and architects working to create energy efficient lighting systems. This can be seen with designers such as Ross Lovegrove who has developed an outside lamp ‘The Light Pod’ developed from the new breed of LEDs and incorporates photovoltaic cells that absorb the suns light throughout the day and provides a light in the evening.

One of the most exciting discoveries in this research is the realisation that the LEPs can also be used as a photovoltaic cell. The organic semi-conducting polymer, poly phenylene vinylene (PPV), forms the active layer in many of the LEP devices and by varying the chemical composition of the PPV polymer changes its physical and electro-optical properties. They are easy to manufacture as they are assembled in solution and can be ink jet printed. As solar cells can be created from the same polymer as the LEP technology a new and exciting design potential has opened up with a kind of poetic justice; taking power from the sun, saving it and re-emitting light when needed. The use of the suns light to generate an illumination when necessary celebrates our relationship with nature and offers an energy saving alternative

Summary and Conclusion

The aim of the research was to create an electronically interactive surface with applications in the built environment. The created surfaces adopt the role of illumination, to provide light, but also as a form of visual communication. Extensive investigation has been carried out into new and advancing display technologies in order to implement responsive, light emitting interior surfaces and textiles. It has been found that textiles and surfaces, the skins of objects, can adopt the output role of the screen with a physical, interactive quality.

There have been countless predictions for the application of flexible screens and light sources with an increasing interest from the media. Philips Electronics in the Netherlands predicts that eventually: “LEPs could be used for glowing walls and flexible TV screens that roll up” It is also predicted that homes of the future would be able to change the colour and pattern of their wallpaper at the touch of a button. Dr Dirk Broer from Eindhoven University of Technology alongside Philips Research Laboratories has developed paint on liquid crystal displays (LCDs). Professor Broer states that: “The technique could create giant TV screens, digital billboards and walls that change colour. Slim, plastic LCDs sewn into fabric could display e-mail or text messages on your sleeve. "It depends what future societies want” What societies want is an important point. Material science is a fascinating study with a growing interest from all areas of industry. It is essential to place this science in context with designing to enhance people’s lives. This is in contrast with what can be seen today, where a highly functioning material is created, with the application often being an after thought. When designing and creating with materials it is important to establish relationships with material scientists at an early stage in order to find a true and socially benefiting solution. Many large consumer companies exploit new materials for their commercial and advertising affects; this can be seen in the field of display technologies.

There is a large amount of research in developing flat, flexible displays, with multinational companies such as Seiko- Epson, Hewlett Packard, Uniax and Osram making huge financial investments. The most desirable advances in this industry rely on a textile aesthetic as flexibility and fluidity is paramount in realising embedded interior products, wearable and miniature display screens. As there is an enormous relevance to the computing and communication industry there is a new interest in textiles with companies like Vission receiving funding to develop a textile based screen. In the early stages of this research it was important to establish whether the work contributes technically to this industry. Links were made with Cambridge Display Technologies and DuPont^?’s Photopolymers and Electrical Materials in Bristol to develop a polymer based screen print that could be applied to a textile substrate. It was learnt that this was indeed possible, and although it would have been viable to spend all the research time looking into material science, it was decided to focus on the concept and design applications with the available technologies. It was decided to explore the outcomes and possibilities of a textile display/ light source and to realise the proposals with existing display technologies such as electroluminescence. Having taken an electronics course at the RCA there was an understanding of what is possible through integrating sensors and micro controllers into textiles.

The initial stages of this work are based on the understanding that flat display technologies such as LEPs will soon replace many conventional light sources as predicted by N. Narendran in the article ‘Polymers Offer Glowing Prospects’.from the journal Lighting Futures, where Philips Electronics again predicts that “light-emitting polymers will evolve to become as flexible as fabric and thin as paper….enabling manufacturers to develop polymer LEP products like wallpaper lighting that would entirely change the lighting industry”

This MPhil research offers concepts and applications that utilise the advances in the display industry and it has been crucial to physically realise these ideas and theories. The outcome of this prototyping is demonstrated in the previous chapter with a range of interactive interior textile products using electroluminescence. After studying the profound effects sunlight deficiency can have on our emotional being it was understood that by integrating an illuminating function into our everyday objects and surfaces our lives can be enhanced with a sense of well being.

Relevant contemporary work that integrates interactive electronics into textiles and surfaces has been investigated, covering the field of ‘wearable’ technologies and computing to the automated home and hyper-architecture. The research has been deliberately non-specific in terms of wearable electronics yet the importance of this work has to be recognised, as many of the advances in electronic textiles stem from wearable aspirations. The clothing concepts currently being offered are in a semi-state with many issues still to be addressed. They illustrate an embedded technology that is not truly invisible and lacks in a desirable aesthetic and garment diversity that caters for all. Digital media is having a major impact in all areas of design and there has been a rapid development of electronic material being used in the built environment. One of the first architects to pursue this direction was Jean Nouvel where in 1981 a very mechanical structure was constructed in the walls of The Institute of The Arab World building in Paris, where a light sensitive mechanism installed in the windows darkened or lightened the space. Toyo Ito is another prime example of hybrid architect who builds highly technologically advanced buildings with the analogy of buildings to human physiology. The built work of these architects has formed a foundation for architectural theorists whose work pushes the boundaries of virtual and physical to its outermost. Stephen Perrella’s concept of ‘Hypersurface Theory’ explores this relationship of digitally created space and physical space, allowing surfaces to become a portal to another reality. A continuity of surface, flow of space and smoothness are articulate of today’s generation of architecture and highlight the concepts that are present in contemporary culture, that explore the relationship between man and technology. The theories of Stephen Perrella described in chapter 3 appear only to work on a conceptual level and have not yet physically materialised.

What was lacking in the past was the tactile experience of new materials and this is something we should avoid today. The naivety of the 50’s predictions is still echoed today as commercial companies try and sell us an integrated ‘intelligence’ in our every day objects and appliances. It can be said that we are still unable to fully realise what technology potentially offers. The technological evolutionary leap, often talked about, will only materialise when there is true cross disciplinary research combining creative, scientific and methodical minds with the united aim of enhancing peoples lives through technology. Some of the most interesting work in this field is when research has a humanistic approach, examining human interactions in order to improve our communication to others and our technology. MIT have proved to lead the field in automated and interactive technologies and were the first group to offer us the notion of ‘wearable computing’. Philips Design in Eindhoven are at the forefront of many of today’s technological leaps as a human centred approach is at the core of their work, with Ambient Intelligence in the home and work place and wearable computing/ communication from the Intelligent Fibres Division. Although their work is at the forefront of interaction design, the end results still leave a lot to be desired. The introduction of CAD to the design industry has defined a whole new calculated aesthetic with previously unconceivable forms and images being created, it is important not to forget our inherent gifts of working with materials and physical forms.

This research has explored the relationship between surface and space. Surfaces can visually indicate the invisible digital world through sensors, perhaps marking a physical territory or boundary. The floor tile, discussed in chapter 4, explores this concept as it detects electromagnetic wave frequencies emitted from mobile phones, which then communicates through light to the individual in contact with the surface. The sound responsive wallpaper project ‘Walls with Ears’ also deals with the notion of visualising an invisible entity. It has applications to the hard of hearing and noisy work environments, reflecting sounds through light. The wallpaper will be developed as an ambient, sound responsive lighting product that is applied to the walls. The concept of mapping electromagnetic waves from electronic objects has been fully explored by Anthony Dunn and Fiona Raby in their research at the RCA, The School of Interaction Design, and talked about in the work that has been published in book form ‘The Secret Life of Electronic Objects’.

There has been a strong reference to the historical solutions of applied interior coverings, using traditional surfaces with an emphasis on decoration as a metaphor. This is in line with the notion that we don’t always have to change form and visual appearance to create something new. The principal aim is integration, combining ‘inherited’ decorative and textile construction techniques with processes from the electronics industry. It is important to build on the inheritance and associations of cloth, paper and plastic to provide new materials that appeal to our tactile needs, but with increased function. The practical work and research has demonstrated that integrating technology is the inevitable future. A true and personal interpretation has been sought and it has become paramount that traditional qualities such as tactility and aesthetics supersede the added function.

Endnotes 17 Photonics Spectra, “light-emitting polymers will evolve to become as flexible as fabric and thin as paper”, April, 1997 18 Pearson, H., LCD paint licked Walls and curtains could sport liquid-crystal digital displays, 2 May 2002, Nature News Service / Macmillan Magazines Ltd 2002, www.nature.com 19 Photonics Spectra, “light-emitting polymers will evolve to become as flexible as fabric and thin as paper”, April, 1997

6. Appendices

EL Processing specification and technical notes

The printing of electroluminescence is a specified process and requires laboratory conditions, the following notes are as specified by ink manufacturers Du-Pont Photopolymer and electronic materials that supplied the EL inks as sponsorship towards this research.

The EL lamp is a capacitor structure with a phosphorous printing ink sandwiched between printed electrodes, silver. As an AC voltage is applied across the electrodes a change in electric field is generated typically around 40-115v at 50-1000Hz

The phosphor ink is constructed of materials such as zinc sulphide, which phosphoresce at characteristic wavelengths. The colour of the phosphor, and light emission, may be defined during the manufacture of the powder. Particle size of the phosphor is important when considering the efficiency of the light emission. EL lamps have a limited life this is an important factor for manufacturers and every effort is being made to increase efficiency. Phosphor is a decaying entity and over time will gradually fade and the presence of moisture accelerates this decline. It is important to use micro encapsulated ink that guards against moisture penetration and prolongs the lifespan of the lamp. When the lamp is run at higher voltages and frequencies temperature will rise slightly and the lamps efficiency is degraded. Recommended voltages, 80-120v AC utilizing 400Hz and temperature between –30 c and +85 c

Substrate Types Sputtered ITO Polyester The substrate can be obtained by sputter coating a film of ITO transparent conductor. The polyester has a typical thickness between 100 – 175 um with a resistance ranging from 50 – 300 ohms. Recommended to use a heat stabilizing film when drying temperatures reach 130c.

Non ITO Coated films This process utilizes a polyester or similar film type that is coated with a conductive translucent polymer, typically screen-printed. This provides a high resistance ranging from 1000 ohms to 3000 ohms.

Mylar (Du-Pont substrate) polyester and conductive translucent inks Mylar obtained from Du-Pont is a printable translucent conductive ink, recommended for use in small lit areas with minimal lamp brightness. Yet, maximum lamp size is determined by applied voltage, length and width ratio and type of screen mesh used. Storage Luxprint inks (from Du-Pont) should be stored in clean, stable environments at room temp (25 C) Phosphor inks tend to settle so should be rolled, Minimum disturbance to the silver, carbon and dielectric inks.

Handling and Printing EL inks should be thoroughly mixed for 1-2 minutes, particular care to the phosphor to protect the micro- encapsulation. Printing should be carried out in a clean well-ventilated area. Optimum printing characteristics of Luxprint inks are achieved at 20-23c. It is important to ensure this prior to printing.

The following information highlights the inks used in the ‘Reactive Blind’ discussed in the last chapter.

DuPont^? Luxprint Inks for printing Electroluminescent Lamps on a polymer substrate.

PHOSPHORS 7138J White Phosphor 7151J Green-Blue Phosphor 7154J Yellow-Green Phosphor

DIELECTRICS 7153E High K dielectric insulator CONDUCTORS

Build Sequence 1 7144E Rear Electrode, Carbon Conductor 7145L Rear Electrode, Silver Conductor (Also for bus bars and terminations) 7162E Front Electrode, non-ITO

Build Sequence 2 7102 Rear Electrode, Carbon Conductor 5000 Rear Electrode, Silver Conductor (Also for bus bars and terminations) 7164 Front Electrode, non-ITO

Protective Encapsulant Build Sequence 1 5018 UV Cure Ink

Bibliography

Books

Abbot, A., Flatland: A Romance of Many Dimensions, Britain, Seeley and Co, 1884 Behling, S., Solar Power: The Evolution of Sustainable Architecture, Munich, Prestel, 2000 Betsky, A., Adigard, E., Architecture Must Burn: A manifesto for an architecture beyond building, London, Thames and Hudson Ltd, 2000 De Kerckhove, D., The Architecture of Intelligence, Basel. Boston. Berlin: Birkhauser, 2001 Dunn, A., Raby, F., “The Secret Life of Electronic Objects”, Princeton, Architectural Press, Dec 2001 Engeli, M., Digital Stories: The Poetics of Communication, Basel. Boston. Berlin: Birkhauser, 2000 Handley, S., Nylon: The Manmade Fashion Revolution, London, Bloomsbury, 1999 Imperiale, A., New Flatness: Surface Tension in Digital Architecture, Basel. Boston. Berlin: Birkhauser, 2000 Lunenfeld, P., Snap To Grid: A users guide to digital arts, media, and cultures, Massachusetts: The MIT press, 2001 Manzini, E., The Material of Invention: Materials and Design, Massachusetts: The MIT press, 1989 Marzano, S., Van Heerden, C., New Nomads: An Exploration of Wearable Electronics by Philips, Rotterdam, 010 Publishers, 2000 Negroponte, N., Being Digital, London, Hodder and Stoughton, 1996 Niesewand, N., Lighting, London, Mitchell Beazley, 1999 O’Mahony, M., Braddock, E, S., Techno Textiles: Revolutionary Fabrics for Fashion and Design, London, Thames and Hudson Ltd, 1998 Palumbo, M, L., New Wombes: Electronic Bodies and Architectural Disorders, Basel. Boston. Berlin: Birkhauser, 2000 Puglisi, L, P., Hyper Architecture: Spaces in The Electronic Age, Basel. Boston. Berlin: Birkhauser, 1999 Schmitt, G., Information Architecture: Basis and future of CAD, Basel. Boston. Berlin: Birkhauser, 1999 Zellner, P., Hybrid Space: New Forms in Digital Architecture, London, Thames and Hudson Ltd, 1999

Journals

Activa NO 9: Design Management, Plastica vs Silicio, p. 130- 137, Raffaele, L, Milano, 1992 Architectural Design Profile NO 133: Hypersurface Architecture, 1998 Architectural Design Profile NO 141: Hypersurface Architecture 2, 1999 Bierman, A., LEDs: From Indicators to Illumination? Polymers Offer Glowing Prospects, Lighting Futures Journal, Volume 3 Number 4, 1998, Rensselaer Polytechnic Institute, (Member of the Lighting Research Centre, School of Architecture, Rensselaer Polytechnic Institute, Troy, NY 12180 USA) Braddock, S., Point, Art and Design Research Journal, Number 9, Spring/ Summer, 2000 Burrows, K., Screenprinting, September 2000, Garments see the light with electroluminescent heat transfers, p 56- 62 Interni, reactive surfaces, Castelli C, T., June 2001 Penterman, R. et al. Single-substrate liquid crystal displays by photo-enforced stratification. Nature Journal, 417, 55- 58, 2002. Pearson, H., LCD paint licked Walls and curtains could sport liquid-crystal digital displays, 2 May 2002, Nature News Service / Macmillan Magazines Ltd 2002, www.nature.com

Articles

“Fibre Optic Glove sheds light on retail displays” IN-STORE MARKETING December 1999 “High Fibre High Drama, fibre optic light has now become a viable option” Interior Design (UK) Nov/Dec. 1990 Asiama, J., “TURN ON Fibre Optics: the fabric of the future” The Sunday Times, STYLE 22 August 1999 Baldo, M. A., Thompson, M. E. & Forrest, S. R. High-efficiency fluorescent organic light-emitting devices using a phosphorescent sensitizer. Nature Journal, 403, 750 (2000) Baude, D, M., “Alrik Levy-Wants consumers to interact with light” Interior View December 1999 Codrington, A.,” The Incredible Lightness of Being Ingo Maurer”, I.D Magazine (USA) March/April 1999 De de Leeuw, “Plastic Electronics”, Physics World, March 1999, p. 31- 34 Friend, H R., “Electroluminescence in Conjugated Polymers”, Nature, 1999, 397, 257 Friend, H R., “Polymer Diodes- Laser Optics”, Physics World, June 1999 Friend, H R., “Polymer LED”, Physics World, Nov 1992, p. 42- 46 Granstrom, M., “Laminated fabrication of polymeric photovoltaic diodes”, Nature, 1998, 395, 257 Photonics Spectra, “light-emitting polymers will evolve to become as flexible as fabric and thin as paper”, April, 1997 Redhead, D., “Light…. but not as we Know it, adventurous architects and designers are borrowing from the language of art”, Elle Decoration (UK) January 1998 Spreitzer, H., “Soluble phenyl- substituted PPVs- new materials for highly efficient polymer LEDs”, Advanced Materials, 1998,10, 1340 Trow, A., “Wonder Walls-Lighting Genius Jeremy Lord” FX Supplement April 1999 Walker, A., “Optic Nerve, fibre optic lighting systems.” Design no.544 April 1994

Symposiums

Avantex, International symposium for high-tech apparel textiles and fashion engineering with innovation forum, Messe Frankfurt, 29/02/00 Milan Furniture Fair, The Internet Home, Brochure, April 2001 (images used in illustration) Tech-Textile, Messe Frankfurt, April 2001

Websites

Applied Physics Letters Schon, J. H., Kloc, C.H. & Batlogg, B. Efficient photovoltaic energy conversion in pentacene-based heterojunctions., 77, 2473 - 2475, (2000). Applied Physics Letters Shaheen, S. E. et al. 2.5% efficient organic plastic solar cells, 78, 841 - 843, (2001). Applied Physics Letters Shaheen, S. E., Radspinner, R., Peyghambarian, N. & Jabbour, G. E. Fabrication of bulk heterojunction plastic solar cells by screen printing, 79, 2996 - 2998, (2001). http://architecture.mit.edu/house_n Kaempffert, W., Miracles you’ll see in the next 50 years, 01/02/1950, article from http://architecture.mit.edu/house_n Kent Larson, "The Home of the Future" A+U 361, October 2000 http://architecture.mit.edu/house_n S.S. Intille. Designing a Home of the Future, IEEE Pervasive Computing, 2002 Textile based computing www.cdtltd.co.uk Cambridge Display Technology www.danielson.co.uk, membrane switches, touch screens, EL manufacturers www.hpl.hp.com/research/index.html, HP research Lab, research papers www.lrc.rpi.edu/Ltgtrans/LED/ LED technical information www.mediamatic.net/cwolk/view/8902, Cyberspace and virtual reality www.mediamatic.nl/Doors/Doors2/Perrella/Perrella-Doors2-E.html Stephen Perrella’s Hypersurface theory www.Nature.com Nature News Service / Macmillan Magazines Ltd 2001 www.ntcresearch.com/current/year8/m98-a16.htm Intelligent, Stimuli-Sensitive Fibers and Fabrics www.plasticlogic.com Inkjet printing electronic plastic components www.research.ibm.com/journals/sj/393/part3/post.html E-embroidery: Design and Fabrication of www.visson.net/interview.html Mr Lev Zaidenburg, Chairman and Founder, 6/06/01

A selection of web sites containing information on manufacturer of electroluminescent lamps

Impact Dynamix formed in 1998 and market ‘Livewire’ Electroluminescent cable to the U.K www.partyworks.co.uk/livewire E Lux provide flexible electroluminescent lighting systems to architects, based in the U.S www.elux.net LSI, Luminescent Systems Inc, manufactures formation navigational lighting for military aircraft, helicopters and ships. www.lumsys.com Technical notes from U.S based company NEC who provide Electro-Luminescent lighting for Pagers, Phones, Palmtop computers and other terminals. www.worldproducts.com

Interviews

Dr Richard Friend, Cambridge Display Technology CDT (LEP inventors), tour of research laboratories and electronic inks department. Alan Craig, DuPont^? Photopolymer and Electronic Materials, DuPont^? UK Ltd Scott Clarke, Kleenkut Company, EL Manufacturers EL Technology Ltd, Leicester, tour of EL printing facility and research laboratories.

Technical notes from: DuPont^? Photopolymer and electrical materials Department, Microcircuit and component Materials (Extensive scientific notes on production and application) Electroluminescent manufacturers (technical notes on production and application): Elumin8, UK KleenKut^? Imageglow Ltd, UK EL Technology Ltd, UK Elastolite, Texas USA

-- RachelWingfield - 26 Jan 2004