Ms Jennifer Dranttel

I received my undergraduate degree in Architecture from the University of Colorado in 2002, then spent over a decade as a professionally-exhibiting fine artist and curator, with notable inclusion at the US National Printmaking Exhibition in 2015 as well as participation in several international artist residencies. I returned to school to pursue my MFA in Textiles in 2015 at Savannah College of Art and Design. During my MFA course I was awarded the University’s highest bursary through the SCAD Academic honours scholarship as well as the Student Incentive Scholarship, which recognized outstanding academic achievement and artistic promise through quarterly portfolio review. In 2016 I collaborated with fashion designer Jeffrey Taylor for participation in the Supima Design Competition, and our 5-look eveningwear collection was shown at New York and Paris Fashion Weeks and awarded the $10,000 grand prize, as well as the 2016 International Design Awards Association Gold Haute Couture award. It was also displayed as part of the Diplomacy By Design showcase at the US White House. The experimental fashion collection I created for my MFA Thesis landed me a position as one of 60 finalists for the 2017 CFDA+ Design Graduates Award out of thousands of international applicants. After graduation I transitioned into teaching, spending a year in the Fine Art, Textiles, and DT department at Uppingham School in the UK before moving to Mongolia in 2018 to take a role as the Head of Performing Arts Faculty at the British School of Ulaanbaatar.

Institute of Art and Design

Material innovation, Biotechnology, Folk Religion & Shamanism, Cultural Anthropology, Biomimicry, Sustainability, Systems Thinking

BA Architecture, University of Colorado (2002)
Coursework toward second BA, Graphic Design & Printmaking, Academy of Art University in San Francisco (2006)
MFA Fibers, Savannah College of Art & Design (2017)

DMU Doctoral College Scholarship & Bursary (2020-2023)

Title

Biomimicry-inspired Material Innovation in Mongolian Gers to Combat Negative Indoor Air Quality

Abstract

Mongolia, a traditionally nomadic nation, has experienced an extreme rural-to-urban migration in the last 25 years that has placed intense strain on both the urban infrastructure and on the culture itself. Today nearly half of Mongolia’s 3 million residents live in the urban areas of its capital, Ulaanbaatar. Cultural and spiritual traditions are clung to, despite their impracticality in a new context, and there is no better example than the Mongolian ger (гэр). Gers are traditional nomadic tents- circular and framed in wood, with layered wool felt walls and floor. They are heated by a single small coal-burning stove and because of their intent to serve a migratory population, lack centralized plumbing, heating, or electricity. This is practical when following sheep or livestock around Mongolia’s vast grassland steppes, but less beneficial when settling in the closely-packed urban areas of Ulaanbaatar known as ger districts. Ger districts contrast to the planned urban center of the city and fan out over the surrounding hillsides, and are home to over 60% of the city’s population. The socio-economic factors that contributed to this urban migration have meant the newest residents of the city live in extreme poverty and struggle for stable access to clean drinking water and affordable fuel sources- often using their ger’s stoves to burn raw coal, tires, or garbage. This has created a humanitarian crisis- and a pressing need for design-based solutions to address the city’s growing air pollution problem and improve the quality of life both inside and outside the gers. In 2016 an estimated 1800 people died from diseases directly attributable to indoor air pollution and a further 1500 people died from diseases attributable to outdoor air pollution- a rate higher than 1 out of 9 deaths in Mongolia. 

The Mongolian ger has 2 key components: the wooden framework and the felt cover, both of which are steeped in tradition and significance. The PhD project will study the spiritual and cultural significance of the materials used in gers, and devise a design intervention to the fibers- such as embedding an air-purifying lichen or algae into the felted wool- that will improve life within the ger, and still honor Mongolian traditions.

Dr Claire Lerpiniere, Dr Angela Davies, Dr Elizabeth Lambourn