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In this research, interdisciplinary describes the coming together or crossing over of diverse disciplines from a textile design perspective in order to carry out the laser-dye investigation.

Also termed multi-disciplinary, this approach refers to the involvement of two or more distinctly different fields. An interdisciplinary approach to research supports the acquisition of diverse knowledge and enables different areas of learning to be opened up. Problems and solutions are investigated and developed holistically in varied environments with people who have different viewpoints, expertise, skills, expectations and field specific language in relation to their ‘unique’ training.

A shift towards ‘developing tomorrow’s designer’s’, through interdisciplinary or multi-disciplinary activity in UK universities is said to equip design students with the necessary mix of skills recognised by employers (Design Council 2010, p. 16). Therefore considered a requirement for interdisciplinarity. The knowledge gained through such activity enhances the discipline specific attributes of the designer and cultivates a deeper understanding and interaction with aspects relating to business, science, technology, engineering and manufacture, for example.

Kees Dorst (2006, p.18) argues, ‘It has become almost impossible for a single designer to possess all the necessary knowledge and skills to develop complicated design’. The nature of design practice is that it combines different things. It is ‘multifaceted’, bringing together historical references, technological innovations, production techniques and process, as described by Clarke (2011, p. 7). Such variety means designers rarely work alone. They are likely to interact with other designers, cross disciplines or communicate with manufacturers, textile mills or technologists, for example. The purpose of working in this way is to test or realise ideas and facilitate production. This approach is essential for design development and application.

The intention of the interdisciplinary approach untaken in this research was an attempt to advance knowledge by combining methods, characteristics and attributes from each field – textile design, optical engineering, dyeing chemistry and industry standard procedures, underpinned by creativity. The process of doing research in this way is a less traditional approach than that commonly relating to just a single discipline. Instead, a lateral and more fluid structure was adopted, further explained by Rhoten (2004, p. 6). Such ‘fluidity’ is also discussed by Drake and Heath (2011, p. 61). Referring to research practitioners, they discuss

‘…spaces created through the interaction of several ‘contexts’, which inevitably interact with each other’. This structure encouraged essential crossover in thinking, discourse and action towards generating new knowledge and creating a platform for innovation entailing project meetings, one-to-one discussions and discipline specific structured experimentation (in both academic and industrial environments) . Interdisciplinary methods facilitate the ability to approach a problem or subject in a more holistic way. It is said that exposure to multi-disciplinary team working leads to ‘…a more holistic outlook to problem solving and a better capacity to influence people and negotiate change’, as discussed by Baily and Smith (Design Council 2010, p. 31). Multiple aspects were embedded and addressed as a whole body within this research.

The reciprocal nature of interdisciplinary studies enables inclusivity of different areas of knowledge, method, skills and techniques towards well rounded mutually informed results and rich discussion. This can lead to an efficient framework that embodies variety. Therefore, sufficient understanding of the subject or problem is essential to the research process. From a designer’s perspective, Dorst (2006, p.109) refers to the varied attributes contributing to the design process as a ‘combination of intelligences – linguistic, logical/mathematical, spatial, musical, bodily/kinaesthetic and personal’. As such, design is a natural site for interdisciplinary work and the knowledge of the designer draws on many aspects. This type of knowledge is as Cross (1999, p. 5) writes, ‘Design knowledge resides firstly in people: in designers especially’. He explains, ‘…there are forms of knowledge peculiar to the awareness and ability of a designer’ (ibid.).

In this study, an interdisciplinary approach was necessary in order to interact with multiple disciplines. This led to the production of different types of information and a deeper subject knowledge not obtainable within a limited single discipline approach (i.e. Textile Design;

Engineering; and Chemistry). In doing so, knowledge inherent to one field, adopted or enhanced by other fields presented a valuable standpoint for originality and advancement, also discussed by Katz and Martin (1997, p. 2). This process of knowledge transfer is key to innovation – the ability to share, understand and apply new knowledge and best practice.

Diverse skills, knowledge and experience(s) are considered important attributes of such interdisciplinary activity. These ideas have been explored and discussed by the Design Council (2010) - Temple (Design Council, p .9) argues, ‘The economic goal of generating more wealth from new science demands multi-disciplinary teams of designers, engineers and technologists designing around the needs of customers’. Papanek (1984, 2^nd ed., Preface x) also writes, ‘Design must become an innovative, highly creative, cross-disciplinary tool responsive to the true needs of men’. Similarly in 1947, textile designer, Anni Albers on designing (Albers 1962, 2^nd ed., p. 2) commented, ‘…we find two distinct points of departure:

the scientific and technological, and the artistic. Too often these approaches arrive at separate results instead of a single, all-inclusive form that embodies our needs: the need for the functioning of a thing and the need for appearance that responds to our sense of form’.

The interdisciplinary approach within this research included both qualitative and quantitative methods previously described (Figure 24) and are further discussed in Part 2 of this chapter.

Similar to this approach, Cross (2001) examines the relationship between design and science in his study, Designerly Ways of Knowing: Design Discipline Versus Design Science. He discusses the growth of scientific design process and design methods in the 1960’s. Evidence of such could be linked to the invention of laser technology in 1960, for example – ‘…the

application of novel, scientific, and computational methods…’ (Cross 2001, p.49). Cross identifies the reemergence of ‘design-science’ matters (also discussed by Dorst 2006, p. 204).

This term may also be considered relevant to this laser-dye research. Cross (ibid.) further acknowledges the shift towards methodological approaches, publication themes and dialogue within this territory.

In this study, an interdisciplinary approach was necessary in order to interact with multiple disciplines within Loughborough University in collaboration with industrial project partner, SDC. As such, this led to the production of information and deeper subject knowledge not obtainable within a limited single discipline approach (i.e. Textile Design; Engineering;

Chemistry; and Industry). In doing so, knowledge inherent to one field, adopted or enhanced by other fields presented a valuable standpoint for originality and advancement.

The effectiveness of interdisciplinary interactions was dependent on building workable relationships with people – project members, technical staff and other doctoral researchers in different departments (School of the Arts, Wolfson School of Mechanical and Manufacturing Engineering; Department of Chemistry; and Society of Dyers and Colourists). Initially, this platform for interaction proposed a dynamic that was not yet fully known or understood, described by Smith and Dean (2009, p. 42) as ‘…uncertain relationships surrounding human and physical structures and systems’. However, project progression was considered a discernable factor in which to evaluate the efficiency of day-to-day working relationships between disciplines and in relation to the experiences of the researcher. From a researcher perspective, communication and learned behaviour(s) became a key aspect of the research process, enabled by practical engagement within different environments. An awareness and understanding of discipline/environment specific issues has been demonstrated by this study through the transfer and exchange of first-hand knowledge (i.e. information, know-how, experience and skills) gained by interacting with people, machines, equipment, varied data types, textual information and specific vocabulary. This in turn, aided effective communication and project development.

In terms of collaboration, some of the challenges of the process can be attributed to communication aspects such as keeping partner(s) up-to-date at all stages of the work to affirm their involvement; or the location/distance between parties involved regarding logistics and the frequency of first-hand interactions, for example. Equally, the advantages of a collaborative approach carried out in this study, bridged the gap between academia and industry in order to understand and apply the commercial requirements for industry standard textile coloration procedures and ISO colour measurement and analysis regarding the digital

laser-dye process investigated. These factors were fundamental to the research and are discussed further in the next section.