Innovation in textiles and hybrid materials for the built environment

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1 Innovation in textiles and hybrid materials for the built environment Anne Marr & Rebecca Hoyes Central Saint Mar5ns University of the Arts London

2 TEXTILE FUTURES RESEARCH CENTRE Anne Marr Philippa Brock Linda Florence Based at Chelsea College (TED) and Central Saint Martins (UFAB) The UFAB aims to build textile research at UAL with a focus on Urban Fabrics. Jo Pierce Rebecca Hoyes Kim Trogal

3 Urban Fabric Research Spatial Empathy The Urban Fabric Research platform explores textiles through new materials and future surfaces with a emphasis on public and exterior spaces. Urban Fabrics researchers take a multi disciplinary approach to textile development, with a focus on collaboration across industry and community. Urban Fabrics investigates the connection between materials, space and society in order to develop socioresponsive textiles to enhance soft spatial qualities, such as light, air and sound. Spatial Empathy project

4 Linda Florence Blue Tree, Redwoods Centre, Shelton Hospital, Shrewsbury

5 Sugar Floor on the streets of Berlin Art Transponder Gallery, Berlin.

6 Material Innovation BA Textile Design at Central Saint Martins explores the three main textile design practices print, knit and weave alongside digital and nontraditional approaches to textile design, trend prediction and presentation. The course offers workshops in alternative surface treatments, media and technologies and fosters an interdisciplinary and collaborative approach across fashion and spatial applications. With a focus on new material developments and processes the course addresses contemporary concerns around sustainability and the environment.

7 Olivia Aspinall Studio Aspinall is a materials-led design studio producing luxury surfaces for the interiors market. The Studio produces innovative, new and inspiring surface designs that challenge the perceived use of materials. Prime Matter, Aspinall s graduation project, takes the raw materials of chalk and coal and transforms them through various processes into bespoke surfaces.

8 Olivia Aspinall surfaces

9 Georgia Fleck Carpet everything explores the way carpet remnants can be transformed through stitch, acid printing and shaving.

10 Carpet Everything

11 Orla Lawn Orla Lawn explore the crossover and the contrasts between architecture and textiles. Her aim to create 3D textiles with a strong presence, that can alter the feeling of a space. Such impact can be achieved with partitions, by filtering light and framing views through a combination of casting and weaving.

12 Orla

13 Marta Velasco Velasco Bespoke sound insulation tiles. Screen print on recycled cotton material. Inspired by the African custom / necessity of reusing, remaking and readapting objects and materials most of the materials used in the collection are recycled or have been upcycled. Instant customisation and adaptability.

14 Windhoek

15 Material Boundaries Risk taking and Process-led Textile Research

16 Co-Design Open-ended Research Hybrid Materials Process-led Textile Research Textile Thinking

17 Where does textiles end and ceramics begin? The Material Boundaries project was designed to consciously experiment beyond the unknown and generate a deeper understanding where ceramic begins and textiles end as well as the transitional space in between them. This led to the development of a collection of new hybrid materials and a series of spatially applied textile design outcomes.

18 Selected materials : silica, basalt, Kynol, aramid yarn

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24 Material experimentation Different Playtypes Exploring cohesion of clay and textiles as well as structure and surface colouring. Combining tacit textile knowledge with ceramic processes

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26 First Prototypes: testing of structure and glazing design

27 Prototypes

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29 Prototype 01: Silica cord, paper clay with glaze

30 Prototype 02: Basalt tape, porcelain with glaze

31 Prototype 03: Hybrid Knot, silica rope, porcelain, ceramic glaze

32 Prototype 03: Hybrid Knot

33 The Hybrid Materials project was only possible with funding support from Central Saint Martins as well as the Textile Future Research Centre, University of the Arts London. We would also like to thank Andy Alllum, Natsai Chieza, Peter Close, Carole Collet, Simeon Featherstone and Duncan Hooson in particular for their invaluable enthusiasm, inspiration and support.