re-thinking relationships through augmented jewellery

Re-thinking relationships through augmented jewellery

Konstantia Koulidou

Master’s Thesis

MSc IT Product Design

University of Southern Denmark

Supervisors: Mette Gislev Kjærsgaard, Robb Mitchell

Date of Submision: June 16, 2014

Re-thinking relationships through augmented jewellery

‘‘Taking a step is a way to move forward.’’

Abstract This thesis investigates and explores new relationships between jewellery, technology

and the wearer, based on the interplay between “form & function”. Form refers to

the augmentation of material qualities of the jewellery whereas function refers to the

I]OUMV\I\QWV�WN �\PM�LQٺMZMV\� TM^MT[�WN �KWUU]VQKI\QWV�JM\_MMV�\PM�[MTN�� \PM�[MTN �IVL�others, and the self and the object. Through the exploration of contemporary jewellery

and the use of Critical Design methods, this thesis provides a new perspective on designing

interactive jewellery, which is based on the dynamic forms of the object. Taking a research-

through-design approach, I designed and built four explorative prototypes to probe new

ZM[MIZKP�QV�\PM�ÅMTL�WN �_MIZIJTM[��<W�M`XTWZM�\PQ[�ÅMTL��1�KWVL]K\ML�I�[MTN �LWK]UMV\I\QWV�study with four participants to gather data about their relationships with jewellery and

their experiences with the prototypes. These explorations draw on the proposition,

that transformative and dynamic forms can contribute to wearable design practices, as

they allow wearers to become co-creators of their experience. This can open up new

possibilities for aesthetic experience, as jewellery becomes triggers of new experiences

and reveals things about wearers that would not be visible without the interaction.

Table of Contents

AcknowledgesThanks..

/To my supervisors Mette Gislev Kjærsgaard and Robb Mitchell. Robb, for

motivating me to follow my dream and do research on jewellery. Mette, for your great

assistance and your push to document all my thoughts, before continuing my design

explorations. Without your help this thesis would not have been possible.

/To Chris Heape, for your fruitful feedback. / To my professor Henry Larsen for

your continuous support along the way. I will keep always in mind your words: ‘‘Nantia,

I understand your frustrution but you should keep in mind that every research is a crisis. Do you have a

research or a life crisis?”, “Stop analysing and start doing!” , “Find time for nothing. Your comments

were my motivation. /To Jabob Buur for your invitation into the world of research, as

you allowed me to experience the position of research assistant during my studies.

/To my participants, Vicki, Emilie, Sanne, Anne for our collaboration during this

thesis. Thank you so much for your time and your engagement during the process. /To

Vince and Alexander, for helping me deal with the 3d printing technologies.

/To my friend and roommate Terry for your emotional support during this thesis.

AW]�X][PML�IVL�I[[Q[\ML�UM�\W�ÅVQ[P�IVL�aW]�UILM�UM�TI]OP�L]ZQVO�\PM�\W]OP�\QUM[��/To my friend Henrike for your endless support and your ability to calm me down.

You were a great encouragement during my thesis. Thank you from the bottom of

my heart./ To my friend Kike for challenging me to do my best and trust me without

knowing exactly the topic of my research. / To all my friends: Thijs, Kristin, Alexandra,

Sanita, Andrei, who proofreaded or gave feedback to my work. Without all of you, I

_W]TL�VW\�JM�IJTM�\W�ZM�\PQVS�IVL�XMZKMQ^M�Ua�_WZS�NZWU�I�LQٺMZMV\�XMZ[XMK\Q^M�

/To my mum for your continual great back-up support and love. It has been a

tremendous help.

7.1 Inspiration From the Field of Contemporary Jewellery 28

7.2 Flour 30

7.3 Clay 31

7.4 Plant 34

7.5 Stamps 35

8. Analysis and Discussion 39

8.1 Relationship Between the Stimuli and the Effect of the . . . Interaction 39

8.2 Relationship Between the Stimuli and the Effect of the . . . Interaction in my Designs 43

8.3 Relation Between the Object and the Traces 46

8.4 Traces/Wearer Relationship 49

8.5 The Role of Jewellery in the Interaction 49

8.5.1 Instead of Re-Experience a Past Event They Have a New . . . Experience 49

8.6 The Role of the Wearer in the Interaction 51

8.6.1 Participants as Co-Designers of Their Experience With the . . . Worn Piece 51

8.7 Updating Wright et al’s Framework for Analysing Experience 52

9. Conclusion 57

References 61

Appendices

1. Introduction 1

1.1 The Goal of the Thesis 1

1.2 Research Question 2

1.3 Methodology 2

1.4 Thesis Process 3

1.5 Thesis Structure 3

2. Jewellery and Communication 5

2.1 Jewellery as Memory Carrier and Trigger 5

2.2 Jewellery and Traces 5

3. Understanding Jewellery in Interactions 7

3.1 Designing the Wearables 7

3.2 Relationship Between Maker/Jewellery/Wearer 8

3.2.1 First and Second Level of Communication 9

3.2.2 Third Level of Communication 10

4. Technology and Jewellery 12

4.1 Augmenting Interpersonal relationships 13

4.2 Augmenting Intrapersonal Relationships 14

4.3 Augmenting the Relationship Between the Wearer and the . . Object 15

5. Focus on my Research 17

6. Methodology 21

6.1 Pragmatist Aesthetics in Experience-Centered Design 21

6.2 Critical Design Approach 22

6.3 Co-Design Approach 22

7. Explorative prototypes 27

Table of Content

Introduction

011.1 The goal of this thesis

1.2 Research question

1.3 Methodology

1.4 Thesis Process

1.5 Thesis Structure

1 2

propose the interplay of form&function as a foundation for designing for rich experiences.

This work is not an attempt to criticise the existing work in HCI community, but rather

to propose another way of thinking and dealing with technology. This approach can be

IVW\PMZ�\WWT�QV�\PM�PIVL[�WN �LM[QOVMZ[�_PW�_IV\�\W�LM[QOV�NWZ�MUW\QWVITTa�[QOVQÅKIV\�interactions.

1.2 Research Question

To explore how the interplay between jewellery and technology might create

MUW\QWVITTa�[QOVQÅKIV\�QV\MZIK\QWV[�NWZ�\PM�_MIZMZ��\PM�UIQV�ZM[MIZKP�Y]M[\QWV�ILLZM[[ML�in this thesis is:

How do new technologies enhance the relationship that people have with their jewellery? And how can the design of jewellery inform the design of technological worn devices?

1.3 Methodology

For this exploration, I use a combination of research and design methods in order

to tackle the research question proposed in this thesis. I started by investigating the

existing literature in order to gain insights into the ongoing dialogue between jewellery

IVL�\MKPVWTWOa��:MÆMK\QVO�KZQ\QKITTa�WV�\PM�M`Q[\QVO�TQ\MZI\]ZM�IVL�KI\MOWZQ[QVO�M`Q[\QVO�examples that enrich the experience between the wearer and the worn object, I found

a niche, which turned out to be worth exploring. In order to explore the research area

\PI\� 1� QLMV\QÅML�� 1� KWUJQVML� I[XMK\[� WN � +W�,M[QOV� �5I\\MTUqSQ�� IVL�+ZQ\QKIT�,M[QOV�UM\PWL[� �,]VVM�� !!!�� 1� KWVL]K\ML� ZM[MIZKP� \PZW]OP� LM[QOV� IVL� LM[QOVML�four explorative prototypes. I carried out a self-documentation study with four girls

from Denmark to gather data about their relationships with jewellery and their

new experiences with my prototypes. The analysis is based on qualitative data. The

relationship the participants have with the given jewellery was documented through

a combination of written material, audio recordings and a semi-structured interview.

Moreover, a workshop involving all of them was set up to share their common

experiences and envision future concepts. I use the approach of pragmatist aesthetics

�;P][\MZUIV��#�8M\MZ[MV��QV�M`XMZQMVKM�KMV\MZML�LM[QOV�I[�I�NW]VLI\QWV�NZWU�_PQKP�1�M`XTWZM�MVOIOQVO�QV\MZIK\QWV[��<PM�NZIUM_WZS�WN �IVITa[QVO�M`XMZQMVKM��?ZQOP\�M\� IT�� Q[�][ML�I[� I� \WWT�WN �PW_� \W�LM[QOV�M`XMZQMV\QITTa� ZQKP� QV\MZIK\Q^M�WJRMK\[��where meaning is constructed out of the dynamic interplay between the compositional,

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1. IntroductionAs technology becomes portable and miniaturised, the design of new devices that

can be worn on the body increasingly gains interest. Wearable devices have spread into

^IZQW][�ÅMTL[�� M�O�� \PM�UMLQKIT� [MK\WZ�IVL�MV\MZ\IQVUMV\��IVL� \PMZM�IZM�I�V]UJMZ�WN �IXXTQKI\QWV[�NWZ�\PQ[�VM_Ta�MUMZOQVO�\MKPVWTWOa��=O]Z��1V�\PM�ÅMTL�WN �QV\MZIK\QWV�design, jewellery gains a lot of interest as it implies objects that are already related to

\PM�JWLa��?ITTIKM�� IVL�WٺMZ[�XW\MV\QIT�[WT]\QWV[�\W�\PM�XZWJTMU�WN �»_MIZIJQTQ\a¼��?PQ\M�� <PM�\MZU�jewellery turn the interest towards the body whereas interaction

design focuses on the technology and the interactions with the physical environment.

The intersection between jewellery and technology has already been investigated, but

remains a topic for further explorations. What can technology bring to jewellery? How

can interactive jewellery contribute to our perception of the self, our relationship with

the others as well as the relationship that we have with the jewellery? These questions

IZM�[\QTT�\W�JM�M`XTWZML��1V[\MIL�WN �KZMI\QVO�WJRMK\[�\PI\�IZM�QVKZMI[QVOTa�MٻKQMV\��MٺMK\Q^M�and multi-functional, the HCI Community has been shifting its attention towards a

ZI\PMZ�M`XMZQMVKML�JI[ML�QV\MZIK\QWV��_PQKP�QV^WT^M[�M`XZM[[QWV[�IVL�MUW\QWV[��5WVS�M\�IT��1�JMTQM^M�\PI\��QV�\PM�ÅMTL�WN �_MIZIJTM[��SVW_TMLOM�NZWU�^IZQW][�LQ[KQXTQVM[��such as jewellery design, software engineering and material science, it is needed, in order

to enrich the wearers experience by taking on several perspectives on how interactive

products can be loaded with emotional value for the wearer.

1.1 The Goal of the Thesis

This thesis is an attempt to enhance the dialogue between the object and the wearer,

as well as to contribute to the ongoing discussions about wearable design in the HCI

KWUU]VQ\a��)V�QV^M[\QOI\QWV�WN �\PM�ZWTM�WN �RM_MTTMZa�QV�XMWXTM[¼�TQ^M[�IVL�IV�M`XTWZI\QWV�of the relationship between the body, the object and the wearer, was the starting point

of this research.

The realisation that the relationship between the body and jewellery is mutual, was

the beginning of my explorations. Wearing jewellery changes the body, but at the same

\QUM�� \PM�JWLa� KPIVOM[� \PM�XQMKM�WN � RM_MTTZa��8Pa[QKIT� \ZIKM[�WN �_MIZQVO�IVL� \MIZQVO�I[�_MTT�I[�\PM�UMUWZQM[�I\\IKPML�\W�\PM�XQMKM�I[KZQJM�LQٺMZMV\�SQVL[�WN �UMIVQVO[�NWZ�the owner. For my research, instead of analysing this long term process, I focus on the

short-term interactions, caused either by the body, the object or the environment. I

conducted research-through-design in order to understand the relationship that people

have with rather dynamic objects. I designed four critical artefacts, which I gave to four

participants to live with, explore and experience. These types of jewellery go beyond

functionality, implying the aesthetics of material and use. In my research, I borrow

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Section 01Literature Discussion

1.4 Thesis Process 1� PI^M� IT_Ia[� PIL� IV� QV\MZM[\� QV� \PM� ÅMTL� WN � QV\MZIK\Q^M� RM_MTTMZa� �.QO]ZM� ��

:MILQVO��]VLMZ[\IVLQVO�IVL�ZMÆMK\QVO�WV�TQ\MZI\]ZM�ZMTI\ML�\W�\PM�ÅMTL�_I[�XIZ\�WN �\PM�process of identifying the area that I could further explore, a niche that would be my

KWV\ZQJ]\QWV�\W�\PM�ÅMTL��<PZW]OPW]\�\PQ[�XZWKM[[��1�KWTTMK\ML�^IZQW][�TQ\MZI\]ZM�WV�ÅMTL[�[]KP�I[�+ZIN\UIV[PQX��?MIZIJTM[��-`XMZQMVKM�,M[QOV�IVL�8ZIOUI\Q[\�)M[\PM\QK[��IVL�

ZMÆMK\ML�]XWV�PW_�\PM[M�LQٺMZMV\�ÅMTL[�KIV�MVZQKP� \PM�LQITWO]M�JM\_MMV�\PM�_MIZMZ�IVL�\PM�WJRMK\��)[�.QO]ZM��LQ[XTIa[��1�^Q[]ITQ[M�\PM�IZMI�WN �M`XTWZI\QWV�I[�I�JTIKS�[XW\��I�\PMWZM\QKIT�»JTQVL�[XW\¼�QV�\PM�ZM[MIZKP�TQ\MZI\]ZM��NZWU�_PMZM�1�LM^MTWX�I�VM_�XMZ[XMK\Q^M�on interactive jewellery. In my exploration of this new area of research, I designed

four prototypes and used literature to support my design decisions. By analysing and

ZMÆMK\QVO� WV�Ua� ZM[MIZKP�UI\MZQIT� IVL� Ja� KWVVMK\QVO� \PM� ZM[]T\[� _Q\P� \PM� TQ\MZI\]ZM�[MK\QWV��1�LQ[K][[�PW_�Ua�_WZS�KIV�JM�I�KWV\ZQJ]\QWV�\W�\PM�ÅMTL�WN �_MIZIJTM�LM[QOV�

1.5 Thesis Structure

Section 1: 4Q\MZI\]ZM�,Q[K][[QWV"�]VLMZ[\IVLQVO�IVL�ZMÆMK\QVO�WV�\PM�K]ZZMV\�� research, identifying a new possible research area.

Section 2: Design Exploration with four prototypes that investigate the new

research area

Section 3:��+WVVMK\QVO�;MK\QWV��IVL�;MK\QWV��

exploring

explorative prototypes

reflecting

analysing + discussing

reflecting

understanding

understanding

area for exploration

interest

reflecting

refle

ctin

g

new knowledge

1 2 3 4

new knowledge

.QO]ZM��"�;SM\KP�WN �Ua�<PM[Q[�8ZWKM[[

2. Jewellery and communication

3. Understanding jewelley in the interactions

4. Technology and Jewellery

5. Focus on my research

5 6

“I have made a discovery that I think comes much closer to my true feeling about the ring. After

\ISQVO�\PM�JIVL�Wٺ��\PMZM�Q[�I�^MZa�LQ[\QVK\�ZQLOM�TMN\�QV�Ua�ÅVOMZ��1�ÅVL�\PQ[�UWZM�QV\QUI\M�IVL�meaningful and closer to the real meaning of our union than that of the object that created it. But

\PQ[�QUXZM[[QWV�_W]TL�VW\�IXXMIZ�_Q\PW]\�ÅZ[\�\PM�M`Q[\MVKM�WN �\PM�ZQVO�IVL�\PM�\QUM�Q\�PI[�\ISMV�\W�KZMI\M�Q\�XPa[QKITTa�QV�\PM�ÅZ[\�XTIKM�º��+PM]VO�IVL�8W\\MZ��"��

The relationship between object, traces, and the body seems to be an interesting

angle on meaningful relationships between the object and the wearer, and seeks for

further explorations. Research has already been carried out in this area, including

*ISSMZ¼[�XZWRMK\ Shadow Jewellery��!��.QO]ZM��<PM�XZWRMK\�_I[�IV�IZZM[\QVO�_WZS��QV�_PQKP�\PM�MٺMK\�TMN\�Ja�_MIZQVO�\PM�WJRMK\�Q[�\PM�X]ZXW[M��ZI\PMZ�\PIV�\PM�WJRMK\�Q\[MTN��A constrictive metal ligature was placed around the circumference of an arm, a leg or

I�\WZ[W��_PQKP��]XWV�ZMUWÎT��ZM^MIT[�Q\[�QUXZQV\�WV�\PM�_MIZMZ¼[�[SQV��?Q\P�PQ[�Shadow

jewellery�XZWRMK\�*ISSMZ��5IVPMQU��!"��_IV\ML�\W�ÅVL�I�NWZU�WV�\PM�JWLa��_PQKP�makes a change to the body, and thus questions the importance of the bracelet as an

object itself, or as an object that only when it is worn reveals its function.

2. Jewellery and Communication

2.1 Jewellery as Memory Carrier and Trigger

Jewellery is one of the oldest forms of body adornment and has frequently been

PMTL�QV�PQOP�ZMOIZL�I[�I�[aUJWT�WN �[\I\][�IVL�I�_Ia�WN �I]OUMV\QVO�JMI]\a��8MWXTM�PI^M�been wearing jewellery for ages. Attaching stones and metals to the ears, and hanging

necklaces around the throat and wrist, using a variety of materials ranging from bones

to diamonds, developed into a set of cultural and behavioural patterns that have barely

KPIVOML�QV�\PW][IVL[�WN �aMIZ[��/WٺUIV��!�!��)\�\PM�[IUM�\QUM�\PI\�RM_MTTMZa�XTIa[�I�ZWTM�I[�I�K]T\]ZIT�ZMTQK� NZWU�I�[XMKQÅK�\QUM�QV�PQ[\WZa�� Q\�XTIa[�IV�QUXWZ\IV\�ZWTM�NWZ�the individuals to relate to their own personal experiences. By owning, wearing and

interacting with a piece of jewellery, people activate its life and the meaning inherited.

;M^MZIT�[\]LQM[�QV^M[\QOI\QVO�_Pa�XMWXTM�_MIZ�RM_MTTMZa�PI^M�JMMV�KIZZQML�W]\��/WٺUIV��!�!#�)PLM�,MIT��#�:IVI��<PMZM�IZM�ÎZQW][�ZMI[WV[�_Pa�XMWXTM�_MIZ�IVL�XW[[M[[�RM_MTTMZa��/ZW]X�IٻTQI\QWV��JWLa�ILWZVUMV\�IVL�[\I\][�[aUJWT�IZM�WVTa�I�NM_�WN �\PM�ZMI[WV[�_Pa�XMWXTM�_MIZ�RM_MTTMZa�W^MZ�\PM�aMIZ[��5IZOIV�=VOMZ��ZMNMZ[�\W�\PM�main function of jewellery as that it connects us with people who lived before us or are

TQ^QVO�_Q\P�][��)PLM�� ZMNMZ[�\W�RM_MTTMZa�I[�I�XPa[QKIT�ZMXZM[MV\I\QWV�WN �UMUWZQM[��as a provocateur of emotions, which connects us to past experiences and relationships.

<PM� [QOVQÅKIVKM� TQM[� QV� \PM�UIQV� N]VK\QWV� WN � \PM� XQMKM� I[� I� [WKQIT� [QOVQÅMZ� \PI\� PI[�the ability to carry and trigger memories. Jewellery carrying an inherent meaning is

an object that lasts. The meaning is not transformed throughout the life of the piece,

instead the jewellry works as a memory trigger, as a link to a past memory, as a stimuli

WN �I�[MV\QUMV\�WZ�I�KMZ\IQV�NMMTQVO��<P][��XQMKM[�WN �RM_MTTMZa�JMKWUM�UWZM�\PIV�WJRMK\[#�they are connectors.

2.2 Jewellery and Traces

Apart from the fact that jewellery has power as a social object, it also gains importance

as an object that is close and related to the body. Since pieces of jewellery are often worn

LQZMK\Ta�WV�\PM�[SQV��\PMa�JMKWUM�M`\MV[QWV[�WN �\PM�_MIZMZ¼[�JWLa��KZMI\QVO�I�NMMTQVO�WN �ownership.

Wearing jewellery changes the body, but at the same time, the body changes the piece,

by leaving traces on the material. In the normal course of events, everything tends to

KPIVOM�\PZW]OP�_MIZQVO�IVL�\MIZQVO��5WZMW^MZ��LQٺMZMV\�UI\MZQIT[�IOM�QV�LQٺMZMV\�_Ia[��5IVPMQU��!"� ��.WZ�MÌUXTM��\PM�[SQV¼[�IKQL[�KIV�KI][M�[\MMT�\W�\IZVQ[P�IVL�I\�\PM�same time wearing a ring for years can leave a mark on the body. This transformation

opens the dialogue between the object and the wearer and the role that each plays in the

TQNM�WN �\PM�W\PMZ��+PM]VO�M\�IT��KWUUMV\�WV�\PM�QUXWZ\IVKM�WN �\PM�ZMTI\QWV[PQX�JM\_MMV� \PM�WJRMK\� IVL� \PM� QUXZQV\� Q\� TMI^M[�WV� \PM�JWLa� �.QO]ZM��.QO]ZM��<PMa�wrote:

Since jewellery is in close relation to the body and as technology has become

increasingly miniaturised, it is interesting to explore how the combination of the two

could engender new kinds of interaction. This thesis will explore the implications and

questions involved.

As computing and technology become ubiquitous, designers are searching for

ways to bridge jewellery and technology in order to open up new ways of designing

interactive wearables. In the next section, inspired from the famous dictum form follows

function��;]TTQÎV��WN �[KPWWT�WN �*I]PI][��!�!��1�XZM[MV\�Ua�]VLMZ[\IVLQVO�WN �\PM�LM[QOV�WN �_MIZIJTM�LM^QKM[�[QVKM�\PM�JMOQVVQVO�WN �\PM��\P�KMV\]Za��1V�\PM�NWTTW_QVO��I present how this collaboration can lead to interesting experiences for the wearers, by

proposing the term form&function as a design methodology for designing for experience.

In the next chapter, I focus on the relationship between the maker, the jewellery and

\PM�_MIZMZ��IVL�1�XZWXW[M�I�UWLMT�\W�PMTX�IZ\QK]TI\M�LQٺMZMV\�KWUU]VQKI\Q^M�I[XMK\[�around jewellery. In the last chapter of this section, I refer to examples from existing

TQ\MZI\]ZM� \W� OM\� I� JM\\MZ� ]VLMZ[\IVLQVO� WN � \PM� JMVMÅ\[� \PI\� \MKPVWTWOa� KIV�JZQVO� \W�jewellery and vice versa.

.QO]ZM��"��Wedding Ring .QO]ZM��"��Body Change Figure 3: Shadow Jewellery

�*ISSMZ��!��

7 8

an improved experience for the patient providing a pain-free

delivery of insulin to the body.

<PM� _WZS� WN � W\PMZ� ZM[MIZKPMZ[� �?ITTIKM�� #� 3M\\TMa�� #�?PQ\M�� [PW_[� I� OZMI\� QV\MZM[\� QV� \PM� MUW\QWVIT�[QOVQÅKIVKM� IVL� \PM� ZWTM� \PI\� LQOQ\IT� RM_MTTMZa� KW]TL� XTIa�QV� XMWXTM[¼� TQ^M[�� <MKPVWTWOa� JMKWUM[� WVM� UWZM� UI\MZQIT�and would lead, in combination with their craft practices, to

MUW\QWVIT�[QOVQÅKIV\�WJRMK\[��.QO]ZM� ��+]VVQVOPIU� �� VW\M[� \PI\�� _Q\PQV� \PM� \MKPVWTWOQKIT�

jewellery object, neither aesthetics nor function is paramount,

but rather each is an element which is called into play as an

actor by makers, wearers and viewers - we can talk about an

interplay between the form and the function which can lead

to richer experiences. In order to design the dialogue between

the form and the function, we have to understand the design

of wearable devices as a holistic experience, within which the

maker, the object and the wearer are in a constant dialogue

�.QO]ZM�!��

3.2 Relationship Between Maker/Jewellery/Wearer

In the previous sections, I introduced the interplay between

form&function as a framework for designing for experience, and

I presented examples from literature that enrich the experience

that wearers have with their jewellery. In this section, I will

unfold the interaction in a broader perspective. Based on

my own experience as a traditional jewellery designer, the

literature about contemporary jewellery discussed above, and

my previous design explorations and readings in designing for

M`XMZQMVKM during my master studies, I propose a model to help

IZ\QK]TI\M� LQٺMZMV\� KWUU]VQKI\Q^M� I[XMK\[� IZW]VL� RM_MTTMZa��This model is a way of understanding the various types of

relationships between the piece of jewellery, the maker and the

_MIZMZ�� IVL� IT[W� IV� I\\MUX\� \W� QVNWZU� \PM� ÅMTL� WN �_MIZIJTM�LM[QOV�IJW]\�_PI\�Q\�UMIV[��PW_��\W�LM[QOV�NWZ�M`XMZQMVKM��

I categorise these relations in three categories, which I

understand as three levels of communication. I will introduce

TM^MT[� �� IVL� �� ÅZ[\��<PM� ÅZ[\� TM^MT� [\IZ\[�_Q\P� \PM� \ZILQ\QWVIT�forms of jewellery. Here, the meaning is entirely assigned to

the material in use, the craft practices of the maker, and the

uniqueness of the piece. In the second level, the meaning given

3.1 Designing the WearablesStarting with the famous dictum from the school of Bauhaus

��!�!��form follows function �;]TTQ^IV��#�.QO]ZM��_PQKP�QVÆ]MVKML�I�ZIVOM�WN �W\PMZ�LM[QOV�[KPWWT[�QV�\PM�PQ[\WZa�WN �IZ\��craft and design, I will investigate altering the dictum to function

follows form, which refers to the design of wearable devices that

][M�RM_MTTMZa�I[�\PM�NWZU�_PQKP�PW[\[�\MKPVWTWOa��.QO]ZM��1V�\PM�MVL�WN �\PM��\P�KMV\]Za��RM_MTTMZa�OIQVML�I�TW\�WN �QV\MZM[\�in terms of objects that are already worn on the body and can

be used as carriers of technology, as big companies translated

current modes of communication into interactive jewellery.

Embedding functions of digital devices in existing worn

WJRMK\[� _I[� \PM� ÅZ[\� IXXZWIKP� WN � LM[QOVQVO� LQOQ\IT� RM_MTTMZa��.QO]ZM��<PM�IBM Set �?ITTIKM�� #�.QO]ZM��Q[�WVTa�WVM�M`IUXTM�\PI\�1*5¼[�)TUILMV�ZM[MIZKP�KMV\ZM�PI[�LM^MTWXML��It is a prototype of a cell phone that consists of several pieces

of digital jewellery that will work together wirelessly through

Bluetooth, just like a conventional cell phone.

1V�\PM�ÅMTL�WN �0+1��\PMZM�Q[�I�OZMI\�QV\MZM[\�QV�PW_�_M�KIV�design for experiences and for emotional durable products

�+PIXUIV��#�2WZLIV��,M[QOVQVO�IV�WJRMK\�Q[�VW\�WVTa�a problem of aesthetics or function, but also involves a wider

IXXZWIKP� \PI\� NWK][M[� WV� ][MZ� M`XMZQMVKM� �=O]Z�� "��Researchers and companies started exploring new ways of

interaction with the self and others in order to create new rich

experiences for the wearer, that would not be possible without

the interplay of form and function. An example is the Diabetes

Necklace� NZWU�0MQ[[� �� #� .QO]ZM� �� <PM�Diabetes Necklace is

a wearable applicator device that applies Nanotechnology

>QK\WZQI¼[�6IVW5)8[� \W� \PM�[SQV��<PM�Diabetes Rings work in

conjunction with the Diabetes Necklace. The rings are designed

to keep the insulin patches against the skin once they have been

IXXTQML��0MQ[[��<PM�LQٺMZMVKM�JM\_MMV�Diabetes Jewellery

and the IBM Set is crucial. Both are aesthetically pleasing pieces

WN �RM_MTTMZa�_WZV�WV�\PM�JWLa��IVL�[MZ^QVO�I�N]VK\QWV#�\PM�ÅZ[\�to answer a call, and the latter to give insulin to the blood.

Compared to the IBM Set, where the piece is used instead

of a phone and headphones, the Diabetes Necklace proposes

function

form

functionform

function

interplay

form

function

interplay

functionform

.QO]ZM��: Function

Follows Form

.QO]ZM�� : Form Folllows

Function

Figure 6 : IBM Set

�1*5��!!��

.QO]ZM��"��Diabetes

Necklace �0MQ[[��

.QO]ZM� �"�<PM�Interplay Between

Form and Function

.QO]ZM�!�"�Form&

Function

3. Understanding Jewellery in Interactions

9 10

3.2.2 Third Level of CommunicationI��8ZIOUI\QK�)M[\PM\QK[�QV�-`XMZQMVKM�+MV\ZML�,M[QOVI believe, that the interplay between form and function, that I noted in the previous

chapter, can lead to new experiences, as long as it is placed in a holistic approach of

understanding the experience. This understanding of experience is central to the

XPQTW[WXPQKIT� \ZILQ\QWV� WN � 8ZIOUI\QK� )M[\PM\QK[� �,M_Ma� �!�� ;P][\MZUIV� ��8ZIOUI\QK�)M[\PM\QK[�QV�-`XMZQMVKM�+MV\MZML�,M[QOV�]VLMZ[\IVL[�\PM�XMZ[WV�\ISQVO�I�holistic approach, as a person who is acting, sensing, feeling, thinking, and sense making

QV�I� [M\\QVO� QVKT]LQVO�PQ[�PMZ�XMZKMX\QWV�IVL�[MV[I\QWV�WN �PQ[�PMZ�IK\QWV[� �?ZQOP\�M\�IT�� )KKWZLQVO�\W�8M\MZ[MV�M\�IT��IVL�\PM�\PQVSQVO�QV�8ZIOUI\Q[\�)M[\PM\QK[��aesthetic is not something a priori to the world, but rather a potential that is released

QV�LQITWO]M��I[�_M�M`XMZQMVKM�\PM�_WZTL��8ZIOUI\Q[U�[MM[�IM[\PM\QK[�I[�I�XIZ\QK]TIZ�SQVL�of experience that emerges in the interplay between user, context, culture, and history

�?ZQOP\�M\�IT�� <PM�SMa�NMI\]ZM�WN �\PQ[�IXXZWIKP�\W�M`XMZQMVKM�Q[�I[�U]KP�IJW]\�what the individual brings to the experience, as it is about what the designer puts there.

5MIVQVON]TVM[[�IVL�IM[\PM\QK�M`XMZQMVKM[�MUMZOM�QV�][M#�\PMa�IZM�VW\�XZM�LMÅVML��Designing for experience, going beyond usability, requires treating the user

PWTQ[\QKITTa� �2WZLIV�� #�;IVLMZ[� IVL�,IVLI^I\M�� !!!�� I[� I� NMMTQVO�� \PQVSQVO�� IVL�IK\Q^M� XMZ[WV�� 1� ][M� \PM� IXXZWIKP� WN � 8ZIOUI\Q[\� )M[\PM\QK[� QV� -`XMZQMVKM�+MV\MZML�Design as a foundation from which I explore the interaction between the maker, the

RM_MTTMZa�IVL�\PM�_MIZMZ��,MXIZ\QVO�NZWU�\PQ[�NW]VLI\QWV��QV�\PM�\PQZL�TM^MT��.QO]ZM��[MM�VM`\�XIOM��\PM�UMIVQVO�TQM[�QV�\PM�QV\MZIK\QWV�I[�IV�QV\MZXTIa�JM\_MMV�\PM�UISMZ�through the jewellery that he/she created, the object itself, and the wearer as a whole

person with desires, feelings, previous experiences and relationships with others and

other objects. The graph below illustrates the connections between the components of

the interaction, which I will further explain.

b. Dialogue Maker/Jewellery/Wearer

+WV[QLMZQVO�_PI\� 1¼^M� LZI_V� NZWU�8ZIOUI\QK�)M[\PM\QK[�� 1� XZWXW[M� I� \PQZL� TM^MT��which I will further explore in my thesis. The levels of communication between the

maker, the wearer and the jewellery are not separate categories, but are interconnected

QV�I�_Ia�\PI\�\PM�ÅZ[\�\_W�KI\MOWZQM[�IZM�KWUJQVML�_Q\PQV�\PM�\PQZL��.QO]ZM��The wearer, on one hand, has a notion of what jewellery is, a number of pieces that

he/she is already attached to and links with memories from past events, as well as an

assumption of what is going to happen when he/she is going to interact with the piece.

<PM�UISMZ��WV�\PM�W\PMZ�PIVL��Q[�VW\�XPa[QKITTa�XZM[MV\#�PW_M^MZ��\PM�XQMKM�\PI\�PM�[PM�created carries a message that he/she wants to deliver to the world, as well as displays a

[MV[Q\Q^Q\a�WN �\PM�UI\MZQIT[�\PI\�PM�[PM�][ML�\W�LM[QOV�\PM�XQMKM��<PM�UISMZ�LMÅVQ\MTa�PI[�IV�]VLMZ[\IVLQVO�WN �_PI\�\PM�XQMKM�WN �RM_MTTMZa�UIa�ZMXZM[MV\��_PQKP�UIa�LQٺMZ�NZWU�\PM�_MIZMZ¼[�XMZ[XMK\Q^M��?PI\�\PM�UISMZ�JZQVO[�\W�\PM�QV\MZIK\QWV�Q[�VW\�I�XTIQV�WJRMK\�\PI\�[MMS[�\W�ÅVL�I�_MIZMZ��J]\�IV�WJRMK\�_Q\P�KMZ\IQV�NWZU�IVL�UI\MZQIT�Y]ITQ\QM[��?PMV�

\W�\PM�XQMKM�WN �RM_MTTMZa�Q[�I[[QOVML�\PZW]OP�\PM�UM[[IOM�Q\�KWV^Ma[��_PQKP�Q[�LMÅVML�Ja�\PM�KWV\MUXWZIZa�RM_MTTMZ��.QO]ZM��

3.2.1 First and Second Level of Communication

Regarding the traditional forms of jewellery, I refer to pieces of jewellery that are

made of precious metal and stones, and are unique due to the craft practices and the

expertise of the maker. In this level, the piece carries value due to its material and its

form. The role of the maker is limited to designing the piece of jewellery. The meaning

Q[�I\\ZQJ]\ML�Ja�\PM�_MIZMZ�WVKM�Q\�Q[�W_VML��.QO]ZM��<PM�[MKWVL�KWUU]VQKI\QWV�TM^MT�has its foundation in the contemporary jewellery design realm. In this model there is the

UISMZ��\PM�RM_MTTMZa��\PM�^QM_MZ�IVL�\PM�_MIZMZ�WN �\PM�WJRMK\��0MZM��RM_MTTMZa�Q[�LMÅVML�I[� IV� WJRMK\�_PQKP� KIZZQM[� I�UMIVQVO� LMÅVML� Ja� \PM�UISMZ��_PQKP� Q[� LMTQ^MZML� \W� I�person who is going to wear or look at it. In this level of communication the meaning lies

QV�\PM�WJRMK\�IVL�QV�\PM�QV\MZXZM\I\QWV�WN �\PM�XQMKM�QV�\PM�^QM_MZ¼[�WZ�_MIZMZ¼[�MaM[��<PM�role of the designer is fundamental. The designer is the sender of a message whereas

the wearer is the receiver. The objects are not necessarily worn, but raise questions

IJW]\�\PM�[MTN �IVL�\PM�JWLa��IVL�\PMa�PI^M�\PM�OWIT�WN �UISQVO�XMWXTM�ZMÆMK\��<PQ[�TM^MT�WN �KWUU]VQKI\QWV�ZMÆMK\[�\PM�I_IZMVM[[�WN �RM_MTTMZ[�\W�\PM�XMZ[WV�WJRMK\�ZMTI\QWV[PQX��IVL�VW\QWV[�WN �XMZ[WVIT�[QOVQÅKIVKM��?ITTIKM��+WV\MUXWZIZa�RM_MTTMZ[�Y]M[\QWV�notions and roles of jewellery, the value of the piece, and the relationship between

the person and the object, and they experiment with a range of material. These are

perspectives that can contribute to the design and the conception of wearable digital

LM^QKM[��*M[\MV��"��#��?ITTIKM��

craft practices relationship with the body,

message

value

comtemporary jewelry

thought, messagein the dialogue between the designer,

traditional jewelry

material, form

first level of communication second level of communication

relation between

the maker-object-

weare-viewer

.QO]ZM��"�.QZ[\�IVL�;MKWVL�4M^MT�WN �+WUU]VQKI\QWV�*M\_MMV�\PM�5ISMZ��\PM�7JRMK\�IVL�\PM�Wearer

11 12

\MKPVWTWOa�Q[�QV^WT^ML�IV�ILLQ\QWVIT�MTMUMV\�Q[�JZW]OP\�QV\W�XTIa�I[�_MTT��.QO]ZM��<PM�UMIVQVO�\PI\�\PM�_MIZMZ�Q[�OWQVO�\W�OQ^M�\W�\PM�XQMKM�KIV�VW\�JM�XZM�LMÅVML��<PM�\MZU�jewellery-to-be�QV\ZWL]KML�Ja�4QV�+PM]VO��MUXPI[Q[M[�\PI\�\PM�XQMKM[�WN �RM_MTTMZa�KIV�KWUXTM\M�Q\[�WٻKQIT�[\I\][�WVTa�_PMV�Q\�Q[�UMIVQVON]TTa�KWVVMK\ML�\W�[WUMWVM��1V�Ua�understanding of the term, it is pieces that are open for interpretations and relationships

between the maker, the object and the wearer, which are all subjects of an ongoing

process of sense making. The way the pieces acquire meaning is beyond the makers

QV\MV\QWV[��IVL�KIV�VW\�JM�XZM�LMÅVML��.WTTW_QVO�\PQ[�_Ia�WN �\PQVSQVO��\PM�_MIZMZ��\PM�maker, and the object bring something into the interaction, and their interplay brings

something new and unexpected that nobody can predict. The wearer plays the role of

an active participant in an ongoing sense-making process.

Departing from this understanding of interaction, the interplay between form and

function is paramount, as both are equally important to design for richer experience

between the object and the wearer.

1V�\PM�NWTTW_QVO�KPIX\MZ��1�_QTT�XZM[MV\�PW_�\MKPVWTWOa�KIV�KWV\ZQJ]\M�\W�\PM�ÅMTL�WN �jewellery design and how jewellery design practices can inform the design of wearable

\MKPVWTWOQM[��<PQ[� Q[� I[� IV� I\\MUX\� \W� ÅVL� I�_Ia� \W� MVPIVKM� \PQ[� KWV^MZ[I\QWV� TI\MZ�_Q\P�Ua�W_V�ZM[MIZKP��=VLMZ[\IVLQVO�IVL�ZMÆMK\QVO�WV�\PM�M`Q[\QVO�TQ\MZI\]ZM��1�[]OOM[\�that the various relationships between the object and the wearer can be categorised

I[� NWTTW_[� �.QO]ZM� ��"� I�� )]OUMV\QVO� \PM� ZMTI\QWV[PQX� \PI\� XMWXTM� PI^M� _Q\P� W\PMZ[��QV\MZXMZ[WVIT� ZMTI\QWV[PQX[�� J�� )]OUMV\QVO� \PM� ZMTI\QWV[PQX� \PI\� XMWXTM� PI^M� _Q\P�\PMU[MT^M[��QV\ZIXMZ[WVIT�ZMTI\QWV[PQX[��IVL�K��)]OUMV\QVO�\PM�ZMTI\QWV[PQX�\PI\�XMWXTM�have with the object.

4. Technology and Jewelleryinteraction with the object

interaction with the object

object

jewelry

jewelry

previous experiences

relations with others

message

sensitivity for the materials

previous experiences

relations with others

body adornment

memories

attachment

FUNCTION

FORM

functionality

materials

qualities

new

unexpected

ambuiguity

interaction

new form

new meaning

active practicioner

for continuously sense making

(wearer)

(designer)

craft practices relationship with the body,

message

interaction as a dialogue,

between the designer, wearer,

object

value

comtemporary jewelry

thought, message

interactive jewelry

in the dialogue between the designer,

wearer and the object

traditional jewelry

material, form

first level of communication second level of communication third level of communication

relation between

the maker-object-

weare-viewer

.QO]ZM��"�<PQZL�4M^MT�WN �+WUU]VQKI\QWV"�1TT][\ZI\QWV�WN �\PM�1V\MZIK\QWV�*M\_MMV�\PM�7JRMK\��the Maker and the Wearer

.QO]ZM��"�:MTI\QWV[PQX�*M\_MMV�\PM�7JRMK\�IVL�\PM�?MIZMZ�

interactive jewelry

activate a function

interaction with the objectinteraction with others interaction with the self(interpersonal) (intrapersonal)

13 14

meaningful for each of the wearers and served as an emotional

connector with their friends. The project Light Brooch��;\�JMZ��!!�#�.QO]ZM��Q[�WVM�MÌUXTM�WN �[WKQIT� Q[QJQTQ\a�QV�KTW[M�LQ[\IVKM��<PM�jewellery is physically activated and visually changes in response

to interaction between people. Sensors detect the interaction and

light sources illuminate when the shapes are touched. The body

responds to the jewellery and the jewellery responds to the body

�?ITTIKM�� <PM� TQOP\� NILM[�OZIL]ITTa�_PMV� \PM�KWV\IK\� Q[�broken. In this example an interesting observation is, that the

body becomes a part of the interaction.

.ZWU�\PM�ÅMTL�WN �JQW\MKPVWTWOQM[��I�KIX\QÎ\QVO�MÌUXTM�Q[�\PM�Biojewellery��#�.QO]ZM��ZQVO[�LM[QOVML�Ja�JQW�MVOQVMMZML�bone tissue. The couple wearing them feels like sharing a part of

their own body with their partner, rather than a wedding ring,

I[�\PMQZ�KMTT[�_MZM�[MMLML�WV\W�I�JQWIK\Q^M�[KIٺWTL��<PQ[�UI\MZQIT�encourages the cells to divide and grow rapidly, resulting in a

\Q[[]M� \PI\� \WWS�WV� \PM� NWZU�WN � \PM� [KIٺWTL��_PQKP�_I[� QV� \PM�shape of a ring.

4.2 Augmenting Intrapersonal Relationships

Interactive Jewellery can also augment the relationship people

have with themselves. I refer to these relationships as intrapersonal

relationships. The examples of this category can be read within

the scope of social invisibility, meaning that the interaction is

close to the body and is only visible to and understandable by

\PM�_MIZMZ��<PM�\MZU�[WKQIT��QV�^Q[QJQTQ\a�NWK][M[�WV�\PM�QV\QUIKa�of the body, involving memories and physical movements. In this

regards, the term self awareness was investigated by a number

of researchers as well. Stile��3M\\TMa�� IVL�Lens �?PQ\M��!��are two examples that provide a tangible prompt to personal

memories, inviting the wearer to re-experience a past event.

Stile� �3M\\TMa�� #� .QO]ZM� �� Q[� I� VMKSXQMKM� \PI\� OQ^M[� I�[W]VL�W]\X]\�\W�\PM�_MIZMZ¼[�JWLQTa�UW^MUMV\[��)[�\PM�_MIZMZ�moves the head from side to side, small sounds are emitted

from the collar that reminds her of her visit to Australia. The

I]LQW�Q[�VW\�WJ[MZÎJTM�Ja�W\PMZ[#�\P][��\PM�UMIVQVO�Q[�I\\IKPML�to the wearer and cannot be interpreted by someone else. Lens

�?PQ\M�� #�.QO]ZM�� Q[�I�XMVLIV\��_PQKP�TWWS[�IVL�NMMT[�TQSM�a smooth piece of glass that has been washed up by the sea, and

[MZ^M[�I[�I�UMUMV\W�WN �\PM�_MIZMZ¼[�NIUQTa�PWTQLIa�WV�\PM�1[TM�

Based on the interplay between form&function, where form refers to the material

qualities of the piece of jewellery and function�ZMNMZ[�\W�\PM�I]OUMV\I\QWV�WN �\PM�LQٺMZMV\�levels of communication between the self, the self and the others, and the self and the

WJRMK\��1�_QTT�[\IZ\�\PM�LQITWO]M�WN �PW_�\MKPVWTWOa�IVL�RM_MTTMZa�KIV�JMVMÅ\�NZWU�MIKP�other and thus contribute to designing a richer experience between the object and the

wearer.

4.1 Augmenting Interpersonal Relationships

As mentioned in the previous chapter, one of the main

functions of jewellery is its social role as communication mediator

to past experiences triggering and storing memories. The

combination of technology and jewellery augments this function

by opening up new ways of communication. Adding functions

with the help of information technology, the relationship

between the worn piece and the wearer transforms and enriches

the whole experience of wearing, possessing and interacting with

the piece of jewellery.

New technologies open up new ways of communicating by

leaving physical traces of the connection between people. In the

following, I will introduce four projects, that present function

as an additional layer to the whole experience. I use the term

social visibility� �3M\\TMa�� \W� ZMNMZ� \W� \PW[M� MÌUXTM[��_PQKP�involve delicate technologies that augment the relationship with

the world and the people within it by showing evidence of the

connectivity in the physical world. Here, instead of replacing the

PMILXPWVM[�_Q\P�MIZZQVO[��I[�QV�\PM�1*5�;M\��.QO]ZM��XMWXTM�start to communicate through all of their senses. Researchers

and companies started designing technological, wearable devices

\PI\�LQٺMZML�NZWU�OILOM\[��?ITTIKM�� IVL�\ZQML�\W�KWVVMK\�individuals through distances by activating their senses through

LQٺMZMV\� SQVL[� WN � [MV[WZ[�� []KP� I[� \MUXMZI\]ZM� [MV[WZ[� IVL�moisture sensors. In the following examples, the pieces of jewellry

are meaningful for the wearers as mediators of communication.

Kiss Communicator �1,-7�� !!!#� .QO]ZM� �� Q[� I� XZW\W\aXM�from a research project exploring new ways of communication

\PZW]OP�LQOQ\IT� RM_MTTMZa�I\�I�LQ[\IVKM��8IZ\QKQXIV\[� \ISQVO�XIZ\�in the project Speckled Jewellery��3M\\TMa��!#�.QO]ZM��OIQVML�an understanding of how far or close they were to their friends

in spatial terms, as indicated by LEDs. This information was

.QO]ZM��"�Kiss

Communicator

�1,-7��!!!�

.QO]ZM��"�Light

Brooch�;\�JMZ��!!��

.QO]ZM��"�Biojewellery ��

.QO]ZM��"�Stile

�3M\\TMa��

.QO]ZM�� "�Lens

�?PQ\M��

.QO]ZM��"�Speckled

Jewellery��3M\\TMa��!�

15 16

lives of the pieces. Wearers activate the application with their

W_V�]VQY]M�RM_MTTMZa#�PW_M^MZ��\_W�WZ�UWZM�XQMKM[�WN �RM_MTTMZa�could have the same digital life. However, what this project does

not investigate is the personalisation on the digital life of the

product.

Shape Change Jewellery �0MQ[[�� !#�.QO]ZM�� Q[�I� ZIVOM�of wearable artefacts that change shape in response to human

warmth. This project introduces the body and the object in an

intimate and interdependent relationship. The worn piece is

transformed into a living object, whose life is dependent on the

_MIZMZ¼[�JWLa�\ZIV[NWZUI\QWV[��<PM�LM^QKM�Q[�VW\�][ML�I[�IV�QVX]\�to visualise data that may or may not be useful for the wearer, but

creates a new relationship between the object and the individual.

The Necklace��>IV�*MMZ[��#�.QO]ZM��Q[�I�XQMKM�WN �RM_MTTMZa�designed for breast cancer patients. The piece becomes a symbol

of the struggle of the patient and a conversation facilitator with

the social environment of the patient. What is interesting in this

piece of work is, that the patient keeps adding new beads to the

VMKSTIKM� IN\MZ� MIKP� [QOVQÅKIV\� UWUMV\� L]ZQVO� \PM� K]ZM�� <PM�colours of the beads change depending on how ill the patient is

at that moment. Thus, the piece of jewellery becomes dynamic

in its form. The wearer is able to control the interaction, but not

the colour of the beads.

of Skye. When the viewer holds it up to the mirror, an image of

skimming stones across the water appears against the landscape

WN �;SaM��5K3MVbQM��<PM�UMIVQVO�Q[�I[[WKQI\ML�JW\P�_Q\P�the material of the crafted object and the digital pictures that

are triggered by holding it up to a mirror. The chosen material

brings memories to the wearer, because he/she is connected

\W�[XMKQÅK�M^MV\[� \PI\�IZM� QUXWZ\IV\� NWZ�PQU�PMZ��<PM�XZWRMK\[�explore the ability to trigger memories with pieces of jewellery

with the help of digital technology.

As I mentioned previously, jewellery has the power to store

and activate memories, both pleasant and unpleasant, that are

QUXWZ\IV\�NWZ�\PM�_MIZMZ¼[�TQNM��?PM\PMZ�_WZV�WZ�VW\��\PM�XQMKM[�KIV� \ZQOOMZ� [XMKQÅK� UMUWZQM[� IVL� XZW^WSM� KMZ\IQV� MUW\QWV[��)PLM��?PI\�LQOQ\IT�\MKPVWTWOQM[�JZW]OP\�QV\W�XTIa�PMZM�Q[�the tangibility of the memories by placing visual images or sound

outputs in the physical environment.

These are attempts to enrich the emotional experience of the

wearer. The material of the jewellery and the function that the

piece implies, are linked to the wearers memories and can be

only interpreted by him/her.

4.3 Augmenting the Relationship Between the Wearer and the Object

The last category that I am going to introduce involves a

new form of relationship that is created between the piece of

jewellery and the wearer due to the augmentation of the physical

or the digital life of the piece. This area is an interesting area,

which is not well explored yet, and I see the value and potential

of further explorations. The examples in this category inspired

my research, as they attempt to augment the relationship people

have with their jewellery.

The project Swarms� �?PQ\M�� #� .QO]ZM� �!�� M`XTWZM[�jewellery as a way of investigating, engaging and subsequently

understanding the relationship people have with their jewellery

by introducing a second life of the jewel in the digital world.

When the worn object moves in physical space an online

IXXTQKI\QWV�WN �JQZL[�ÆaQVO� Q[�IK\Q^I\ML�IVL�UW^M[�IKKWZLQVO�\W�the physical movement of the object. Thus, people connect with

their own pieces of jewellery in a new way by augmenting the

.QO]ZM��!"�Swarms

�?PQ\M��

.QO]ZM��"�Shape

Change Jewellery

�0MQ[[�� !�

.QO]ZM��"�The

Necklace��>IV�*MMZ[��

18

5a�NWK][�Q[�WV�M`XTWZQVO�RM_MTTMZa��_PW[M�UMIVQVO�Q[�VW\�XZM�LMÅVML�NWZ�I�[XMKQÅK�wearer due to the material in use, but through its deformation and transformation new

relationships can be created, which the wearer has to make sense of. I believe, that these

objects can trigger and establish a relationship between the person and the object while

leaving room for ambiguity and providing a stimuli to reveal interactions.

5. Focus on my ResearchAs I analysed the third level of communication, I understood interaction as a

LQITWO]M�JM\_MMV�\PM�XI[\� �M`XMZQMVKM[��UMUWZQM[�IVL�\PW]OP\[��\PM�XZM[MV\��_PI\�Q[�IK\]ITTa�PIXXMVQVO��IVL�\PM�N]\]ZM��LM[QZM[��\PM�]VM`XMK\ML��WN �\PM�_MIZMZ��\PM�QV\MV\QWV[�and the craft practices of the maker, as well as the jewellery, its form and function. The

designer, the piece of jewellery and the wearer are in an intimate dialogue. I believe,

that form&function interplay can create meaningful interactions that are emotionally

[QOVQÅKIV\� NWZ� \PM�_MIZMZ�� 1V� \PM� M`IUXTM[� QV� \PM� XZM^QW][� KPIX\MZ�� 1� XZM[MV\ML� PW_�researchers and companies managed to start this discussion about the combination of

form&function, focusing on the multi-functionality of the object. Interactive jewellery

becomes a mediator of new ways of communication, and an interface for technology

to trigger memories and activate a new life for the piece. Craft practices have been

introduced by researchers with a background in contemporary jewellery as a design

method to imbue the form of the object with an additional meaning for the wearer

�?PQ\M�� #�?ITTIKM�� <PM�KPWQKM�WN �UI\MZQIT�\PI\�Q[�UMIVQVON]T�\W�\PM�][MZ�QV�\PM�PIVL[�WN �LM[QOVMZ[�Q[�XZM[MV\ML�I[�WVM�I\\MUX\�\W�LM[QOV�NWZ�MUW\QWVITTa�[QOVQÅKIV\�products.

The Swarms �?PQ\M�� Biojewellry��IVL�Shape Change Jewellery��0MQ[[�� !��are projects that inspired my research as examples that not only deal with the role of

jewellery as a mediator of interpersonal and interpersonal communications, but also

as objects with their own life, either physically or digitally. For example, Biojewellery can

WXMV�]X�I�_PWTM�VM_�_Ia�WN �XMZ[WVIT�[QOVQÅKIVKM�NWZ�\PM�_MIZMZ��<PM�UMIVQVO�Q[�VW\�associated with the memories of the person wearing it, but arises from the material

itself. Here lies one stirring aspect of the main understanding of the form of the piece

of jewellery. The word form does not only refer to the shape of the worn object, for

example a ring, a bracelet, or a necklace, but also to the material that is introduced in

the interaction, which can create new relationships with the wearer.

The above mentioned examples gave me the insight that dynamic forms can

QVÆ]MVKM�\PM�ZMTI\QWV[PQX�JM\_MMV�\PM�_MIZMZ�IVL�\PM�WJRMK\��1V�\PM�ÅMTL�WN �QV\MZIK\QWV�LM[QOV�� ,RIRILQVQVOZI\� M\� IT� �� XZWXW[M� \W� \ISM� \PM� [\MX� NZWU� XZWL]K\[� _Q\P� I�static appearance to products that can change their appearance over time and thus

MVZQKPQVO�M`XZM[[Q^MVM[[��1V�\PM�ÅMTL�WN �QV\MZIK\QWV�IVL�XZWL]K\�LM[QOV��\PM�[PQN\�NZWU��,� QVNWZUI\QWV� \W� �,� NWZU� WN � XZWL]K\� ZMITQ[I\QWV� ��,� IXXMIZIVKM� IVL�UW^MUMV\��is a promising path for a more communicative and expressive role of the products

�,RIRILQVQVOZI\�M\�IT��?PQTM�\PM�LaVIUQK�IVL�\ZIV[NWZUI\Q^M�UI\MZQIT[�IZM�VW\�VM_�\W�\MKPVWTWOa��M�O��NWTLQVO�KIZ�_QVO[��NWTLQVO�OIZUMV\[��LM[QOVMZ[�IZM�[\QTT�[MIZKPQVO�for more implementations. I believe, that this exploration can be valuable as it proposes

another tool in the hands of designers who want to design wearable devices within the

[KWXM�WN �LM[QOVQVO�I�PWTQ[\QK�M`XMZQMVKM��8M\MZ[MV��

Illustration of my understanding of my research. I can visualise myself ready to climp a stair, which turns to be an a never-ending staircase. As long as, I fould something interesting in the area that I am investigated, I stop and build a box, a box of knowledge at the certain area. The yellow box illustrated the foundation of my research and the depth of the analysis.

I have the tendency to continuously climbing stairs and exploring more and more. My research challenge was to focus on one of the boxes and make my argument stronger.

19

Design Explorations Section 02

6. Methodology

7. Explorative prototypes

21 22

6.2 Critical Design Approach1V[XQZML� Ja� \PM�_WZS� WN �,]VVM� IVL�:IJa� ��!!!�� QV� \PM� ÅMTL� WN �+ZQ\QKIT�,M[QOV��

I devised four prototype objects to bring research beyond an academic setting into

M^MZaLIa� TQNM�� ;QUQTIZ� \W� ,]VVM� IVL� :IJa¼[� Placebo Project, I intended to investigate

XMWXTM¼[�I\\Q\]LM[�\W_IZL[�I�\WXQK��IVL�\W�MVKW]ZIOM�ZMÆMK\QWV�WV�\PM[M�\PZW]OP�LM[QOV��,]VVM�IVL�:IJa¼[�Placebo Project presents a range of design artefacts that draw attention

to the electromagnetic radiation of electronic apparatus, and were designed to elicit

[\WZQM[�IJW]\�\PM�»[MKZM\�TQNM�WN �MTMK\ZWVQK�WJRMK\[¼��1V�I�[QUQTIZ�_Ia��\PM�XQMKM[�WN �RM_MTTMZa�\PI\�1�KZMI\ML�IZM�QV\MVLML�\W�IK\�I[�\ZQOOMZ[�NWZ�ZMÆMK\QWV�WV�\PM�M`XMZQMVKM�WN �_MIZQVO�RM_MTTMZa�_Q\P�\ZIV[NWZUI\Q^M�NWZU[��)T\PW]OP�\PM�IXXZWIKP�Q[�\PM�[IUM��Ua�OWIT�LQٺMZ[�from that of Critical Design artefacts. The latter intend to make people talk and elicit

[\WZQM[�IJW]\�I�KPW[MV�\WXQK�QV�WZLMZ�\W�KPIVOM�XMWXTM¼[�XMZKMX\QWV�WN �Q\��_PMZMI[�Ua�intention was to explore a new area of research and identify interesting issues. Critical

,M[QOV�Q[�LM[QOV�NWZ�LMJI\M�IVL�UIQVTa�UISM[�][�\PQVS��,]VVM��:IJa��!!!��_PMZMI[�my design is design for a dialogue between the maker, the wearer and the object, as I

mentioned in detail in chapter 3.

6.3 Co-Design Approach

The Co-Design community has been introducing a range of methods and tools to

ZM[MIZKP�XZIK\QKM[� IVL�LM[QOV�XZWKM[[M[� �;IVLZM[�� #� ;\IXXMZ[�� #�5I\\MTUISQ��,ZI_QVO�WV�\PM�WN\MV�\IKQ\�M`XMZ\Q[M�WN �ÎZQW][�[\ISMPWTLMZ[��\PMZM�Q[�I�ÎZQM\a�WN �\WWT[�IVL�UM\PWL[�KWVKMZVQVO�\PM�»UISQVO¼��_PQKP�OQ^M�LM[QOVMZ[�IVL�VWV�LM[QOVMZ[�the ability to describe future objects, opportunities and views on future experiences

�;IVLMZ[��?WZS[PWX[��XZW\W\aXM[�IVL�XZWJM[�IZM�WVTa�I� NM_�WN � \PM�+W�,M[QOV�activities, where the participation of designers and non-designers can bring new insights

\W�I�ZM[MIZKP�IZMI�QV�I�KWV\QV]W][�LQITWO]M��;IXXMZ[��#�5I\\MTUISQ��The self- documentation kits that I created are similar to the cultural probes work of

/I^MZ�M\�IT��!!!��<PM�OWIT�_I[�\W�UISM�XIZ\QKQXIV\[�ZMÆMK\�WV�PW_�\PMa�NMMT�IVL�ZMTI\M�to their experiences. Whereas the purpose of cultural probes is to gather inspirational

LI\I�IJW]\�XMWXTM¼[�TQ^M[�IVL�ÎT]M[��IVL�QV[XQZM�\PM�LM[QOV�XZWKM[[��1�][ML�Ua�SQ\[�I[�a means of understanding the relationships that the participants have with their own

jewellery, as well as documenting the new relationships with the given jewellery. The

pieces of jewellery that I created can be understood as explorative prototypes, a term

JWZZW_ML� NZWU� \PM� ÅMTL� WN � [WN\_IZM� [a[\MU[��_PQKP� [MMU[� \W�UI\KP�_Q\P�Ua�LM[QOV�QV\MV\QWV[�� )KKWZLQVO� \W� 8TI\\VMZ� M\� IT� �� M`XTWZI\Q^M� XZW\W\aXM[� IZM� KWUUWVTa�][ML� QV� \PM�JMOQVVQVO�WN �I�XZWRMK\� \W� \M[\�XMWXTM¼[�ZMIK\QWV[� \W�VM_�KWVKMX\[�� 1V�\PM�broader term of the Co-Design approach, both designers and non-designers are active

participants in designing for new experiences. Regarding the explorative prototypes that

I created, the participation of both the wearer and the object are in the centre of the

6. Methodology In this chapter, I describe the approach that I follow to tackle my research question.

5a� IXXZWIKP� LZI_[� WV� ÎZQW][� \ZILQ\QWV[�� []KP� I[� 8ZIOUI\QK� )M[\PM\QK[�� +ZQ\QKIT�,M[QOV�� +WV\MUXWZIZa� 2M_MTTMZa� IVL� +W�,M[QOV�� 1� ITZMILa� JZQMÆa� LM[KZQJML� \PM�LQٺMZMV\�\ZILQ\QWV[�IVL�LQ[KQXTQVM[�MIZTQMZ��4I\MZ�QV�\PM�KPIX\MZ��1�_QTT�M`\MV[Q^MTa�M`XTIQV��how I used them in my research, in order to gain new knowledge. Inspired from the

ÅMTL�WN �+WV\MUXWZIZa�2M_MTTMZa�IVL�\PM�ÅMTL�WN �+ZQ\QKIT�,M[QOV��1�LM[QOVML�NW]Z�XQMKM[�of jewellery, that investigate new types of relationships between the people and the

WJRMK\[��1�][M�\PM�IXXZWIKP�WN �8ZIOUI\Q[\�)M[\PM\QK[�QV�-`XMZQMVKM�+MV\MZML�,M[QOV�I[�a foundation from which I explore engaging interactions with the given jewellery as an

attempt to enhance the experience. Co-Design methods are used to select data from four

participants and get a better understanding of how people experience the given pieces

of jewellery.

6.1 Pragmatist Aesthetics in Experience-Centered Design

Designing an object is not only a problem of aesthetics or function, but also involves

I�_QLMZ�IXXZWIKP�\PI\�NWK][M[�WV�\PM�][MZ�M`XMZQMVKM��=O]Z��"��,M[QOVQVO�NWZ�M`XMZQMVKM��OWQVO�JMaWVL�][IJQTQ\a��ZMY]QZM[�\ZMI\QVO�\PM�][MZ�PWTQ[\QKITTa��2WZLIV��#�;IVLMZ[� IVL�,IVLIÎ\M�� !!!�� I[� I� NMMTQVO�� \PQVSQVO�� IVL� IK\Q^M� XMZ[WV�� 8ZIOUI\Q[\�)M[\PM\QK[� QV� -`XMZQMVKM�+MV\MZML�,M[QOV� XZW^QLM[� I� ÅZU� NW]VLI\QWV� NZWU�_PQKP� I�variety of concepts such as curiosity, joy, playfulness, surprise, enchantment, beauty,

NZ][\ZI\QWV��IVOMZ�IVL�[ILVM[[�KIV�JM�M`XTWZML��8M\MZ[MV�M\�IT��1V�WZLMZ�\W�OM\�I�better understanding on how people experience the interaction with the new object, I

_QTT�JWZZW_�\PM�NZIUM_WZS�NWZ�IVITa[QVO�M`XMZQMVKM�[]OOM[\ML�Ja�?ZQOP\�M\�IT��M`XTWZQVO� \PM�_Ia[� QV�_PQKP� \PM� ][MZ�UISM[� [MV[M� WN � IV� M`XMZQMVKM��?ITTIKM� �� LZI_[�]XWV�\PQ[�NZIUM_WZS�\W�WٺMZ�I� WKIJ]TIZa�NWZ�LQ[K][[QVO�JW\P�RM_MTTMZa�IVL�LQOQ\IT�jewellery, and I will, based on this framework, analyse, how the participants experience

the interaction with the given pieces of jewellery. The meaning is constructed through

the dynamic interplay between the compositional, sensual, emotional and spatio-

\MUXWZIT�\PZMIL[��I[�?ITTIKM�ZMNMZ[�\W�\PM�LQٺMZMV\�TIaMZ[�WN �M`XMZQMVKM�\PI\�IZM�UW[\Ta�interconnected. The compositional thread deals with the part-whole composition of

the experience and the relations between components. The sensual thread explores

the aesthetics and physical qualities of an event, encounter, object or image and is

experienced through sensory perceptions. The emotional thread covers the experience

WN �LQٺMZMV\�[\I\M[�WN �JMQVO�\PZW]OP�MUXI\Pa��_PQTM�\PM�[XI\QW�\MUXWZIT�\PZMIL�ZMTI\M[�\W�I[XMK\[�WN �\QUM�IVL�[XIKM��IVL�W]Z�XMZKMX\QWV[�WN �\PMU�_Q\PQV�\PM�M`XMZQMVKM��7]Z�perception of the spatial and temporal qualities of an experience, of pace or proximity,

can vary in response to emotional, sensual or compositional threads.

24

exploration. In that sense, the participants are co-designers of their piece of jewellery,

and thus of the experience.

Each of the explorative prototypes was given to one participant to live with it for four

days. A self-documentation study with four girls in Denmark was conducted. The girls

_MZM�NZWU�NW]Z�LQٺMZMV\�IOM[�OZW]X[�ZIVOQVO�NZWU��<IJTM��The self-documentation kits included cards with questions about the relationship that

XIZ\QKQXIV\[�PI^M�_Q\P�\PMQZ�RM_MTTMZa�IVL�\MKPVWTWOQKIT�LM^QKM[��8ZWJQVO�LIQTa�\PW]OP\[�by means of a diary, and document records about feelings, diaries and photographs

IZM� \ZILQ\QWVIT� QV[\Z]UMV\[� NWZ� [MTN�LWK]UMV\I\QWV� �;IVLMZ[� IVL� ;\IXXMZ[�� )KKWZLQVO�\W�;IVLMZ[��\PMZM�IZM�LQٺMZMV\�X]ZXW[M[�WN �I[SQVO�XIZ\QKQXIV\[�\W�LWK]UMV\�\PMQZ�IK\Q^Q\QM[�^Q[]ITTa��8PW\WOZIXP[�_MZM�][ML�TQSM�LQIZQM[�\W�ZMKWZL�IK\Q^Q\QM[�^Q[]ITTa��Another purpose of the image documentation is to give the user something to think

about, either experiences of the day, or ideas for the future. I asked the participants

to document their interactions with the new jewellery by keeping audio data for their

impressions and taking pictures as a diary of their interactions.

;IVLMZ[�KQ\ML�,M4WVOQ[¼�IL^QKM��!!��\W�UQVQUQbM�\PM�]VKMZ\IQV\a�Ja�KWV\IK\QVO�\PM�users and asking about the latest news at the documentation stage in order to maintain

their motivation. According to Sanders and DeLongis, personal interaction with the

users motivates them to do the exercises and observe their experiences. During the

third day I contacted the participants at a random time during the day, either with text

messages or phone calls, to inspire and motivate them, and to get real time data from

age 37

friend friendnew contact new contact

16 22 27

country DenmarkDenmark Denmark Denmark

occupation

relationship with me

jewellery clay stamps plant flour

VICKI EMILIE SANNE ANNE

employee student B.S student artist

<IJTM��"�4Q[\�WN �8IZ\QKQXIV\[�IVL�,Q[\ZQJ]\QWV�WN �\PM�8ZWJM[

Photos from the workshop with the participants

25

07\PMQZ�QV\MZIK\QWV[�_Q\P�\PMQZ�RM_MTTMZa��7V�\PM�NW]Z\P�LIa��1�KWVL]K\ML�[MUQ�[\Z]K\]ZML�QV�depth interviews with all of the participants individually on Skype. Instead of preparing

the interview as a follow up activity after receiving the probe material, I used it as a

UM\PWL�WN �WXMVQVO�]X�I�LQ[K][[QWV�IJW]\�_PI\�PIXXMVML�\PM�XZM^QW][�LIa[��5I\\MTUqSQ��KQ\ML�:W\P[\MQV� ��!!!��_PW�_ZW\M�� \PI\� ZM[MIZKPMZ[�U][\�JM�KWVÅLMV\� QV� \PMQZ�personal abilities and qualities and rely on their instinct, since they cannot entirely plan

IPMIL�\PM�[\Z]K\]ZM�WN �\PM�QV\MZ^QM_��1�_I[�»ZMÆMK\QVO�QV�IK\QWV¼��;KPWMV��! ��WV�\PM�stories and the information that my participants shared with me. After the interviews, I

asked the participants to record one more short story about their feelings now that they

were not going to have the jewellery any more. This was a way to see if participants

created any relationship with the jewellery.

Explorative Prototypes

7.2 Flour

7.1 Inspiration

7.3 Clay

7.4 Plant

7.5 Stamps

27 28

1V[XQZML� Ja� \PM� ÅMTL� WN � KWV\MUXWZIZa� RM_MTTMZa�� 1� OIQVML�knowledge about jewellery that leaves temporary traces on the

body, and about the material that jewellers choose to create their

XQMKM[�� <PM� ZMI[WV[� NWZ� \PMQZ� M`XTWZI\QWV[� IZM� LQٺMZMV\� NZWU�\PM�X]ZXW[M�WN � \PQ[� ZM[MIZKP#�PW_M^MZ�� \PM�Y]M[\QWV[� \PI\� \PMa�raise and the material qualities that they introduce proved to be

a valuable inspiration for my design decisions. The transiency

of these pieces of jewellery challenge the wearer and the

^QM_MZ� \W� \PQVS� IJW]\� \PM� WJRMK\� I[� I� \MUXWZIZa� MٺMK\�_Q\P� I�KMZ\IQV�L]ZIJQTQ\a��5IVPMQU��!"��1V�I�LQITWO]M�JM\_MMV�“something and nothing”, materials such as dust, light and

shadow make the jewellery ephemeral and in some way lyrical.

Ephemeral works such as Lacecollar�NZWU�5QTTQM[�+]TTQÎV��#�.QO]ZM��Rash Stamps�NZWU�<QٺIVa�8IZJ[��;][IV�0MZWV¼[�M`XMZQUMV\[� _Q\P� TQOP\� XZWRMK\ML� WV� \PM� JWLa� ��!!�#� .QO]ZM��QZZM^WKIJTa�KPIVOML�_WZS[�[]KP�I[�*�.QVS¼[�Eis ��!!��\PM�Siberian Necklace� NZWU�<ML�6W\MV� ��#� .QO]ZM� �� IVL�Chalk

Chain�Ja�,QVQM�*M[MU[��!!�#�.QO]ZM��Y]M[\QWV�\PM�L]ZIJQTQ\a�of the worn piece and oppose notions of value of the material

and issues of sustainability. They shift the importance from the

jewellery to the trace and question what jewellery is in the end,

after all.

*ZQVOQVO� \PM[M� KWVKMX\[� IVL� \PW]OP\[� QV\W� \PM� ÅMTL� WN �interaction design and in the hands of people to explore

relationships between wearers and dynamic forms of worn

objects, I believe can open an additional way of designing

MUW\QWVIT�[QOVQÅKIV\�_MIZIJTM�LM^QKM[��

7. Explorative prototypesAs I noted in the beginning of this thesis, the relationship

between the body and jewellery is mutual: the jewellery changes

the body, while at the same time, the body changes the jewellry

by leaving traces on the material and the body. This realisation

was the beginning of my design explorations.

7VM� WN � Ua� UIQV� QV\MZM[\[� I[� 1� [\IZ\ML� LM[QOVQVO�� _I[� \W�understand the relationship that participants have with the traces

that they leave on the object and vice versa. By designing objects

\PI\�KWUJQVM�LQٺMZMV\�KPIZIK\MZQ[\QK[�ZMOIZLQVO�\PM�IK\QÎ\QWV�WN �\PM�QV\MZIK\QWV�IVL�\PM�\aXM�WN �\PM�MٺMK\��1�_IV\ML�\W�WXMV�]X�an on-going dialogue between the object and the person wearing

it. The focus was on the form of the object, the transformations

WN �][M��IVL�PW_� \PQ[�_W]TL� QVÆ]MVKM� \PM� ZMTI\QWV[PQX� \PI\� \PM�wearers create with the objects. The pieces of jewellery that I

created are an attempt to enrich the dialogue between the wearer

and the object in an ongoing process of sense making.

Inspired by the long term transformation of the material, the

body and the traces that lead to attachment, as mentioned in

the previous chapter, in this research, I explore the short-term

transformations and the new types of relationships between the

object and the wearer.

.QO]ZM��"�Siberian

Necklace��<ML�6W\MV��

.QO]ZM��"�Lacecollar

�+]TTQÎV��

.QO]ZM��"� Light

Projection��0MZWV��!!��

.QO]ZM��"� Chalk

Chain��*M[MU[��!!��

7.1 Inspiration From the Field of Contemporary Jewellery

30

7.2 Flour

Flour�MW�E�RIGOPEGI�QEHI�JVSQ�XIE�FEKW�ERH�¾SYV�XLEX�PIEZIW�traces on the body and the clothing of the wearer. The movements of the body activate the interaction and the traces. The necklace ERH�XLI�8�WLMVX�GER�FI�HIGSYTPIH�ERH�WITEVEXIH��8LI�¾SYV�[MPP�WPS[P]�wear away and the marks of the T-shirt can be washed out of the clothing leaving no mark in the end. The only reminder of the interaction are the empty bags.

6I¾IGXMSRW�� Flour�[EW�XLI�½VWX�SYX�SJ�XLI�JSYV�TVSXSX]TIW�XLEX�-�

HIWMKRIH��8LI�GSQFMREXMSR�SJ�XLI�QEXIVMEPW�XLEX�-�GLSWI��¾SYV�ERH��tea bags, give a soft touch to the piece. Apart from the sensory experience that the appealing material quality gives, the aesthetic and sensory quality evokes memories, according to Jordan (2003). On the one hand, I was interested in seeing the link between the sensory experience and memories. On the other hand, I was curious to see the reactions of the participant to the fast transformation of the piece. The interaction of the wearer and the environment leaves irreversible traces, both on the material and the T-shirt.

Flour

Photo documentation from the interaction with the Flour (top)Material qualities (bottom)

31

7.3 Clay

Clay is a bracelet whose material is consciously morphed by the wearer. I used clay, which dries in 24 hours, and play dough, [LMGL�WXE]W�¾I\MFPI��*YVXLIVQSVI��XSSPW�JSV�QSVTLMRK�XLI�QEXIVMEPW�were given to the participants as a way of further experimentation. The bracelet had a piece of red play dough attached to it. The transforming power of the jewellery allows for continuously customisations.

6I¾IGXMSRW��4VSHYGX�TIVWSREPM^EXMSR�MW�E�TVSGIWW�XLEX�HI½RIW�or changes the appearance or functionality of a product as it increases its personal relevance to an individual (Monk and Blom, 2007). Mugge et al (2009) argue that people are more likely to create emotional bonds with personalized products than with non-personalized products. I was interested in seeing if the participant will design more versions of the same bracelet, creating different traces on the material and associating meaning with the trace, maybe as a visual diary. The memories related to a piece of jewellery will not be in the wearer’s mind or be activated as digital displays, such as in the Lens project (2008); however, the material itself could remember and trigger memories. Memories associated with a link, prompts a recollection of a person, experience, story, place, feeling or atmosphere, which creates a meaningful experience for the wearer (Battarbee and Mattelmäki, 2002).

Clay

Screenshot from the interview (top)Tools forming the Clay (bottom)

34

7.4 Plant

Plant is a bracelet with an organic form that hosts living organisms, such as seeds. Grass seeds have been covered in wet GSXXSR�ERH�½PPIH�MRXS�XLI�IQTX]�WTEGIW�SJ�XLI�FVEGIPIX��8LI�[IEVIV�has the responsibility to water the seeds once a day, but is not able to control how the plant will grow. The participant is able to add more seeds in the empty spaces of the bracelet, since grass seeds have been placed only in a few of the empty spaces. The holes were left open in order for the wearer to feel the wet cotton on the skin. The wearer wears the bracelet and gets immediate feedback as the bracelet starts growing and transforming.

6I¾IGXMSRW� According to Mattelmäki and Battarbee (2002), an object can be meaningful if it becomes a companion over time. Designing for (in)dependency (Chapman, 2003: 71) is another tool that designers can have in mind, as products invade our lives and depend upon our care and attention in order to survive. Here, I was interested in seeing the participant’s relationship with an object that is transforming on its own, while the participant still has the responsibility to take care of it. The wearer has a crucial impact on the development of the bracelet while at the same time he or she LEW�RS�MR¾YIRGI�SR�LS[�XLI�FVEGIPIX�MW�KSMRK�XS�XVERWJSVQ�

Plant

Screenshot from the interview (top)Growing seeds on the Plant (bottom)

35

Stamps

7.5 Stamps

Stamps is a bracelet that has different kinds of stamps attached to the inner side of the bracelet. The participant is requested to place ink on the desired stamp and ‘tattoo’ her skin with the stamp. The stamps have the purpose to give the wearer the opportunity to choose between different types of stamps, among them the date that the bracelet was given, a text message saying ‘’gift from’’, a text message with an open interpretation ‘here, ’, 3 crosses, an X, 46664 (Mandela’s prison number) and a dashed line. My rationale was that all the stamps could be either symbols of E�WTIGM½G�IZIRX��XLI�HEXI ��SV�E�PMRO�XS�E�PSZIH�SRI��KMJX�JVSQ ��E�[E]�to open up a discussion (here,), or a reminder (X + + + symbols that people used to draw on their hands when they want to remember to do something). The wearer is not able to change the chosen stamps, only to try to make sense of them and link them with his/her own experiences.

6I¾IGXMSRW� The skin has always been adorned and marked for many reasons, such as personal messages, spiritual protection, fashion, status, SV�KVSYT�EJ½PMEXMSR��1ELRLIMQ�� -X�[MPP�EP[E]W�FI�E�TPEXJSVQ�on which the personality of a person extends (Ugur, 2013). Technology gives new dimensions to body adornment turning the tattoo into a dynamic shape. Electronic Skin is a design probe from Phillips, which adds one more layer, an ‘electronic skin’, in between the two upper layers of the skin. The electronic skin is stimulated by touch, which causes the electronic tattoo to traverse across the landscape of the body. While in this example the medium that transforms the ‘tattoo’ is the human touch, in my experiment Stamps, the medium of interaction with the skin is the bracelet. I was interested in seeing the relationship that the participant will develop with an object and the stamps as two things that have different lives simultaneously.

Photo documentation from the interaction with the Stamps (top)Here, , X, 46666 from the Stamps (bottom)

analysis and discussion

Section 03Analysis and Discussion

39 40

.QZ[\��1�OQ^M�IV�M`XTIVI\QWV�WN �\PM�JWLa�I[�[\QU]TQ��/WٺUIV��!�!��LMÅVM[� \_W� SQVL[� WN � JWLQTa� M`XZM[[QWV["� \PM� M`XZM[[QWV[� \PI\� IZM� given

Wٺ�without control, and the controlled expressions that the body gives.

When the body movement triggers the interaction, there is a high

levelof control, such as displayed in Inner and Light Brooch. When the

skin works as a stimuli, such as shown in Shape Changed Jewellery and

Electronic Yatoo, or when a part of the interaction is an organic material

like the tissue from another human body, see Biojewellery��\PMV�\PM�MٺMK\�of the interaction cannot be controlled. Environmental changes, such

as in the Blossom�XZWRMK\��QVÆ]MVKM�\PM�MٺMK\�QV�I�_Ia��\PI\�Q\�_W]TL�JM�impossible to control. This unexpected element and the ambiguity of the

interaction drew my attention as an element that could trigger intriguing

interactions. In the examples Shape Changed Jewelry and Electronic Tattoo

\PMZM�Q[�I�KW]XTQVO�JM\_MMV�\PM�IK\QWV��\ZQOOMZ��IVL�\PM�ZMIK\QWV��MٺMK\��<P][�� \PM� MٺMK\� Q[� IT[W� ]VKWV\ZWTTML�� 1V� \PM� KI[M� WN � Biojewellery the

element of the changes of a living organism is not coupled with the

IK\QWV�WN �\PM�XMZ[WV�_MIZQVO�Q\��7VTa�MV^QZWVUMV\IT�KPIVOM[�KIV�KI][M�transformations of the object. In the Blossom project there is no coupling

JM\_MMV�IK\QWV�IVL�ZMIK\QWV�L]M�\W�[XI\QIT�LQٺMZMVKM[��<PMa�IZM�KW]XTML�in time. The interesting part of this project is the permanence of the

MٺMK\��<PM�QV\MZIK\QWV�PIXXMV[�WVTa�WVKM�IVL�\PI\�JZW]OP\�VM_�Y]ITQ\QM[�in working with technology. The projects that I analysed change their

appearance due to the interaction and augment the relationship between

the object and the wearer. My further exploration will focus on the third

category of the dialogue between technology and jewellery in the context

of designing for experience.

My explorations raised awareness of aspects in jewellery design such as

the material explorations, the variety in temporality of the trace created

�[WUM�TI[\�WVTa�NWZ�I�NM_�[MKWVL[�IVL�[WUM�NWZ�I�NM_�LIa[��\PM�MXPMUMZIT�character of some pieces of jewellery, as well as the level of controlling the

interaction and the relationship between the object and the trace. Having

these parameters in mind, I will examine the existing examples in literature

WVKM�IOIQV#�PW_M^MZ�� \PQ[� \QUM�_Q\PQV� \PM� [KWXM�WN � \PM� KTW[M� QV\MZIK\QWV�with the object. More examples relevant for the following analysis can be

found in the appendix A.

8.1 Relationship Between the Stimuli and the Effect of the Interaction

In the following, I will apply selected examples from the early chapters

\W�I�UI\ZQ`��_PQKP�X]\[�\PM�[\QU]TQ�WN �\PM�QV\MZIK\QWV�IVL�\PM�MٺMK\�WN �\PM�QV\MZIK\QWV�QV�ZMTI\QWV�\W�MIKPW\PMZ��.QO]ZM��LQ[XTIa[�\PQ[�UI\ZQ`��<PM�`�I`Q[�ZMNMZ[�\W�\PM�[\QU]TQ�IVL�KTI[[QÅM[�\PM�[\QU]TQ�QV�\MZU[�WN �JWLa��WJRMK\��W\PMZ[�IVL�MV^QZWVUMV\��<PM�a�I`Q[�ZMNMZ[�\W�\PM�MٺMK\�IVL�\PM�\ZIKM�IVL�distinguishes the same categories. I distinguish between the interaction

_Q\P�\PM�WJRMK\��\PM�MٺMK\�IVL�\PM�[\QU]TQ��0W_�Q[�\PM�QV\MZIK\QWV�IK\QÎ\ML'�1[�\PM�MٺMK\�ZM^MZ[QJTM�WZ�QZZM^MZ[QJTM��KWV\ZWTTML�WZ�]VKWV\ZWTTML��KW]XTML�to the object or decoupled? These questions led me through the process of

placing them into the matrix.

Later in this chapter, I will place my explorative prototypes in the same

matrix, in order to analyse the quality of interactions and put them into

context.

)[�[PW_V�QV�.QO]ZM��\PM�\MUXWZITQ\a�WN �\PM�MٺMK\�ÎZQM[�IKKWZLQVO�\W�\PM�UI\MZQIT��0W_�TWVO�\PM�MٺMK\�TI[\[�JMKWUM[�IXXIZMV\�QV�\PM�MÌUXTM[�QV�\PM�UI\ZQ`"�.WZ�MÌUXTM��_PQTM�\PM�4-,�ÆI[P�Light Brooch lightens up the

skin only for a few seconds, the Electronic Tattoo, the Shadow Jewellery as well

as the Shape Change Jewellery constitute a longer lasting change on the skin.

In most of the examples it is impossible to control the stimuli: Blossom,

Biojewellery, Electronic Tattoo, Shape Change Jewellery. However, the stimuli can

be controlled in examples such as Stile, Inner, Diabetes Necklace, Swarms, Light

Brooch, Makoo, Lens, and Speckled Jewellery. In my analysis I will focus on the

examples that cannot be controlled regarding the stimuli, namely Blossom,

Biojewellery, Electronic Tattoo, Shape Change Jewellery.

8. Analysis and Discussion

41 42

.QO]ZM��5I\ZQ`�;\QU]TQ�-ٺMK\

Swarms ( White, 2007)

Biojewellery (2006) Shape change jewellery (Heiss, 2009)

EFFECT

body

body

object

object

others

enviroment

semi contol tissues from the person that you knowno contro on stimuli

no control the stimuli

control stimuli

control stimuli

control the stimuli

control the stimuli

control the stimuli

control the stimuli

contol the stimuli

contol the stimuli

Light Brooch(Stoeber, 1997)

Stile (Kettley, 2008)

Lens (White, 2008)

Aurora (Keyok, 2008)

Makoo (2013)

Inner (Heiss, 2007)

Shadow jewellryBakker, 1973)

Electronic skin (Philips,2007)

Blossom (Wallace,2008)

STIMULIothers enviroment

control the stimuli

no control the stimuli

no contol stimuli

control the stimuli

Speckled Jewellery (Kettley, 2009)

Kiss Communicator (IDEO, 1999)

43 44

In the following, I will present how the explorative prototypes worked in the

QV\MZIK\QWV�NWK][QVO�WV�\PM�Y]ITQ\QM[�WN �KWV\ZWT��\aXM�WN �\PM�MٺMK\�IVL�ZM^MZ[QJQTQ\a�WN �\PM�QV\MZIK\QWV�_Q\P�\PM�WJRMK\[��_PQKP�1�_QTT�[]U�]X�I[�I�UI\ZQ`��.QO]ZM��

For Clay, the softness of the material caused transformations, as it was pressed by

clothes or furniture. The participant Vicki mentioned in our interview: ‘Even though you

make a pattern that you want to stay, a non-intended pattern might occur, because of the softness of

the material¼��<PM�]VM`XMK\ML�\ZIKM[�WV�\PM�UI\MZQIT�KI][ML�]VXTMI[IV\�NMMTQVO[�NWZ�\PM�wearer, because they had no personal meaning for her. While experimenting with the

material, Vicki designed her own piece of jewellery, a ring from clay: ‘I like the playfullness

of the clay being able to change how it looks’. While she was wearing the ring, during our

interview, she noticed, that the shape of the ring changed due to her hand movements.

These unexpected changes on the material caused a more pleasant reaction for her,

I[�IV�MٺMK\�WN �I�UWZM�XMZ[WVIT�ZMTI\QWV[PQX��;PM�[\I\M["�‘It feels weird and funny, because it

KPIVOM[�IKKWZLQVO�\W�\PM�UW^MUMV\[�WN �Ua�PIVL[��1\�OM\[�XZM[[ML�Ja�\PM�ÅVOMZ[�IVL�KPIVOM[�[PIXM��<PQ[�Q[�something that I haven’t tried before. And that is interesting¼��1V�\PM�_WZS[PWX�;IVVM�KWUUMV\ML�WV�>QKSQ¼[�JZIKMTM\"�»I am a little child. I like when I am in the class and I have the opportunity to

change something. Using my mind to be creative¼�

For the Flour necklace the unexpected interactions with the environment and other

UI\MZQIT[�LZM_�\PM�_MIZMZ¼[�I\\MV\QWV�IVL�KI][ML�I�XTMI[IV\�NMMTQVO��»It was an amazing

XQK\]ZM�QV�NZWV\�WN �Ua�MaM[��_PMV�\PM�L][\�ÆW_ML�QV�\PM�_QVL��_PMV�1�_MV\�W]\[QLM�\W�\PZW_�W]\�\PM�trash¼� �)VVM��-UQTQM� KWUUMV\ML�WV� \PM�.TW]Z�VMKSTIKM"� »1\� Q[� [W� LQٺMZMV\� NZWU� I� VWZUIT�necklace. It is so nice the idea of the dust in the wind¼��1\�Q[�KTMIZ�NZWU�)VVM¼[�ZM[XWV[M[�\PI\�\PM�unexpected interaction triggers her curiosity to explore the possibilities of the materials.

‘When I had to clean my dishes, because of the water and the dishes, it made like a dough, a sort of an

QV\MZM[\QVO�UQ`\]ZM��1\�_I[�QV\MZM[\QVO�\W�[MM�PW_�\_W�[]J[\IVKM[�KWUJQVML�UILM�[WUM\PQVO�VM_¼��)VVM��Anne continues while laughing: ‘I wanted to take a shower while wearing the necklace to see what

is going to happen, but I didn’t¼��+WUUMV\QVO�WV�\PM�\aXM�WN �\PM�\ZIKM�\PI\�\PM�WJRMK\[�TMN\�WV�WZ�KTW[M�\W�\PM�JWLa�� \PM�\MUXWZITQ\a�IVL�\PM� TIKS�WN �KWV\ZWTTQVO�\PM�MٺMK\�KI][ML�unpleasant reactions: ‘The necklace made a beautiful pattern. It was a little sad that it wasn’t going

to stay like that¼��)VVM��.WZ�PMZ��RM_MTTMZa�[PW]TL�TI[\�IVL�VW\�[TW_Ta�LQ[IXXMIZ��?PMZMI[�the permanent traces on clay seemed to cause a nice feeling. ‘Being aware of the message you

want to send to the world - Being your own creator, a small designer - it is so nice¼��)VVM�KWUUMV\ML�on the clay bracelet.

For the Stamps�� \PM� XZMLMÅVML� [\IUX[� PI^M� VW� TQVS� _Q\P� MIKP� W\PMZ� IVL� \PI\�confused the participant Emilie in her attempts to understand the meaning behind the

text. During our talk she mentioned, that she would like to choose the message that she

wanted to stamp on her body. Something that had already a meaning for her: ‘It would

be really cool if I could change the stamp. Music is a very big part of myself. I would rather choose to

8.2 Relationship Between the Stimuli and the Effect of the Interaction in my Designs

7VM�WN �Ua�UIQV�QV\MZM[\[�I[�1�[\IZ\ML�LM[QOVQVO��_I[�\W�]VLMZ[\IVL�\PM�ZMTI\QWV[PQX�that participants have with the traces that they leave on the object and vice versa. I want

to open up an on-going dialogue between the object and the wearer by designing objects

\PI\�KWUJQVM�LQٺMZMV\�KPIZIK\MZQ[\QK[��IKKWZLQVO�\W�_PW�Q[�IK\Q^I\QVO�\PM�QV\MZIK\QWV�IVL�\PM�\aXM�WN �\PM�MٺMK\�WN �\PM�QV\MZIK\QWV��1�[\ZWVOTa�NWK][ML�WV�\PM�NWZU�WN �\PM�WJRMK\��\PM�\ZIV[NWZUI\QWV[�WN �][M��IVL�PW_�\PQ[�_W]TL�QVÆ]MVKM�\PM�ZMTI\QWV[PQX�\PI\�\PM�_MIZMZ[�create with the object.

In my designs, materials are not ageing, but are transformed due to the interactions

with the users, other materials and the environment. Trigger for the interaction can be

MQ\PMZ�\PM�WJRMK\��\PM�JWLa��UW^MUMV\�WZ�[SQV��WZ�\PM�MV^QZWVUMV\��<PM�XZW\W\aXM[�Clay,

Stamps and Flour open up the dialogue between the body and the object whereas Plant

and also Flour�JM\_MMV�\PM�MV^QZWVUMV\�IVL�\PM�WJRMK\��.QO]ZM��IT[W�[MM�)XXMVLQ`�*��

explorative prototypes Clay Plant Flour Stamps


ˊRXU�RQ�VNLQ��FORWKLQJ��enviroment

stamp on the

VNLQ

LQN�

water

JURZLQJ�SODQWJURZLQJ�SODQW

FKDQJLQJ�WKH�IRUP�RI�the jewelry

WRROV�WR�IRUPthe clay

.QO]ZM��"�1V\MZIK\QWV�*M\_MMV�\PM�7JRMK\�IVL�\PM�?MIZMZ��NZWU�\PM�TMN\"�Clay, Plant, Flour,

Stamps)


body(skin) + object

body(movemnt) + object

object + enviroment

Plant: PStamp:SClay:CFlour:F

body object

object body

C , F

P , F

o e e ob o o b

45 46

\PM� MٺMK\�� <PM� _MIZMZ� _PW� KWV\ZWT[� \PM� [\QU]TQ� TMI^M[� I� XMZ[WVIT� [\I\MUMV\� WV� \PM�UI\MZQIT�IVL�KIV�M`XZM[[M[� \PQ[� [\I\MUMV\� \PZW]OP� \PM� NWZU� �;\IUX[�IVL�+TIa��<PM�reversibility of the clay comparing to the stamps left more space for experimentation and

fascinating interaction, which can be changed over time. The unexpected element of

\ZIV[NWZUI\QWV��+TIa�IVL�.TW]Z��WXMV�]X�VM_�_Ia[�WN �M`XMZQUMV\I\QWV�IVL�TMI^M[�ZWWU�for ambiguity as a resource for design. It seems, that when the environment triggers an

MVKW]V\MZ��\PM�QV\MZIK\QWV�_I[�]VKWV\ZWTTML�NZWU�\PM�_MIZMZ��\P][�\PM�MٺMK\��Flour, Clay,

Plan\��=VLMZ[\IVLQVO�\PM�QV\MZIK\QWV�QV�UWZM�LMX\P��1�PI^M�VW\QKML�[WUM�LQٺMZMVKM[�QV�the reversibility of the interaction. Whereas the clay as a material gives the opportunity

\W� »]VLW¼� \PM� QV\MZIK\QWV�IVL�[\IZ\� NZWU�\PM�JMOQVVQVO�� \PM�ÆW]Z�IVL� \PM�XTIV\�KI][M�QZZM^MZ[QJTM�KPIVOM[�WV�\PM�UI\MZQIT��_PQKP�QV�\PM�ÅZ[\�KI[M�_I[�\PM�XTIV\�Q\[MTN �IVL�WV�\PM�W\PMZ�\PM�TW[[�WN �\PM�ÆW]Z�NZWU�\PM�\MI�JIO[��<PMZM�Q[�IT[W�I�VW\QKMIJTM�KPIVOM�QV�\PM�KTIa�IVL�\PM�ÆW]Z�QV�\MZU[�WN �\PM�\aXM�WN �MٺMK\�IVL�\PM�ZM^MZ[QJQTQ\a�WN �QV\MZIK\QWV��*W\P�KI][M�\MUXWZIZa�MٺMK\[��_PQKP�QV�\PM�ÅZ[\�KI[M��Clay��Q[�KWV\ZWTTML��IVL�QV�\PM�[MKWVL�Q[�VW\��*]\�QV�\PM�KTIa�\PM�MٺMK\�KIV�JM�ZM^MZ[QJTM�WٺMZQVO�UWZM�ÆM`QJQTQ\a�\W�\PM�_MIZMZ¼[�IK\QWV[��_PMZMI[�QV�\PM�ÆW]Z�\PW[M�KPIVOM[�_MZM�ZIVLWU�IVL�QZZM^MZ[QJTM��8TIKQVO�\PM�RM_MTTMZa�WV�\PM�UI\ZQ`�;\QU]TQ�<ZQOOMZ��.QO]ZM�� Q\�Q[�QV\MZM[\QVO�\W�[MM�\PI\�\_W�WN �\PMU��Clay and Flour��IXXMIZ�QV�\_W�XTIKM[�KZMI\QVO�UWZM�LaVIUQK�QV\MZIK\QWV[�

In the following chapter, I focus on the relationship between the trace and the object

as well as how the wearer perceives their relationship.

8.3 Relation Between the Object and the Traces

In the beginning of the interaction with my experiments, there is a clear relationship

between the wearer and the object as well as between the object and the trace. The

trace is dependent on the object and the wearer, since without them, the trace cannot

JM�KZMI\ML��.QO]ZM��!��

have a musical note¼��<PM�[\IUX[�TMI^M�VW�NZMMLWU�NWZ�M`XMZQUMV\I\QWV��VMQ\PMZ�_Q\P�\PM�UI\MZQIT�VWZ�_Q\P�\PM�KWV\MV\�WN � \PM�\M`\��+WV\ZWTTQVO�JW\P�\PM�[\QU]TQ�IVL�\PM�MٺMK\�eliminate the interactions between the object and the wearer. The only thing that Emilie

was in control of, was, if she wanted to place any of the stamps or wear only the bracelet

as a normal bracelet: ‘I like the idea of temporary stamps. Tattoos that you can remove and you have

them only when you feel like it¼�

For the Plant, the stimuli of the interaction was something that the wearer could

control, having a level of responsibility to water the plant. ‘I did not forget to take care of it¼��;IVVM�[IQL��*]\�\PM�MٺMK\�_I[�[WUM\PQVO�\PI\�[PM�KW]TL�VW\�KWV\ZWT��<PM�]VM`XMK\ML�WN �\PM�»TQ^QVO¼�QV\MZIK\QWV�UILM�PMZ�K]ZQW][�\W�M`XMZQMVKM�M^MZa�UWUMV\�_Q\P�\PM�JZIKMTM\��‘I was so curious to see it growing and become green’. Sanne connected the blossom of the plant

with growth and when I asked her what is going to happen when the plant dies, she told

that she would rather change the seeds before that moment or pick a plant that can grow

\PM�_PWTM�aMIZ��>QKSQ�KWUUMV\ML�WV�\PM�8TIV\"�‘I really like the idea to have spring throughout

the year, when it is windy and cold outside’.

,QٺMZMV\�\aXM[�WN �MUW\QWV[�IZW[M�L]ZQVO�\PM�QV\MZIK\QWV[�_Q\P�\PM�LaVIUQK�RM_MTTMZa�that I propose. However, it is not possible to come to general conclusions, as it seems

there is an interesting interplay between the level of control over the interaction and

STIMULI

EFFECT

body

body

object

object

others

others

enviroment

envoriment

no control the stimulino control effecttemporary effectirreversible

control the stimulicontrol effecttemporary effect

semi control the stimulino control effectpermanent effectirreversible

no control the stimulino control effecttemporary effectreversible

control the stimulicontrol effecttemporary effectreversible

no control the stimulino control effecttemporary effectirreversible

‘I like this work in progress idea.Xmm

you can take a new clay that is going

to dry in a n hour and go again. I like

the idea of building on top of this,

Tomorrow I might add something or

alter it. I think I actually like it.’

can we detached the traces

from the object?

the ink stamps and the bracelet were

easily detached from the participant.

attached detachedattachedattached

‘I thought it was one thing a jewelry with

a plant’

‘I felt that the two things are one. So,

wearing the T-shirt without the

jewelry didn’t seem complete.LIke one

unity’

trace

object static

static

static

able to changetraceobject

aethereal

dynamictraceobjectdynamic

‘alive’traceobject

Clay Plant Flour Stamps

.QO]ZM�� "�1V\MZIK\QWV�*M\_MMV�\PM�;\QU]TQ�IVL�\PM�<ZQOOMZ�WN �\PM�1V\MZIK\QWV

.QO]ZM��"��:MTI\QWV[PQX�*M\_MMV�<ZIKM�IVL�7JRMK\

ÅO]ZM��!"��<PM�\aXM�WN �WJRMK\��IVL�\PM�\aXM�WN �\PM�\ZIKM�QV�\PM�QV\MZIK\QWV�

47 48

interaction, over time, the trace can either become an object by itself, starting to give

Q\[�W_V�TQNM�IVL�Q\[�W_V�UMIVQVO�NWZ�\PM�_MIZMZ��;\IUX[��WZ�\PM�WJRMK\�IVL�\PM�\ZIKM�JMKWUM�I�VM_�WJRMK\�_Q\P�VM_�XZWXMZ\QM[� �.TW]Z��8TIV\��+TIa��_PQKP� ZMTI\M�_Q\P� \PM�wearer in various ways.

Any interaction with the environment or other objects in the environment or the

body can add or reduce value to the trace and the object. Therefore, the relationship

that people have with their worn objects is an ongoing dialogue, which make them re-

\PQVS�\PM�ITZMILa�NWZUML�ZMTI\QWV[PQX��.QO]ZM��Throughout the life span of the object and the trace, the meaning attributed by the

wearer depends on his/her personal associations and relationship with the object and

the trace. The wearer can create a strong emotional bond with the traces, the object or

the new object, according to the sense making process.

As I mentioned in the previous chapter, Stamps and Clay can be characterised as rather

static objects in the interaction, whereas Plant and Flour are rather dynamic. Regarding

the static objects, the traces are changeable for Clay, whereas they remain static in Stamp.

The Flour necklace leaves ethereal traces whereas the plant traces are alive. For all the

XIZ\QKQXIV\[��M`KMX\�NWZ�-UQTQM��;\IUX[��\PM�\ZIKM[�IVL�\PM�WJRMK\�_MZM�KW]XTML��.QO]ZM��>QKSQ�UMV\QWVML"�»I like this work in progress idea. Xmm, you can take a new clay that is going to

dry in an hour and go again. I like the idea of building on top of this. Tomorrow, I might add something

or alter it. I think I actually like it¼��;IVVM�ILLML"�»I thought it was one thing, a jewellery with a

plant’��1V\MZM[\QVO�ÅVLQVO[�_MZM�)VVM¼[�\PW]OP[\�IJW]\�\PM�<�[PQZ\�IVL�\PM�VMKSTIKM��1\�_I[�KTMIZ�NWZ�UM�\PI\�\PMa�IZM�\_W�LQٺMZMV\�\PQVO[� QV�\PM�QV\MZIK\QWV��J]\�NWZ�)VVM�Q\�was one unity: ‘I felt that the two things were one. So, wearing the T-shirt without the jewelry didn’t

seem complete, like one unity’. For Emilie the stamps and the bracelet are easily decoupled,

but one of her comments brought the interesting topic of the type of traces, and the

way they link to the object. When I asked her, that, if she could change something on

her bracelet, what it would be, she gave the following response: ‘It would be really cool if

1�KW]TL�KPIVOM�\PM�[\IUX[��1N �NWZ�M`IUXTM�1�KW]TL�PI^M�I�KQZKTM�]VLMZVMI\P�\PM�JZIKMTM\��[W�\PI\�1�KIV�get the stamp of a whole bracelet¼��1V�\PI\�KI[M��\PM�\ZIKM�_W]TL�_WZS�I[�I�ZMXZM[MV\I\QWV�WN �\PM�WJRMK\��.QO]ZM��)[�1�XZM[MV\ML�\PM�WJRMK\��\PM�\ZIKM�JMKIUM�I�VM_�WJRMK\�_Q\P�I�new message. The bracelet gained importance in the interaction because of its function.

Emilie said: ‘I thought that the stamps were more important that the bracelet. But the bracelet becomes

more important to me because it could leave a stamp on me’ .

<PM� ZMTI\QWV[PQX� JM\_MMV� \PM� \ZIKM� IVL� \PM� WJRMK\� KIV� QVÆ]MVKM� \PM� ZMTI\QWV[PQX�\PI\�\PM�_MIZMZ�PI[�_Q\P�\PM�WJRMK\��<PM�ÅVLQVO[�WN �\PQ[�ZM[MIZKP�[PW_��\PI\�L]ZQVO�\PM�

stimuli of interaction

meaning in time

‘I thought that the stamps where more

important than the bracelet. Emilie

‘When I had to clean

my dishes, because of

the water and the

dishes, it made like a

dough, a sort of an

interesting mixture. It

was intersting to see

how two substances

combined made sthg

new’’ Anne

FLOUR

CLAY

STAMP

STAMP

But the bracelet became

more important to me

becase it could leave a

stamp on me.’, (Emilie)

‘Even though you

make a pattern that

you want to stay, an

non-intented pattern

might occur because

of the softness of the

material.’ (Vicky)

.QO]ZM��"��;\IUX[�*ZIKMTM\"�<PM�:MTI\QWV[PQX�*M\_MMV�<ZIKM�IVL�7JRMK\.QO]ZM��"�<ZIV[NWZUI\QWV�WN �\PM�5MIVQVO�\PM�7JRMK\�IVL�\PM�\ZIKM�PI[�_Q\P�\PM�_MIZMZ�in time.

object

trace

‘’I think the stamp made me think about

the extra stamps when I was wearing it,

instead of wearing the bracelet’. I think it

made a different effect on having the ink

on my skin.’’ (Emilie)

‘I thought that the stamps where more

important than the bracelet. But the

bracelet became more important to me

becase it could leave a stamp on me.’,

(Emilie)

‘’It would be really cool if you could change

the stamps.For example my birthday, a

music note. Cause music is so important in

my life. Or if for example you could have a

circle underneath, so that you can get a

whole bracelet.’’ Emilie

Trace as a representation of the object

Object and the trace areccoupled

Trace as a new object with a new message

Object become important because of its function

Was it intersting that you have sthg on your skin without wearing the bracelet?

STAMP

object

traceSTAMP

49 50

imagination and curiosity or, by triggering senses, they became

interfaces to the past.

The objects become meaningful for the wearer in the

interaction. Rather than traditional jewellery, the jewellery that

1� XZWXW[M�� JMKWUM[� \ZQOOMZ[� WN � LQٺMZMV\� \PQVO[�� <PM� XQMKM[�WN � RM_MTTMZa� JMKWUM� \ZQOOMZ[� WN � XMWXTM¼[� QUIOQVI\QWV� IVL�M`XMZQMVKM[��7JRMK\[�\PI\�UISM�XMWXTM�]VLMZ[\IVL�\PQVO[�IJW]\�themselves, that we could not reveal without them: ‘It was smelling

like spring and I love nature’ �;IVVM�, ‘Wearing it outside was beautiful.

<PM�ÆW]Z�XTIaML� QV� \PM�_QVL�� 1\�_I[�IV�IUIbQVO�XQK\]ZM� QV� NZWV\� WN �Ua�eyes’ �)VVM��?PQTM�RM_MTTMZa�_WZS[�I[�I�\ZQOOMZ�WN �UMUWZQM[�WN �[XMKQÅK� M^MV\[� IVL� KIV� XZW^WSM� MUW\QWV[� �)PLM�� _Q\P�the dynamic and transformative jewellery the meaning is open-

ended and the interaction is needed to reveal it. In that sense,

RM_MTTMZa� Q[� VW\� X]ZMTa� [WUM\PQVO� \PI\� ZMTI\M[� \W� \PM� _MIZMZ[¼�histories and experiences, but in the interaction with the person

creates something new, and with another person something

LQٺMZMV\��2M_MTTMZa�Q[�VW\�WVTa�IV�WJRMK\�\PI\�ZMTI\M[�\W�W\PMZ[��J]\�I]OUMV\[�XMWXTM¼[�XMZKMX\QWV�WN �\PMU[MT^M[�IVL�\PM�\PQVO[�\PI\�they care about: ‘When I had to clean my dishes, because of the water

IVL�\PM�LQ[PM[��Q\�UILM�TQSM�I�LW]OP��I�[WZ\�WN �IV�QV\MZM[\QVO�UQ`\]ZM��1\�_I[�interesting to see how two substances combined made something new. It is

funny, but I wanted to take a shower with the necklace to see what is going

to happen’ �)VVM�� <PM� KWUJQVI\QWV� WN � \_W� UI\MZQIT[� JZW]OP\�[WUM\PQVO�VM_�QV�\PM�QV\MZIK\QWV��\PI\�\ZQOOMZML�)VVM¼[�K]ZQW[Q\a�IVL� QUIOQVI\QWV�� -UQTQM� ZMÆMK\ML� WV� WVM� WN � \PM� [\IUX["� \PM�[\IUX�»0MZM�¼�WXMVML�PMZ�QUIOQVI\QWV�I[�[PM�_I[�\ZaQVO�\W�UISM�sense of the meaning of the stamps. She commented: ‘Here, I

thought about that. Actually I read about this author of a book, where people

meet and pick up a word of the book and then together created a new story.

That is what came to my mind’ �-UQTQM�� )XIZ\� NZWU� I]OUMV\QVO�relations through triggering peoples imagination through senses,

the pieces of jewellery create a new relation between the object

IVL�\PM�_MIZMZ��<PM�[WN\VM[[�WN �\PM�ÆW]Z�VMKSTIKM�_WZSML�I[�I�TQVS�\W�\PM�_MIZMZ¼[�UMUWZQM["�‘I touched it a lot. The fabric was very

soft and it reminds me of being young, of my childhood and the house of my

grandmother’ �)VVM��

8.4 Traces/Wearer Relationship 8IZ\QKQXIV\[� _MZM� _QTTQVO� \W� KWV\ZWT� \PM� W]\KWUM� WN � \PMQZ�

interaction with the jewellery. They prefer static traces and

that they are able to transform according to their will. ‘A normal

bracelet from silver or gold had scratches after use. Throughout the time that

is something that happens, but it is nothing personal. It is interesting that I

can design what it changes¼�>QKSQ��-V^QZWVUMV\IT�NIK\WZ[�QVÆ]MVKM�the transformation of the design and cause uncontrolled

interactions that trigger reactions, both pleasant and unpleasant.

Relationships between the object and the wearer emerging

during the interaction and the dynamic type of the traces, made

XIZ\QKQXIV\[�ZMÆMK\�WV�\PM�VM_�[Q\]I\QWV�As I noted earlier, the unexpected interaction with the wind

OI^M�I�VQKM�NMMTQVO�\W�)VVM��-UQTQM�IT[W�KWUUMV\ML�WV�\PM�ÆW]Z�necklace: ‘1\�Q[�[W�LQٺMZMV\�NZWU�I�VWZUIT�VMKSTIKM��1\�Q[�[W�VQKM�\PM�QLMI�WN �the dust in the wind’. Sanne added: ‘I like the idea that you have to wait

to see it growing and it is one time thing. That something is going to happen

and you have a feedforward which tells you that something is beautiful’.

The interdependence of the responsibility of the wearer to water

the plant created a interesting relationship between the object

and the wearer. Sanne wore the plant bracelet also when she did

not have to according to the given instructions: ‘It was nice to turn

something unpersonal to something personal’, she said. Vicki commented

on the plant bracelet as follows: ‘Wearing it, I smelled like spring. I love

spring and I miss it during winter’. This is also interesting in relation

to creating a certain feeling while wearing jewellery.

8.5 The Role of Jewellery in the Interaction

8.5.1 Instead of Re-Experience a Past Event They Have a New Experience

The jewellery that I propose invites the wearers to experience

something new, which they would not have known before the

interaction, instead of recalling a past event, as for example the

project Lens� LWM[� �?PQ\M�� >QKSQ� UMV\QWVML� L]ZQVO� W]Z�interview: ‘I usually don’t wear jewellery that changes and I never change

Ua�RM_MTTMZa��*]\�_Q\P� \PQ[�WVM� Q\� Q[�LQٺMZMV\��1�IU�VW\� R][\� »_MIZQVO¼� Q\¼��In the following I present the role that jewellery played in the

XIZ\QKQXIV\¼[�TQNM��_PQKP�IZM�MQ\PMZ�\PM�ZWTM�WN �I�\ZQOOMZ�WN �XMWXTM¼[�

51 52

8.6.1 Participants as Co-Designers of Their Experience With the Worn Piece

Craft practice has been argued to be a possible contribution

to interaction design for designing for authenticity and personal

UMIVQVO� �3M\\TMa�� #� ?PQ\M�� #� ?ITTIKM� �� <PM�choice of material that is meaningful to the wearer in the hands

WN � LM[QOVMZ[� Q[� WVM� I\\MUX\� \W� LM[QOV� MUW\QWVITTa� [QOVQÅKIV\�products. In her work, Wallace gets inspiration from fragments

of lives and experiences of individuals. With sensitivity to the

materials, both physical and digital, she designed objects that

PI^M�I�KTW[M�ZMTI\QWV[PQX�_Q\P�\PMQZ�XIZ\QKQXIV\[¼�TQ^M[�IVL�\PMQZ�UMUWZQM[�\PZW]OP�\PM�XZWKM[[�WN �MUXI\PQK�LM[QOV��=[QVO�\PM�patchworking technique to combine familiar materials creating

a crafted object as well as craft as a process with particular

associations, seem to be a valuable approach to develop

personal artifacts.

-LU]VL�LM�?IITU��[]OOM[\["�‘Craft is a starting place, a

[M\�WN �XW[[QJQTQ\QM[��1\�I^WQL[�IJ[WT]\M[��KMZ\IQV\QM[��W^MZ�ZWJ][\�LMÅVQ\QWV[��[WTIKM�� 1\� WٺMZ[� XTIKM[�� QV\MZ[\QKM[�� _PMZM� WJRMK\[� IVL� XMWXTM� UMM\�� 1\�Q[� ]V[\IJTM�� KWV\QVOMV\�� 1\� Q[� IJW]\� M`XMZQMVKM�� 1\� Q[� IJW]\� LM[QZM�� 1\� KIV�be beautiful’.� )LIU[WV� �� KWV\QV]M["� »+ZIN\� M`Q[\� QV� UW\QWV¼. )KKWZLQVO�\W�;P]�0]VO�IVL�2��5IOTQIZW��I[�KQ\ML�Ja�5IbIV\Q��KZIN\�Q[�\PM�XZWKM[[�WN �TMI^QVO�\ZIKM[�_PQKP�O]IZIV\MM[�I�SQVL�WN �ZMTI\QWV[PQX�JM\_MMV�\PM�XZWL]K\�IVL�\PM�][MZ��5IbIV\Q�takes that one step further, stating that the position is shifted

from the process of making to the doing of craft.

Following this notion of craft, with my research I add

one more layer to the relationship between the jewellery

and the wearer, which is based on the craft practices during

\PM� QV\MZIK\QWV�� 8IZ\QKQXIV\[� JMKIUM� KW�LM[QOVMZ[� WN � \PMQZ�experience with the worn piece. This co-experience has been

described by Anne commenting on Clay as follows: ‘Being aware

of the message you want to send to the world - Being your own creator, a

small designer’. Sanne added: ‘I bought something for my balcony and

I thought maybe I could place it on the bracelet as well’. Vicki states:

»<PMZM�_I[�\PQ[�VQKM�M`PQJQ\QWV�QV�13-)��1�ZMITTa�TQSM�\W�LMKWZI\M�ZWWU[�IVL�

try to make them look nice and cozy. Could be of a great fun to take some

of these ideas and try to transform my bracelet¼��.QO]ZM��My research focuses not on the crafted object, and how

wearers might develop an attachment with the object due to

Q\[� UI\MZQIT� KWUXW[Q\QWV� �?ITTIKM�� #� ?PQ\M�� J]\�rather on how craft is organised as a material experience, which

leaves room for the wearer to become a crafter of his/her own

experience. That can open up ways of designing that is not

focusing on the creation of the craft object, but on craft as a

process, which can be revealed during the interaction.

8.7 Updating Wright et al’s Framework for Analysing Experience

In order to analyse the experience that my participants had

_Q\P� \PMQZ� RM_MTTMZa�� 1� JWZZW_ML�?ZQOP\� M\� IT¼[� NZIUM_WZS� WN �IVITa[QVO�M`XMZQMVKM��QV�_PQKP�UMIVQVO�Q[�KWV[\Z]K\ML�out of the dynamic interplay between the compositional,

sensual, emotional and spatio-temporal threads of experience

�?ZQOP\� M\� IT�� )[� IVITa[ML� M`\MV[Q^MTa� QV� \PM� XZM^QW][�chapters, the designed jewellery add value to the sensual and

\PM� MUW\QWVIT� ^IT]M� WN � \PM� M`XMZQMVKM� \PZW]OP� \PM� LQٺMZMV\�interactions that they introduce. For me, the spatio-temporal

thread represents the relationship between the trace and the

WJRMK\��IVL�PW_�\PMa�IZM�KW]XTML�QV�\PM�_MIZM[¼�XMZKMX\QWV��<PM�[XI\QW�\MUXWZIT�\PZMIL�QVÆ]MVKM[�\PM�[MV[]IT�IVL�\PM�MUW\QWVIT�\PZMIL�WN �\PM�QV\MZIK\QWV��<PM�ÅO]ZM�JMTW_�OQ^M[�IV�W^MZ^QM_�WN � \PM� W^MZITT� M`XMZQMVKM� �.QO]ZM� �� ?WZ\P� UMV\QWVQVO� Q[��that I propose a new thread in the framework as an extention

of the compositional thread. Reading the interaction as an

interplay between the maker, the wearer and the object, the

interaction starts with the composition of materials chosen

by the designer. With the prototypes that I introduced to

\PM� ÅMTL�� \PQ[� KWUXW[Q\QWV� Q[� WXMV� \W� VM_� \ZIV[NWZUI\QWV[�during the interaction. The wearer and the environment can

QVÆ]MVKM� \PQ[� \PZMIL� WN � M`XMZQMVKM�� IVL� \P][�� 1� XZWXW[M� \PM�Re-Compositional Thread, which is revealed through the

interaction, and brings an additional layer to the experience

�.QO]ZM��<PM�:M�+WUXW[Q\QWVIT�<PZMIL�WN �M`XMZQMVKM�_QTT�be one more tool in the hands of designers, as they design

interactive objects focusing on expressive interactions and

aesthetic experiences.

Figure 33: Clay,

crafting practices

8.6 The Role of the Wearer in the Interaction

53 54

.QO]ZM��"��=XLI\ML�?ZQOP\�M\�IT¼[��.ZIUM_WZS�NWZ�)VITa[QVO�-`XMZQMVKM��update the framework of analysis experience (4 theads of experiences)

Wright at al (2004)

FLOUR PLANT

Softness (through the combina-

tion of the materials)

nice feeling of looking the dust

in the wind

The feeling of ‘feeling good’

‘it smells like spring’

‘I smell like spring’

‘I am curious to see how it is going to

grow’

the object and the traces are one unity

for the wearer

the interaction is fast and the results

uncontrolled

Now that I am not going to have it I

want to see how it will continue

growing and have a green surface.

‘I really like the nature’

‘I took sthg unpersonal and I made it

personal’

it reminds her her childhood and her

grandmother’s house.

(softness triggers memories)

triggers her imagination(surprise of the

ˊRXU�ˊ\LQJ�LQ�WKH�ZLQG�

ˊRXU�D�PDWHULDO�FKRRVHQ�WR�OHDYH�uncontrolled and temporary traces.

the organic form of bracelet designed

in combination with the living plant.

The design gave the feeling of some-

thing that is changing or transforming

add more seeds

blossom = growth

pick a plant that can grow the whole

year. uncontrolled growth of the plant

Flour + Water = Dough

Flour + Wind = Dust in the wind

interaction with fabrics

STAMPS CLAY

COMPOSITIONAL

from the designer

SENSUAL

EMOTIONAL

SPATIOTEMPORAL

XQ�GHˉQHG�OLQN�EHWZHHQ�WKH�stamps.

7KH�PHVVDJH�JLYHQ�ZHUH�QRW�D�UHSUHVHQWDWLRQ�RI�WKH�REMHFW�EXW�D�QHZ�REMHFW�WDWRRLQJ�E\�\RXU�MHZHOU\"

WKH�FOD\�DQG�WKH�SOD\�GRXJK�RIIHUHG�GLIIHUHQW�OHYHOV�DQG�ˊH[LELOLW\�RI�WUDQVIRUPDWLRQV��

:HDUHU�ZDV�D�GHVLJQHU�

(PRWLRQDO�ERQG�LV�HQJDJHG�WKURXJK�QRW�ZHDULQJ�WKH�EUDFHOHW��7KH�REMHFW�EHFRPH�PRUH�LPSRU-WDQW�EHFDXVH�LW�ZRXOG�OHDYH�WKH�WUDFHV�RQ�WKH�ERG\��7KH�WUDFHV�EHFRPH�LPSRUWDQW�IRU�WKH�ZHDUHU

7KH�REMHFW�LV�WKH�WUDFH�WKH�WUDFHV�VWDPSV��DQG�WKH�REMHFW�DUH�GH�FRXSOHG�

7KH�VWDPSV�FDQ�ODVW�RQ�WKH�ERG\�IRU�D�FHUWDLQ�WLPH

KLGGHQ�SDUWV�RI�WKH�ERG\��VWDPSV�EHFRPH�PRUH�SULYDWH

FUHDWH�KHU�RZQ�GHVLJQ�

FXVWRPLVDWLRQ�and tranforming parts of the

MHZHOU\

8QHDV\QHVV�DQG�XQFRPIRUWDEOH :LOOLQJQHVV�WR�WRXFK�LW�DOO�WKH�time.

RE-COMPOSITIONAL

WKURXJK�WKH�LQWHUDFWLRQ

VKH�FUHDWHG�D�QHZ�GHVLJQ��D�ULQJ�IURP�FOD\�WKH�PDWHULDO�WUDQVIRUPDWLRQV�FDXVHG�E\�WKH�PRYHPHQW�RI�WKH�hands.

__________

55

Conclusion09

57 58

9. Conclusion

<PQ[�[\]La�IQU[�I\�M`XTWZQVO�IVL�LMÅVQVO�\PM�ZMTI\QWV[PQX[�QV�QV\MZIK\QWV[�JM\_MMV�technology and jewellery. The insights of this thesis provide new knowledge about ways

of designing wearables that focus on a holistic experience and intriguing interactions.

<PQ[�\PM[Q[�UISM[�[M^MZIT�KWV\ZQJ]\QWV[�\W�\PM�ÅMTL�WN �QV\MZIK\Q^M�RM_MTTMZa�LM[QOV��

.QZ[\Ta��\PQ[�\PM[Q[�KWV\ZQJ]\M[�\W�\PM�ÅMTL�WN �QV\MZIK\Q^M�_MIZIJTM�LM[QOV��I[�Q\�ZMLMÅVM[�the role of jewellery. A third level of communication in the interaction between

RM_MTTMZa� IVL� \PM�_MIZMZ�_I[� QLMV\QÅML��<PQ[�VM_� TM^MT� WN � QV\MZIK\QWV� KWV\ZQJ]\M[� \W�the development of a new approach to jewellery design. It has its foundation in the

8ZIOUI\QK�)M[\PM\QK[�\ZILQ\QWV��<PM�XZW\W\aXM[�ZM^MIT�\PI\�I[�U]KP�I[�RM_MTTMZa�WJRMK\[�can be considered as objects that relate to us through the memories attached, they also

JMKWUM� WJRMK\[� _PW[M�UMIVQVO� Q[� VW\� XZM�LMÅVML��)[� WJRMK\[� \PMa� OIQV� QUXWZ\IVKM�\PZW]OP�\PM� QV\MZIK\QWV�IVL�\PM�_MIZMZ¼[�ZMIK\QWV��_PQKP�KIV�LQٺMZ�OZMI\Ta�IKKWZLQVO�\W�\PM�XMZ[WV�_MIZQVO� Q\��)VW\PMZ�[QOVQÅKIV\�ÅVLQVO�\PI\�MUMZOML�NZWU�\PQ[� \PM[Q[� Q[��that transformative and dynamic forms of jewellery invite the wearer to experience

something new, something that would not have been revealed without the interaction.

1�IZO]M�� \PI\� RM_MTTMZa� Q[�UWZM� \PIV�WJRMK\[��,QٺMZMV\� \aXM[�WN �MUW\QWV[�IZQ[M�L]ZQVO�\PM�QV\MZIK\QWV[�_Q\P�\PM[M�XQMKM[�WN �RM_MTTMZa��<PM�XQMKM[�JMKWUM�\ZQOOMZ[�WN �XMWXTM¼[�imagination and curiosity as well as, by triggering senses, they become a link to the

past. The relationship that people have with their worn objects is subject to an ongoing

dialogue, which makes them re-think the already existing relationship.

;MKWVLTa��\PMZM�Q[�I�KWV\ZQJ]\QWV�\W�\PM�ÅMTL�WN �1V\MZIK\QWV�,M[QOV�IVL�-`XMZQMVKM�Design. This research focuses on the close interaction between the body, the object and

the environment, as it proposes various combinations of triggers of interactions and the

MٺMK\[�\PI\�\PQ[�QV\MZIK\QWV[�TMI^M�QV�\PM�_WZTL��<PQ[�MVIJTM[�I�JM\\MZ�]VLMZ[\IVLQVO�WN �the relationship that participants have with the traces that they leave on the object or the

object leaves on them. The wearer creates a strong, emotional bond with the traces, the

WJRMK\�WZ�\PM�VM_�WJRMK\��I[�XIZ\�WN �\PM�[MV[M�UISQVO�XZWKM[[��8MZUIVMV\�IVL�\MUXWZIZa�traces as well as the level of control over the interaction, are issues that are addressed in

\PQ[�\PM[Q[��IVL�IZM�^IT]IJTM�QVX]\�NWZ�N]Z\PMZ�ZM[MIZKP�QV�\PQ[�ÅMTL�WN �-`XMZQMVKM�,M[QOV��.]Z\PMZUWZM��\PM�ÅVLQVO[�KIV�I[[Q[\�LM[QOV�XZIK\QKM�I[�LM[QOVMZ[�JMKWUM�I_IZM�WN �\PM�correlation of the object, the wearer and the trace even before engaging in the design

XZWKM[[��<PM�LM[QOVMZ¼[�QUXIK\�WV�\PQ[�KWZZMTI\QWV�KIV�KPIVOM�\PM�_Ia�\PMa�\PQVS�IJW]\�his/her design practice.

<PQZLTa��IV�VM_�ZWTM�WN �KZIN\�XZIK\QKM[�KWV\ZQJ]\M[�SVW_TMLOM�\W�\PM�ÅMTL�WN �,M[QOV�Wearables. I argue, that product transformation opens up new ways of communicating

with the worn object and can be a carrier of emotional information. Through my

explorations, I found, that the dynamic and transformative form of the product can be

a new source of aesthetics, which enhances the experience that the wearer has with the

object by appropriating manners of expression.

This thesis emphasises the importance and the potential of the interplay between

form&function, which highly enriches the interaction. Craft practices, such as the

patchworking technique, which combines familiar materials, are new ways of designing

meaningful interactions between the object and the person. Craft thinking and knowledge,

KPIZIK\MZQ[ML� Ja� \PM� M`XTWZI\QWV� WN � UI\MZQIT[� IVL� UMIVQVO�� WٺMZ� IV� IT\MZVI\Q^M�perspective on interactions with wearable objects. With this research, I propose craft

as a material experience, which is open for further explorations, while leaving room for

the wearer to become a crafter of his/her own experience By doing so, another way of

\PQVSQVO�IJW]\�KZIN\�XZIK\QKM[�QV�\PM�ÅMTL�WN �_MIZIJTM[�Q[�WXMVML�]X��<P][��\PM�_MIZMZ��QV[\MIL�WN �ZM�M`XMZQMVKM�I�XI[\�M^MV\��PM�[PM�PI[�I�VM_�M`XMZQMVKM��_PQKP�Q[�LQٺMZMV\�NWZ�each person wearing the piece of jewellery. Thus, forthly, my research extends Wright

M\� IT¼[� NZIUM_WZS� WN � IVITa[QVO� M`XMZQMVKM� Ja� []OOM[\QVO� IVW\PMZ� \PZMIL�� VIUMTa� \PM�Re-Compositional Thread, that can be seen as a subcategory of the Compositional

Thread. While the Re-Compositioal Thread emerges during the interaction with the

object, turning the wearer into the crafter of his/her own experience, the Compositional

Thread has an impact on the design practice before the wearer is interacting with it.

This research experiments with the form of the worn object and how the dialogue

between the jewellery and the person can be enriched through the interaction. It does

not consider the functionality of the piece of jewellery. However, form as a quality is not

considered more important than function, but rather as equally important.

<PQ[�ZM[MIZKP� Q[�I�KWV\ZQJ]\QWV�\W� \PM�ÅMTL�WN �LM[QOVQVO� NWZ�_MIZIJTM� \MKPVWTWOQM[�_Q\P� MUW\QWVITTa� [QOVQÅKIVKM� NWZ� \PM�_MIZMZ[� IVL� Q[� [MMV� I[� I� [\IZ\QVO� XWQV\� NWZ� \PM�development of a new approach to jewellery design.

In this thesis, I focus on the relationship between the wearer and the object. It seems

_WZ\P_PQTM�\W�QV^M[\QOI\M�PW_�\PM�XZW\W\aXM[�KIV�QVÆ]MVKM�\PM�QV\MZXMZ[WVIT�ZMTI\QWV[PQX[�between the self and others in further research. Furthermore, the combination of both,

form and function could be investigated, in order to get a better understanding of how

the interplay between them can lead to richer experience for the wearer.

References

61 62

References

)LIU[WV��/��<PQVSQVO�<PZW]OP�+ZIN\��[\�ML��7`NWZL"�*MZO�

)PLM�,MIT��8��?WUMV�IVL�RM_MTZa��[\�ML��C0MT[QVSQE"�)IT\W�=VQ^MZ[Q\a�

*MZVIJMQ��:��1V\ZWL]K\QWV��1V�*MZVJMQ��ML��+WV\MUXWZIZa�RM_MTTMZ[��[\�ML�� 7`NWZL��=3"�*MZO��XX��

*M[\MV��4��7V�RM_MTTMZa��[\�ML��;\]\\OIZ\"�)ZVWTL[KPM�

+PIXUIV��2��-UW\QWVITTa�L]ZIJTM�LM[QOV��[\�ML��4WVLWV"�-IZ\P[KIV�

+PM]VO��4��IVL�8W\\MZ��4��<ZMI[]ZM��[\�ML��0MKSQVO\WV��4QVK["�<PM�8MIZWWU�� Centre for Contemporary Craft.

+PM]VO��4��+TIZSM��*��IVL�+TIZSM��1��6M_�LQZMK\QWV[�QV�RM_MTTMZa�11��[\�ML�� 4WVLWV"�*TIKS�,WO�8]J�

,M�?IIT��-��?PI\�Q[�+ZIN\'��>QK\WZQI�IVL�)TJMZ\�5][M]U��CWVTQVME�>IU� ac.uk. Available at: http://www.vam.ac.uk/content/articles/w/what-is-craft/

� C)KKM[[ML� �2]V��E�

,M4WVOQ[��)��0MUXPQTT��3��IVL�4MPUIV��,��!!��)�[\Z]K\]ZML�LQIZa�UM\PWLWTWOa�� NWZ�\PM�[\]La�WN �LIQTa�M^MV\[��;XZQVOMZ��XX� ��!�

,RIRILQVQVOZI\��<��5I\\PM_[��*��IVL�;\QMV[\ZI��5��-I[a�LWM[V¼\�LW�Q\"�[SQTT�� IVL�M`XZM[[QWV�QV�\IVOQJTM�IM[\PM\QK[��8MZ[WVIT�IVL�=JQY]Q\W][�+WUX]\QVO�� XX��

,WZUMZ��8��IVL�<]ZVMZ��:��!!��<PM�VM_�RM_MTZa��[\�ML��6M_�AWZS"�<PIUM[�IVL� Hudson.

,]VVM��)��IVL�:IJa��.��,M[QOV�VWQZ��[\�ML��*I[MT"�*QZSPq][MZ�

.ZI[KIZI��2��,M[QOV�IVL�\PM�[WKQIT�[KQMVKM[��[\�ML��4WVLWV"�<IaTWZ��.ZIVKQ[�� XX��

/I^MZ��*��,]VVM��<��IVL�8IKMV\Q��-��!!!��,M[QOV"�K]T\]ZIT�XZWJM[��QV\MZIK\QWV[�� XX��!�

/WٺUIV��-��!�!��<PM�XZM[MV\I\QWV�WN �[MTN �QV�M^MZaLIa�TQNM��[\�ML��/IZLMV�+Q\a�� N.Y.: Doubleday.

2WZLIV��8��,M[QOVQVO�XTMI[]ZIJTM�XZWL]K\[��[\�ML��4WVLWV"�<IaTWZ��.ZIVKQ[� e-Library.

3M\\TMa��;��IVL�;Ua\P��5��<PM�5I\MZQITQ\a�WN �?MIZIJTM�+WUX]\MZ[�+ZIN\�IVL�� )]\PMV\QK�=[MZ�-`XMZQMVKM��<PM�,M[QOV�2W]ZVIT��XX��

3M\\TMa��;�� 8MIKWKS[�IVL�_ITTÆW_MZ["�QV��^Q[QJQTQ\a�_Q\P�LQOQ\IT�RM_MTTMZa��>Q[]IT�� +WUU]VQKI\QWV��XX��

=VOMZ��5��<MUX\I\QWV��1V�4QVLMUIVV��?��IVL�+TW]OP��2��ML�� <PQVSQVORM_MTTMZa��[\�ML��;\]\\OIZ\"�)ZVWTL[KPM��XX��!

5IVPMQU��2��!��-XPMUMZIT�2M_MTTMZa"�;WUM\PQVO�IVL�VW\PQVO��1V�5IVPMQU��ML�� !��;][\IQVIJTM�RM_MTTMZa��[\�ML��4WVLWV"�)��+��*TIKS��XX��

5IVPMQU��2��!��?MIZQVO�QV�W]\��1V�5IVPMQU��ML��!��;][\IQVIJTM�RM_MTTMZa�� [\�ML��4WVLWV"�)��+��*TIKS��XX� �!

5I\\MTUISQ��<��IVL�*I\\IZJMM��3��-UXI\Pa�XZWJM[��XX��

5I\\MTUqSQ��<��,M[QOV�XZWJM[��[\�ML��0MT[QVSQ"�=VQ^MZ[Q\a�WN �)Z\�IVL�,M[QOV�

5IbIV\Q��4��;]XMZ�WJRMK\["�+ZIN\�I[�IV�IM[\PM\QK�XW[Q\QWV��-`\ZI�7ZLQVIZa� Craft and Contemporary Art

5WVS��)��IVL�*TWU��2��)�\PMWZa�WN �XMZ[WVITQ[I\QWV�WN �IXXMIZIVKM"�Y]IV\Q\I\Q^M� evaluation of qualitatively derived data. Behaviour & Information Technology,

� ��XX��

5WVS��)��0I[[MVbIPT��5��*Ta\PM��5��IVL�:MML��,��.]VWTWOa"�LM[QOVQVO�� MVRWaUMV\��XX�!��!��

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8TI\\VMZ��0��5MQVMT��+��IVL�4MQNMZ��4��,M[QOV�\PQVSQVO�ZM[MIZKP��[\�ML��*MZTQV"� Springer.

63

Appendix A

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Speckled Jewellery (Kettley, 2009)

7TIGOPIH�.I[IPPIV]�GSQTVMWIW�½ZI�RIGOTMIGIW�[MVIPIWWP]�networked for a friendship group. Built at a workbench and deliberately merging traditional craft techniques with emerging technology, each piece incorporates a prototype wireless sensor node or “Speck,” which acts to locate and identify other specks within a range of approximately 20m radius. This information is XLIR�ZMWYEPM^IH�SR�½ZI�HIHMGEXIH�0)(W��[LMGL�¾EWL�EX�HMJJIVIRX�VEXIW�XS�VI¾IGX�XLVII�WSGMEP�HMWXERGIW��8LIWI�EVI�HMWXERGIW�EX�which ways of greeting have been observed to change: intimate (under 30cm), social (30cm to 1m), and distant (over 1m through a limit of 20m). These distances accord with Edward T. Hall’s SFWIVZEXMSRW�ERH�MHIRXM½GEXMSR�SJ�TVS\IQMGW��MR�8LI�,MHHIR�Dimension, 1966). When wearers of Speckled Jewelry observe XLI�¾EWLMRK��XLI]�GER�GLSSWI�[LIXLIV�XS�EGX�SR�XLMW�MRJSVQEXMSR�or not.

Available at: http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/leonardo/v042/42.2.kettley.html [Accessed 4 Jun. 2014].

IBM Set (IBM, 1993)

IBM has developed a prototype of a cell phone that consists of several pieces of digital jewelry that will work together wirelessly, possibly with Bluetooth wireless technology, just like a conventional cell phone.Earrings – Speakers embedded into these earrings will be the phone’s receiver.Necklace – Users will talk into the necklace’s embedded microphone.Ring – Perhaps the most interesting piece of the phone, this “magic decoder ring” is equipped with light-emitting diodes �0)(W �XLEX�¾EWL�XS�MRHMGEXI�ER�MRGSQMRK�GEPP��-X�GER�EPWS�FI�TVSKVEQQIH�XS�¾EWL�HMJJIVIRX�GSPSVW�XS�MHIRXMJ]�E�TEVXMGYPEV�caller or indicate the importance of a call.Bracelet – Equipped with a video graphics array (VGA) display, XLMW�[VMWX�HMWTPE]�GSYPH�EPWS�FI�YWIH�EW�E�GEPPIV�MHIRXM½IV�XLEX�¾EWLIW�XLI�REQI�ERH�TLSRI�RYQFIV�SJ�XLI�GEPPIV�

Digital jewelry | Tree of Life. [online] Available at: http://graceformyself.wordpress.com/tag/digital-jewelry/ [Accessed 7 Jun. 2014].

Diabetes Neckalace and Ring (Heiss 2008-09)

The Diabetes Neckpiece is a wearable applicator device to apply Nanotechnology Victoria’s NanoMAPs to the skin. NanoMAPs are small (10 x 2mm) circular discs which have an array of micro needles on their surface. They allow for pain-free delivery of insulin to the body, replacing syringes. The Diabetes Rings work in conjunction with the Diabetes Neckpiece. The rings are designed to keep the nano engineered insulin patches against the skin once they have been applied. They are designed as discreet housings for therapeutics. Philosophically, they question how we might ‘enable’ our favourite jewellery/artefacts with functionality above and beyond the aesthetic.The Diabetes Jewellery project was developed through my Subtle Technologies residency with Nanotechnology Victoria in 2007-8

Leah Heiss Diabetes Jewellery. [online] Available at: http://www.HODVWLF¼HOG�FRP�GLDEHWHV�KWP�[Accessed 7 Jun. 2014].

Kiss Communicator (IDEO, 1999)

The Kiss Communicator is a a concept prototype that allows you to blow a kiss to your beloved when s/he’s at the other part of the world.To let a partner know that you are thinking of her or him, you squeeze the Communicator gently. It responds with a slight glow to invite you to blow into it and create your “message” in the form of an animated light sequence as the device responds to your breath. The “message” shows while you blow and if you are happy with it, you simply relax your grip and it is sent to the corresponding Communicator. Sensors in the handheld device pick up your kiss, translate the impulse into a series of randomly lit LEDs, which are then transmitted as a slow glow to your partner’s device. On the other end, the Kiss Communicator indicates that there is a message but waits until its owner squeezes it to play back the light sequence.

Available at: http://we-make-money-not-art.com/archives/2005/10/kiss-communicat.php#.U49xcZSKVy8

Biojewellery Project (2006)

Biojewellery started out by looking for couples who wanted to donate their bone cells. Their cells were seeded onto a bioactive scaffold. This material encouraged the cells to divide and grow rapidly, and the resulting tissue took on the form of the scaffold, which was a ring shape.8LI�GSYTPI W�GIPPW�[IVI�KVS[R�EX�+Y] W�,SWTMXEP��ERH�XLI�½REP�bone tissue was taken to a studio at the Royal College of Art to be made into a pair of rings. The bone was combined with traditional precious metals so that each has a ring made with the tissue of their partner.The aim of Biojewellery is to strike up a range of relationships with an audience over the issues that surround biotechnology, tissue engineering in particular. The collaboration is between a core team of a bioengineer and two designersBiojewellery.com, (2014).

Biojewellery. [online] Available at: http://www.biojewellery.com/ [Accessed 7 Jun. 2014].

Light Brooch (Stöber, 1997)

The erotics of machined surfaces and smooth shapes are capitalised on in pieces designed to ligth up from within when touched and held. Stöber‘s work encourages an interactivity at odds with much jewelery designed to be admired from a distance. Stöber privileges contact over scopophilia. The body responds to the jewellery and the jewellery responds to the body.[...] The ligth fades gradually when the contact is broken. Stöber’s work regards technology benignly, as a medium for comunication and self expression. Transmitters and information interfaces operate without male gendered buttons

Saracoutinho.com, (2014). [online] Available at: http://saracoutinho.com/blog/ [Accessed 7 Jun. 2014].

Shape Change Jewellery (Heiss, 2008-09)

Shape change jewellery is a range of wearable artefacts that change shape in response to human warmth. The pieces are developed from nano-engineered NitiNol and cast silver and suggest how our cherished possessions may interact with us through wearing. The three projects - Venus, Poppy and Field. The picture on the left shows the Field Project.

Leah Heiss Shape Change Jewellery. [online] Available at: http://www.HODVWLF¼HOG�FRP�VKDSHFKDQJH�KWP�[Accessed 7 Jun. 2014].

Swarms (White, 2007)

Swarm is a silver chain with a digital life. The movement of one link in a chain impacts on the behavior of the other links, causing them to move and re-array, in much the same way as a piece of code in a computer application actions another. As the wearer moves the chain, which acts on the computer code in the application, the application causes onscreen activity, the wearer understands that their actions are causing the screen activity. In this interaction the wearer could be offered alternative experiences. For example, as the wearer instructs the units to move, by altering the position of the chain in real space, the FYVVW�KVEZMXEXI�XS[EVHW�XLI�RIEVIWX�TVIHI½RIH�EVIE�SJ�XLI�FSH]�represented onscreen and array themselves as a new grouping, for example an orbit of the neck area.

White, H. and Steel, E. (2007). Agents of change: from collection to connection. The Design Journal, 10(2), pp.22--34.

The Necklace (van Beers, 2011)

The Necklace is a piece of jewellery for breast cancer patient. %JXIV�IEGL�WMKRM½GERX�QSQIRX�MR�XLI�FEXXPI�SJ�XLI�TEXMIRX��LI�WLI�cab take a new bead and press it tightly against the skin. This bead than changes depending on how ill you are. The deeper the pink, the healthier you are. The whiter the bead, the sicker you are.

The Necklace is a vision about how Nano technology could facilitate our intimate communication within the next years.

[online] Marco van Beers. Available at: http://www.marcovanbeers.nl/project/the-necklace/ [Accessed 6 Jun. 2014].

Aurora (Keyok, 2008)

Kyeok Kim’s Aurora, Second Skin by Lighting, “creates patterns of light on the body as ornamentation, extending the ornamented space around the body.Within each accessory there are LEDs, and the surface of the jewellery is covered with small holes of intricate shapes. In the darkness or dim light diodes begin to glow, projecting different patterns on the skin.Each ornament, made of copper and covered with a thin layer of white gold, can change up to three colors of light. And if necessary, a ring or a brooch can always be recharged – from a laptop or PC.

Kyeokkim.com, (2014). - Kyeok Kim -. [online] Available at: http://www.kyeokkim.com/ [Accessed 7 Jun. 2014].

Stile (Kettley, 2008)

“Stile is a neckpiece which explores the boundary between intimate space and public performance. It attempts to capture XLEX�QSQIRX�[LIR�[I�KEXLIV�SYVWIPZIW��TIVLETW�½RH�WSQI�kind of inner space, before a performative event.” As the wearer moves the head from side to side small sounds are emitted from the collar, audible to the user but not perceptible to the surrounding world. Kettley, a native of Scotland, was inspired by the richness and diversity of the Australian aural landscape and collected such sounds as magpie calls, the sound of water ¾S[MRK�XLVSYKL�HVEMRTMTIW�EJXIV�E�ZIV]�VEVI�HS[RTSYV��ERH�XLI�sound of surf and cicadas on the south coast of NSW. This sonic texture informed the sounds incorporated into the neckpiece. As such it becomes a mnemonic device, allowing Kettley to re-experience her time in Australia; a personal environment; and a performative garment.

Under the Skin. [online] Basement.craftaustralia.org.au. Available at: http://basement.craftaustralia.org.au/articles/20070328.php [Accessed 7 Jun. 2014].

Lens (White, 2008)

Les is an interactive jewellry, developed as an interface to technology.The pendant is evocative of sea washed glass and was made as a memento of a family holiday at Port Elgol, Skye. When it is held up to the ‘magic mirror’, images of a father and son skimming stones at the water’s edge appear, accompanied by the sounds of the waves washing the shore.The wearer has to move the pendant to explore the image – only a small part is visible in XLI�TIRHERX W�VI¾IGXMSR��E�FMX�PMOI�PSSOMRK�XLVSYKL�E�OI]LSPI��;LIR�the pendant is not visible in the mirror, both the image and the sound disappear.

White, H. and Steel, E. (2007). Agents of change: from collection to connection. The Design Journal, 10(2), pp.22--34.

70

Chalk Chain (Besems, 2004)

Chalk Chain is a necklace made by chalks. The wearing of it leaves transcient marks and traces of chalk dust are left on the wearer’s clothing.

Cheung L.. (2009). Wear, Wearing, Worn: The transitions of jewel to Jewellery. In Cheung, L.et al. (2006). New directions in jewellery II. 1st ed. London: Black Dog Pub.12-22

Siberian Necklace (Noten, 2007)

A Siberian Necklace is featuring an 18K gold necklace linking beads made out of synthetic rubies and resin-encased insects.

Bernabei, R. (2011). Inroduction. In Contemporary jewellers. 1st ed. Oxford, UK: Berg.

Lace Collar (Cullivan, 2004)

Lace Collar is a necklace made by sieving white poweder through the holes in a piece of lace, much as you might sieve icing sugar onto a GEOI�XLIVIF]�½PXIVMRK�E�RIKEXMZI�TEXXIVRSJ�XLI�MRXVMGEXI�JEFVMG�HMVIGXVP]�SRXS�XLI�WOMR��2S�KPYI�SV�½\MRK�EKIRX�LEH�FIIR�ETTPMIH�XS�XLI�WOMR�beforehand, so any unexpected air or body movemnt could have been disastrous.

Manheim, J. (2009). Ephemeral Jewellery: Something to Nothing. In Sustainable jewellery. 1st ed. London: A. & C. Black., 44-57

Shadow Jewelry ( Bakker, 1973)

Shadow Jewellery is a collection of metal bands were fastened round various parts of the body, which on removal left a pronounced indentation in the skin- just as the elasticated ribbing on a sock might leave a mark around the lower leg, or a glance in the mirror, on walking, often reveals the creases of teh sheets or pyjama seems imprinted on the skin.

Manheim, J. (2009). Ephemeral Jewellery: Something to Nothing. In Sustainable jewellery. 1st ed. London: A. & C. Black.

Makoo (2013)

How does it work? First choose your jewel, either a bracelet, a ring or a tie clip. Then customize your jewel by recording a short message. The Makoo jewelry alpha software will change the shape of the jewel according to your words and voice. The online tool also allows you to change the thickness, height and torsion of your jewel and virtually try it on. You can also embed a QR code that records information related to your message. After selecting the material your jewel is ready for 3D printing.

Makoo Jewelry’s Materialized Emotions |[online] Available at: http://3dprintsoftheworld.com/object/makoo-jewelrys-

Blossom (Wallace, 2004)

Blossom is a jewellery object, in London, is connected to a rain sensor, planted on the participant’s family land in Cyprus. Inside the dome XLI�SPH�']TVMSX�TSWXEKI�WXEQTW�EVI�GPSWIH�PMOI�E�¾S[IV��EXXEGLIH�XS�a mechanism, waiting to receive a signal sent from the rain sensor. Once the rain sensor has registered a predetermined quantity of rain in Cyprus, which may take months or even years a signal is sent to the jewellery object and the mechanism is activated, slowly opening XLI�TIXEPW�PMOI�E�¾S[IV�FPSWWSQMRK��8LMW�EGXW�EW�E�QIQSV]�XVMKKIV�XS�E�GIVXEMR�LYQER�VIPEXMSRWLMT�EW�[IPP�EW�E�WTIGM½G�TPEGI�

Wallace, J. (2014). home. [online] Digitaljewellery.com. Available at: http://www.digitaljewellery.com/jaynewallace/home.html [Accessed 7 Jun. 2014].

Appendix B

‘Electronic tattoo( Phillips, 2007)

The Electronic Tattoo concept appears and disappears, rematerializing in new forms every time. The designs are created according to the TIVWSR W�IQSXMSRW��-X�GSQIW�MR�XLI�JSVQ�SJ�E�½PQ�XLEX�MW�PEMH�SZIV�XLI�skin as a kind of “second skin.” It’s practically invisible and if you have seen how liquid crystal images behave, then you have an idea of what it can do to turn your body into a dynamic art form.

In the future, our bodies will become a platform for new personal expression through technological advancements. This particular design probe “explores the body as a platform for electronics and interactive skin technology. Stimulated by touch, an electronic tattoo traverses across the landscape of the body, navigated by desire.

[online] Available at: http://www.design.philips.com/about/design/designportfolio/design_futures/tattoo.page [Accessed 7 Jun. 2014].

Inner (Heiss, 2007)

Inner deals with issues of intrapersonal understanding - focussing on foibles, oddities, idiosyncrasies and eccentricities that may allude to emotional state.The garment senses a nervous habit - in this case touching the sternum - through the sensitive gingko brooch at the neck. This information is transmuted into an internal output - softly activating solenoids which tap against the ribcage; and an external output ��WYFXPI�TYPWEXMRK�STXMG�½FVI�EPSRK�XLI�WXSQEGL��-X�EPPS[W�JSV�ER�awareness of our non-conscious behaviours and is the continuation of a series of projects which investigate delicate technologies which augment our relationship with the world and people within it.

Available at: http://basement.craftaustralia.org.au/articles/20070328.php [Accessed 7 Jun. 2014].

‘I like this work in progress idea.Xmm

you can take a new clay that is going

to dry in a n hour and go again. I like

the idea of building on top of this,

Tomorrow I might add something or

alter it. I think I actually like it.’

+

way of leaving the traces

material in use

explorative prototypes

FOD\�ZLOO�GU\�LQ��K��SOD\�GRXJK�ˊH[LEOH customize the types of seeds

3d printing, clay, play dough

Clay Plant

3d printing, seeds

speed and

duration of interaction

LQWHUDFWLRQ�ZLWK�WKH�REMHFW

time: repetetive interaction

(water the plant everyday)

resuls: smell, self-growing plant

interaction and results: not coupled

time: fast-time interaction

results:visual output, material

transformations

interaction and results: coupled

controlled semi-controlled

��UHPHEHU�WR�XVH�LW 2 cannot control how the seed

are going to grow

water

growing plantgrowing plant

tools to form

the clay

types of emotions that arose

from the interaction

can we detached the traces

IURP�WKH�REMHFW"

playfulness, fun

coupledcoupled

‘I thought it was one thing a jewelry with

a plant’

curiosity

*It feels werd and funny, because it

changes according to the movemnt of my

KDQGV��,W�JHW�SUHVVHG�E\�WKH�ˉQJHUV�DQG�LW�changes shape, and that is sthg that I

haven ‘t tried before. And that is

interesting. That trcks traces of use.’

*It feels werd and funny, because it

changes according to the movemnt

of my hands. It get pressed by the

ˉQJHUV�DQG�LW�FKDQJHV�VKDSH��DQG�that is sthg that I haven ‘t tried

before. And that is interesting. That

trcks traces of use.’

Flour Stamps

ˊRXU 3d printing, ink

QR�ˊH[LELOLW\ FKDQJH�WKH�FRORXU�RI�WKH�LQNSUH�GHˉQHG�VWDPSV

WLPH��IDVW�WLPH�LQWHUDFWLRQUHVXOW��ˊRXU�RQ�WKH�7�VKLUW

interaction and results: coupled

WLPH�UHVXOW��LQN�RQ�WKH�EUDFHOHW��VWDPS�RQ�WKH�

ERG\interaction and results: not coupled

XQFRQWUROOHG� ��VHPL��FRQWUROOHG

��\RX�KDYH�WR�SXW�LQN��OHDYH�D�VWDPS�RQ�\RXU�ERG\

ˊRXU�RQ�VNLQ��FORWKLQJ��HQYLURPHQW

VWDPS�RQ�WKH�skin

ink

FKDQJLQJ�WKH�IRUP�RI�WKH�MHZHOU\�

WKH�LQN�VWDPSV�DQG�WKH�EUDFHOHW�ZHUH�HDVLO\�GHWDFKHG�IURP�WKH�SDUWLFLSDQW��

coupled decoupled

‘I felt that the two things are one. So,

wearing the T-shirt without the

jewelry didn’t seem complete.LIke one

unity’

PHPRULHV��LPDJLQDWLRQ

‘I touched it a lot. The fabric was very soft

and it reminds me of being young, of my

childhood and the house of my

grandmother’

)V�7^MZ^QM_�WN �\PM�1V\MZIK\QWV�*M\_MMV�\PM�-`XTWZI\Q^M�8ZW\W\aXM[�IVL�\PM�8IZ\QKQXIV\[

From the dictionary

aug·ment to increase the size, amount, or value of something

aug·mentv. aug·ment·ed, aug·ment·ing, aug·ments1. To make (something already devel-oped or well under way) greater, as in size, extent, or quantity:2. Make (something) greater by adding to it; increase

Cover Art: Henrike Feckenstedt

re-thinking relationships through augmented jewellery

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