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Woven modularity
EXPLORING PLAYFUL EXPRESSIONS IN TEXTILE DESIGN
D
egree projectBachelor of Fine Arts in Textile Design The Swedish School of Textiles
University of Borås Sweden
t
itleWoven modularity -exploring playful expressions in textile design
A
uthor Mikaela Svenssonr
eport nr2019.4.08
D
Ate 2020-05-15S
uperviSor Kathryn Waltersc
lASS SuperviSor Julia Svantesson Christine Snedkero
pponent Claire Johnstonec
lASS oponent Anna Tenggrene
xAminer Delia Dumitrescut
hAnkS to Kathryn WaltersRoger Högberg -Teaching Technician at The Swedisch School of Textiles
Stig Abrahamsson, -Service Technician at The Swedisch School of Textiles
Jan Berg -Photographer
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Table of content
Representative images of work 4
Abstract 7
Keywords 8
Introduction 9
State of the art 14
Motive and Idea discussion 16
Aim 17
Method and development 18
Pre-study 20
Development: First piece 28
Development: Second piece 31
Development: Third piece 35
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ABSTRACT
This degree work is a project that started out from weaving, which became the founding technique for how a modular textile took its shape, woven together as interlaced parts. Modularity was taken into this work in order to avoid a flat result and give the woven textile playful attributes and multiple functions. By using bold colours and layers in weaving, an investigation of the interactive and playful side of this textile technique was done.
Keywords
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INTRODUCTION
BACKGROUND
This project explores textiles in an interior or spacial context. Woven textiles are frequently used in interior and fill an important role as they are responsible for the softer sihouette in a room. The idea that an intriguing surface on a piece of furniture can caught interest or change the perception of a space, hardly needs to be argued for. What if we rethink how we furnish with textiles and look at the role they play in a space? If tactility and playfulness would matter as much as function does, public spaces and offices might have looked very different.
THE TECHNIQUE OF WEAVING
In the field of textile design, weaving is an old technique based on the interlocking of two sets of threads at right angles, as Annie Albers enunciated it (1974). There are infinite possibilities of combinations and expressions depending on material and bindings, yielding different patterns or directions in the outcome.
Threads can ofcourse be exchanged to other shapes in other materials. In one chapter of Paul Jackson’s book Cut and fold paper textures: techniques for surface design (2017) about paper surfaces, he uses the technique of weaving. In the upper example the weaving system is used but with irregular paper scrap-looking forms as ”weft” in a straight vertical ”warp”, but the colours merge them together to a pattern that is beyond the typical stripes or squares that mostly occur in weaving, (fig. 4). In the other two examples he emphasises the directions more with bright colours in the two-coloured patterns.
Weaving with pieces, like in this example, makes it possible to exchange parts or undo even after the work is completed, and it
MODULAR TEXTILES
The concept of modular design applied to the field of textile design means that also textiles can consist of parts that can be arranged in different ways. In this project it is used as a principle of pieces, specifically designed to work together as a cohesive construction. The softness and the flexibility in textile materials can be benefitial for interlinking as it can be folded; no threads or joining materials needed, since they are the joining technique themselves.
In the concept of modules, e.g. compounds that are systemized in a construction, each part can posess different features such as tactility, colour and form. Depending on the blending of features, the textile can take different expressions. In this example by the Japanese design studio Andoo (2007), the same modular shape is used over and over again, forming a patterned expression due to the mixing of nuances, (fig. 5). It proves how one single modular form affects the bigger entity, and accomplishing a lively expression, having neither any direct contrasts or various textures or colours. Rebecca Skelton´s degree work (2015) is about new materials and her result was a textile with multiple elements and colours that reveals directions (fig. 6). Skelton shows a compact joining with both solid and softer materials and her work is also an example of
“Modular design is an approach that promotes the modularity of a product or system by enabling individual components or subassemblies to be separated and recombined.“
(Bloomsbury 2016).
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CONSTRUCTING VOLUME
Jóna Berglind Stefánsdóttir took advantage of stiff and pliable materials in her MA project Object Poetry (2018) and gained lots of volume in her structures and thus an unmistakeable playful expression (fig. 7). When creating volume in textiles, especially in a bigger scale, few textile materials can keep the porous shape like foam and felt thanks to their self supporting abilities. The cut openings in the foam, compressed by the orange felt pieces, make it possible. The two materials can also be motivated because of their tactile aestetics and colour that evokes a desire to interact, as nothing is permanently joined.
Brush-coloured figurative elements by Charlotte Mei (2016) is showing another type of colour palette in a less contrasting and more spontaneous looking collage (fig 9). More blended colours that reminds of each other and shapes without straight angles yield a calmer, less sharp expression. Both are playful, but in different ways.
LAYERING COLOUR AND FORM IN A HIERARCHY
The aestetics of this light structure by Imi Knoebel (1997)reminds of weaving with its two interlaced directions at right angles, but the round forms adds a an extra variable. Together with well balanced colour palette, this layering gives a dynamic in a hierarchy between form and colour (fig. 8).
Kotoneu (2019) has created several unique fairy tale fantasy patterns this one is a good insprational source for a playful interlinked system. Colourwise it works as a
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MODULAR TEXTILES IN A SPACIAL CONTEXT
The possibility of reconstruction in a textile can be a way of adapting textiles to a piece of furniture or simply play with a space. Playful ways of adapting textiles to a space can be done and has been done with different approaches.
The principle of modularity can be used as in Patricia Urquiola’s Bandas Space (2014) collection of textiles, adaptable to any space (fig 11). Placing them together or separately on furniture or floor creates a way of linking objects together in the room.
The Bouroullec brothers (2011)present a modular structure by building up their textile components at a specific space, and gain a unique piece of art made for that specific place (fig 12). Their structures undeniably change the ambience if placed in a room where the angles are straight, contributing with an organic randomness. Even though it might not look like it, this is a great example of an adaptable textile since the modules can be controlled in different directions and added as easy as discontinued. Draping the furniture or the walls with textile structures is something that Anne Kyyrö Quinn
(2012) has done and it is easy to argue that they are the eye-catcher in the room (fig 13). She fit her textiles at areas that are not an immediate area of use and where the structures can be more voluminous, i.e. a wall or on the sides of the furniture.
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STATE OF THE ART
Unlike Kyyrö Quinn, Atelier Oi´s structures (2012) are a living textile that is able to transform by being reconstructed in colour and form (fig 14). They are both voluminous textile pieces that starts and ends exctly where the furniture allows it to, but the modular function of rearranging is a playful way of relating textiles to someting, as it can act in different ways.
In an example by Chloé Scadding (2011), an offset of layers is a way of exploring more with what you have, meaning that an object consisting of layers can be perceived by the eye in more than one way and work dynamicly together (fig 15). When flat, it shows only limited parts but with space in between it comes alive in 3D. As the image changes depending on the perspective, flexible materials, like textiles or such, can great advantage of the effect as it promotes movement in the object.
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15 This construction called Alpha de Möbius by Vincent Rideau
(2013) is possible because of the simple but clever modular white pieces woven together and interlinked with the orange layer (fig 16). Just as it is an effective way of putting different materials together it also creates volume, by weaving rigid but pliable materials together. These woven modules are well balanced in regarding contrasts in materials, every part is contributing to synergy, and well used in regard to their qualities and function.
Compared to Rideau, Bo Mi Hwang´s BA work (2018) is more of an organic version (fig 17). She also uses a grid-based structure but plays with her structure a little more by using softer materials and printed patterns across the shapes. With the green plastics that pierce through the base it ressembles a woven work but far from a typical striped or checked pattern, especially with the distracting prints.
WOVEN TEXTILES WITH MODULAR EXPRESSION
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MOTIVE & IDEA DISCUSSION
This project explores woven textiles in an interior or spacial context. As mentioned earlier, a textile can interact with a room in different ways, but mostly it serves as something very specific like upholstery or filling gaps like curtains or as artworks. This degree work rise questions about the roles it plays in a spacial context by constructing modular, transformable and adaptable textiles.
The modular concept is brought in because it implies variability within a structure. Whether it is is about mixing colours and different materials or exploring combinations among different elements, the playfulness is central to these modular textiles and will be designed as interactive pieces as participating in the design of the type colour and form evokes joy (Koskinen et. al. 2003). By gravitating towards a playful-looking attribute of these modular structures, interaction is more likely to happen.
WEAVING AS A BASE
Weaving is going to be the joining technique that holds the base together and with modular functions on top of that, the textile can have optional expressions. Rideau and Hwang´s modular-like works gave inspiration to make a textile but with focus on the modular functions that is created for changeability and play. The principle of weaving can be used whether there are thin threads or bigger shapes. When the latter is applied, a modular aspect could be adopted to these shapes as they more easily can be separated again. Rideau emphasizes his structure with limited and separated colours while Hwang broaden the field by doing the opposite, but they both represent the base for this investigation of woven module textiles.
The volume in Atelier Oi´s modules The Hive is an example of playful approach by exchanging colours and in that way affecting the whole room. The viewer might hesitate whether he or she can sit or lean on it, unlike a flat seat cover, an adjustable surface would be more adaptable in that sense and integrate the viewer to be more of a user.
VOLUMINOUS & DYNAMIC
This will be made similarly to Rideau and Hwang, but with
retrofitting in mind when developing the construction. A multifunctional textile that promote interaction by using the exchangeable parts, making it adjustable from flat to 3d but also expandable in length, width and height.
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AIM
METHOD & DEVELOPMENT
DESIGN METHOD AND DESIGN OF EXPERIMENTS
A methodology inspired from J. C. Jones’ Branching Strategy (1992) will be implemented as a way to progress in this work, where the workshops are divided into more specific ones leading to a result. It is a process with a chronological order where the outcome from the first step decides the next step, which will implicate a number of workshops, which is the reprocessing of the references and research and invent the base and the alignments. Later, a development for each pieace will be made. In figure 18 below a methodology is depicting the whole process.
PRE-STUDY
After some research and the brief is compiled, a pre-study will be needed to lay the foundation. It will consist in finding suitable materials and modular solutions that can bear such a construction as desired, and even though other materials might be found along the way, it will clear out if the project will be accomplished by using machines, as this will have to be planned in advance. Colours are closely connected to material and by collecting materials also a selection of colours is gathered. The modular solutions will arise through a brainstorm (Jones) where sketches of interlinking possibilities will work as the idea bank for the three textile structures to come.
WORKSHOPS & DEVELOPMENT
When the main investigetion is to begin, a set of workshops where small prototypes in different woven structures is to be carried through. After each workshop an analysis will be made and then set the tone and focus of the following workshop, as described above. The analysis is done through more research and references, e.g. if there is more that can broaden the field or has been neglected or if other ideas comes to mind, in order to find a balance between being
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JOINING & BINDING
Since plain weave is the most stable binding it will be used throughout the procress as long as no other binding for some reason is outrival it in function, aestethics or structure. The modular attachment construction part and how it applies to the weaving is to be explored and therefore, plain weave is a good basebinding. Using cirlcles is a method to break the typical squares or stripe that is a natural pattern seen in most textiles.
COLOUR DESICIONS
MATERIAL
Weaving with synthetic yarns were investigated in the machine, in order to melt and simultaneously obtain sharp edges with a laser cutter. The advantages of producing a material specifically for this project is not only that the material, density and binding can be controlled but also the colours, inspired by the colour references. Plain weave was used because it is the strongest binding, but with a double binding so that two different colours can feature on each side. This is another advantage as it benefits the final result, contributes to the being two-sided and faceted. The warp was in Trevira CS and yarns that were tested was: polyester, plastic tape yarn, Pemotex, monofilament, chenille, and combinations of these. The weft density was put to maximum level for each yarn type since it showed to have the best chances in order to achieving stiffness.
The plastic tape filament (fig 20) was light but too weak for holding up any kind of pressure. Thicker materials as chenille did not help in this case either as the lightness seemed to be more important than the steadiness. Weaving with monofilament was notably effective, depending on how the forms were cut and the direction the monofilament was going. Fig 21 & 22 show how much the direction matters and determine how they behave, in fig 22 is the monofilament is woven along the long side. Pemotex (fig 23), a shrinking yarn was woven and shrunken in the hope that it would be a dense fabric but unlike the monoflament it did not make a difference whether how the piece was cut, as it sagged either way.
Although a progress in stiffness, this led to that stable materials such as foam and felt was more considered as they have the best ability to stay in place yet a light weight material and is
PRE-STUDY
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For textiles with layers and volume, and possibilities to be built out on both length and height, the materials must be steady. Pliable but soft like in the case of Rideau and Hwang. A harmonizing material diversity is also a desirable
feature. Aside from foam and felt, there are other materials that can be used and that are potentially strong enough to build layers with. Rubber was either not light enough, or it turned out to be too weak. A plastic sheet that was runned in the laser cutter but with poor success as it
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DEVELOPMENT & DESIGN RATIONAL
While the sketching in the prestudy worked as a warm up, the next step was starting the sketching in 3D while having the idea bank in mind. Self supporting abililties in different materials will, through the workshops, be further investigated and experimented with, while foam and felt will be the base to return to, likely to be represented in all the three resulting examples.
In the first workshop, one of the modular solutions from the pre-study was used, within a woven structure. As a start, cotton duck fabric (a heavy canvas plain woven cotton fabric) functioned as the base in which the modular shapes were interwoven through cut openings, and connected with each other (fig. 24,25). The chosen module parts were cut to organic shapes in order to
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Development: Workshop 1
Moving on to workshop 2, this could be investigated more deeply, and be a workshop of systemizing and deciding the placement of the cuts, as well as the interlacements. By implementing limitations like simpler, only graphic forms, as the mix of graphic and organic forms is a bit confusing in this stage, it will clear up the samples and facilitate in the search for a system.
Cutting a more opened, hollow base fabric resulted in some kind of grid base similar to the foundation in Ridaeu and Hwang´s works. As a limitation only two directions will be enabled, so that there are fewer options when weaving in other pieces in the following steps. By using two similar grids and straight pieces over and under accordingly to the plain weave principle, a more distinct modular expression is achieved (fig. 27), which is desirable as it is supposed to be interacted with and needs to be fairly easy to read. An airier sample where the second grid is adapted to the first was tried out (fig. 28). With a braiding technique, also interwoven, this modular construction became more ornamental. Fig. 29 was made with diagonals instead, where noughts and crosses emerged as random holes were cut in the circles, for experiments to come.
Ideas of how to create volume emerged along the making of the grid structures, to be woven together in a later stage (fig. 30,31). The cut-openings allow a layer to take place which contribute to a hollow, porous structure since they can constrict another textile by piercing through it and keeping the curved shape.
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Development: Workshop 2
After having produced textile fragments that are more of a modular contexture, these will be investigated and set the base and limit workshop 3.
With the sustained ambition to broaden these textiles from being only in foam and felt and through that gaining synergy from different surfaces, the following materials were used in the workshops: paper, machine woven fabrics from the pre-study, different kinds of plastic, glued non-woven synthetics and different coated fabrics. Foam and felt were the strongest candidates in both colour and quality. Most materials were either too stiff, too heavy or both. Paper turned out to cooperate well and had a textile quality in this context, but will be a fragile component for future interaction, which is another motivation for making this a 100% textile project, with help from foam.
The first piece was brought directly from workshop 3 and a colour map with materials inspired by Knoebel was gathered. The machine woven fabrics from the pre-study was chosen and a fabric with a woven check pattern in order to experiment with the directions as they are prominent in this construction (fig. 39). The sample was sized up twice as big to 8 cm diameter circles. The stability of this check pattern cotton fabric was then tried over night and failed even though coating on both sides was used (fig 40).
As multicolour was desired, some parts that were made in a cotton duck fabric with coloured surfaces inspired to use that material instead (fig. 40). The coating procedure was then repeated also here: first on one then both sides (fig. 41). The stability was still poor and the surface lost its texture, so therefore two layers of cotton duck were glued together with coating in between and the forms cut afterwards in this stable fabric (fig. 42). When this showed to be working well even with time, the squared fabric could instead be a free circle form to be put on top, attached in the construction. But as the same thing was done with the pre-study fabrics, matching the chosen palette. During the process some alternatives were observed, and the square pattern was deselected since the dynamic between different colours and material surfaces was enough to play with: velvet
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Development: First piece
Colour reference
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For the second piece the noughts and crosses-net were chosen as it was an unfinished sample with several possibilities which lead to an investigation of the crosses and the holes (fig 28).
The development of the grid started with interweaving similar forms into the net and adapt the interwoven piece so that volume could emerge with holes randomly spread in both layers. In fig. 46 the holes were used so that different colours could come through and eventually make a random dot pattern, every piece in a colour of its own. Some kind of micro scale was now the plan in order to vary the scales. Figure 47 show a sample where the interwoven pieces have circles in different sizes and figure 48 is an investigation two nets together.
Bringing back the crosses again, and by making use of the holes, a new construction with a grid in between was joined. Here, a modular function of the holes is implemented by interlinking pieces from both sides together (fig. 49,50). Due to time and complexity, this construction impedes the spontaneity of playfulness and was therefore not the playful textile that was sought for. So, the next sample went back to straight angles and two forms, but with the modular function of the holes kept in mind (fig. 51). The regularity in the risings reminded of origami structures pattern.. A regular pattern where every other point is raised both vertically, horizontally and diagonally is a basic principle of this. A basic grid paper sample was folded accordingly, then a more advanced origami pattern was designed, cut out, folded and tried out as well (fig. 52,53). Due to the same reason as before, simplicity was the better choice as colours together with a complex structure will look messy.
Development: Second piece
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Since two different colour references are chosen for this project, the second piece will be a mix of them, and work as a bridge to link the three pieces together as a whole.
Five identical simple grids were cut out with laser (fig. 54). The weft pieces were developped from the pink pieces in fig. 51, to adjustable ones by making the circle dots as separate parts that can be moved and removed (fig. 55,56). By pushing them through the holes and sliding them on their soft rail, an adjustable construction took form. By attaching the dot forms through the holes from both directions, the textile have two sides, fig. 57. Different repeats of the attatchments were tried out before the basic regular origami pattern princple was chosen as the basic structure. The colour contribute to a piece rich in information and even more so when expanding the textile with other nets (fig. 58,59,60).
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Development: Second piece
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The third piece will have to illuminate the collection from a third perspective. The idea of using scraps from the previous pieces resulted in a production of samples inspired by Kotoneu, where interlinked parts form an irregular random-looking grid, with circles interspersed (fig. 61,62).
Another set up of new sketches were made with more free and complicated systems, but the prototypes with organic shaped elements were rejected. This time a refocus on the weaving, lead back to the workshop stage and more precisely a construction where the weft loops were a central part of the expression, and at the same time fasten other forms in any shape like fig. 36 from the workshop. This variable and spontanious way of weaving modules inspired to make samples where loops have an important role and scrap from earlier workshops were used as forms, layered with space in between(fig. 63-71.).
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Development: Third piece
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Going back to smaller scale again and increasing the role of the weaving; only graphical gap forms were used. It resulted in sketching, both on paper and samples (fig. 77-80) The waste from the second piece became an inverted net, where holes represent the circles in this piece (fig. 81).
The sample lead the work into a direction, but gravitating towards making the third piece more complex and different from the others. All the previous work was taken into consideration in the sketching: interwoven shapes, exaggerated weft loops and space between the layering and the idea of mixing scales. The idea of a tiny square pattern, interlinked in a bigger, with a relation between the two systems (fig. 83-86.) was about to be developped.
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Development: Third piece
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The bigger square form is supposed to be continuous; just a fragment of a bigger imaginable pattern report. Different kinds of weaving ideas were applied, inspired by the rings in the sample (fig. 87,88,89). The smaller scale system was laser cut and glued in two colurs just like the sample but in monochrome colours, as the piece will be affected of other colourful parts. Waste was used to make the rings (fig. 90,91). When put together, a system was explored for each and between the two scales (fig. 92).
Development: Third piece
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RESULT
RESULT
Result: First piece Modular colours
Piece one
The modules in piece one depend on a woven system with tight crack openings that fastens the ”swollen” foam; the function of this module is thus depending on the material. The two layers contribute to dynamics and the play with the colours is playing with a hierachy.
There is two weaving systems in the construction, where the long white pieces is working in both layers, like in a double weave. The layer effect is enhanced with colours, the top level is lifted by the dark blue in the bottom, becoming shadows, a layer effect and a hierarchy. The strong colours makes the surface playful rather than practical.
Materials used cotton duck plastic fabric felt foam sythetic facrics velvet coating
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Result: Second piece Button effect
Piece two
In piece two the core of the weaving resulted in a complex looking structure and the scale made it even more rich in information. In piece two the button modules were the actual joining technique while the principle of plain weave decided the structure and at which exact points it is joined. When the pattern of the dots are getting visible for the eye, both still and in movement, the fact this piece is built on a regular system is clearer. Materials used cotton duck plastic fabric felt coating
o How does the piece relate to your aim?
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Result: Third piece Woven Lego
Piece three
In piece three the modular weaving was done with a flat cavernous felt grid enclosed; long felt pieces is threaded through the holes.
This piece is a more complex layer system as two scales, eg systems, are mixed, with smaller rings and squares on top. These, being
referred as ”loose parts”, enable another crossing of ”threads” to be woven on top without being woven in any of the grids. Thes loose parts gets then a module function.
If threads are going in between layers here and there then we have a complex free double weave that can be played with in thousands of ways if more layers are added, and why not another grid?
It cannot be hung on the existing construction since already one layer is depending on the other, hanging on it, supported only by long interwoven pieces. The whole report of the big scale grid does not fit, only a fragment is here in the piece.
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Materials used
plastic fabric felt
coating
EXPLAINING PICTURES AND SUGGESTIONS
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49 It resulted in three textiles that can take countless of shapes and
function, the different possibilities are many and some suggestions is presented here below. These sketches are some examples of
speculative areas of use for these resulting textiles. Hotel environments, large shopping malls and other public spaces are places where avant garde decoration belong (fig. 98,99,103). Using the textiles as exhibition material where products need an extra feature for attracting consumers is also very suitable. All pictures are showing contexts of public spaces. The third piece fits well in bigger halls or as a background or room divider; in fig 100 &102 it is acting as a back drop to different ehibition places and in fig.. show a randomly shaped module part that softens the geometrical forms. Fig. 101 is the same idea as Kyyro Quinn´s work, but here it is destined as a train or bus seat, a piece of furniture which cover is rarely unexpected in its design.
Independent random layer
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PRESENTATION
The objects were placed together in order to show the connection
between the three pieces as they somehow differ in their attribute but do accord by all being woven felt puzzles. The first piece, Modular colours, takes easily over with its big colour dots so it had to be presented a bit further on the side or it would swallow the sobriety of piece three, Woven Lego (fig. 104,105).
The spotlight is preferably directed from the top so that the shadows enhances the pourous, airy weaving that has been fought for in this project, so that a relief effect is asserting itself.
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CONCLUSION
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Mentioned in the introduction and later in idea sketches in the result, these woven structures could fit in or fill other kinds of spaces, fill in between the usual areas where textiles and upholstery normally play the big part. In the hands of a user it could be applied in the way like a table cloth does or played with around furniture like Uquiola did in Bandas space. This work that rose in a spacial context, is closely related or does as much concern the architectural field. The woven structures of this project would just be taking up unnecessarily much space for no reason without any research behind, so, from an architectural point of view the information in these layer textiles can tackle the problems of modern urban architecture. The monotony an lack of information in flat walls affect people´s cognition and health negatively, or put by Memari & Pazhouhanfar (2017): ”most of current building facades with poor design qualities cause anxiety, tension and distress and affect observant negatively”. Innumerable authors in the field state over and over the role and importance of visual elements and a level of complexity in our surrounding and the difference art does in hospital environments or other institutions. These measurable stress levels should be taken into account, for instance, at peoples´ work places, and the various features that have been argued for in the motive and idea discussion will all contribute to visual dimension, providing information and by that vigorously counteract flat walls and encourage emotional or physical engagement in the environment. But does it have to be Interaction, too? Nikos Salingaros (2017) writes about Neurological responses to our environment, the need for grasping our surroundings and Object affordance. ”Neurological and hormonal signals prepare us mentally to grasp objects in our close environment that we perceive to fit our hand”, he also explains that the same happens even when we see it in a picture, which can argue why physical interaction is important.
DISCUSSION
If the cutting of these modules was not brought up in this degree work documentation, it would not have been much of a contribution or of value at all, with regard to the times we are in; there is not much room for academic texts about irresponsible textile production today. This work is aiming for and has been thought of as a zero waste production. Presenting this not until now, is simply because the development had to be free from those restrictions while exploring the possibilities of the techniques and materials. Also, in perspective of sustainability, this can be a waste-friendly technique where the parts can be made from waste as only smaller textile scraps are needed, and when making the grids there is a chance to evade stains, holes or prodcution errors in the cutting process. This waste eating technique would save a lot of scraps from going to landfill.
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This modular technique could undoubtedly be applied into fashion as well, it would for instance be an effective way of shorten a sleeve, if it was done in a fashionable way. By letting a fashion designer join irregular shaped modules in an artistic way into these kind of constructions or systems and designing after the waste, which is the resulting idea in this dicussion part, new textiles could be made from perfectly fine second hand fabrics without having to burn them or letting go through the recycling wheels. Why this kind of process does not already is a normal practice in larger scale industry is explained by Holly McQuillan describes, on zero waste, that ”finding the right technique in balance with these goals can take time, so working in person can be more successful because the unspecified goals can be immediately responded to as they come up. This is likely the reason zero waste strategies tend to be applied in
small companies”. More investigation until a rationalization of how to design with waste into these textile constructions is needed before it can be taken into production within a company. This is also a way of mixing materials in a more sustainable way, compared to mixing fibres permanently.
It is tempting to claim that there is generally not a lot of transforming abilities in todays home textiles, or in the main stream fashion and that this could be pushed more: giving room for play and maybe also long-lasting ownership. In the spacial context, encasing a room by covering bigger, or the smaller, areas with a textile that continue throughout the room, for example fading out and resume somewhere else in the room like a spread pattern, could also improve the soundscape
Salingaros, N. (2017). Why we need to “grasp” our surroundings: object affordance and prehension in architecture. Journal of Architecture and Urbanism, 41(3), 163-169. https://doi.org/10.3846/20297955.2017.1376003 More Citation Formats https://www.tandfonline.com/doi/abs/10.3846/2029795 5.2017.1376003 [2020-05-10]
Worbin, L. (2010). Designing dynamic textile patterns. Göteborg: Litorapid Media AB.
REFERENCES
REFERENCES
Albers, A., 1974. On weaving 1. paperback., Middletown, Conn.: Wesleyan University Press.
Sheldrick, L. (2016). Modularity and Modular Design. In The Bloomsbury Encyclopedia of Design (pp. 399–400). London: Bloomsbury Academic. http://dx.doi.org/10.5040/9781472596161-BED-M077 [2020-05-05] Jones, J.C., Mitchell, C.T. & Jones, Timothy Emlyn, 1992. Design methods 2., rev., New York : New York: Van Nostrand Reinhold ; Wiley.
Farrer, J. (2011). Remediation: Discussing fashion textiles sustainability. In A. Gwilt & T. Rissanen (Eds.), Shaping sustainable fashion: Changing the way we make and us clothes (pp. 19–34). London: Earthscan.
Available: https://ebookcentral.proquest.com/lib/boras-ebooks/reader. action?docID=982115&ppg=17 [2020-05-15]
Koskinen, I., Battarbee, K. and Mattelmeaki, T. (2003). Empathic design. Helsinki: IT Press.
McQuillan, H. (2019). Zero waste design thinking. (p.187). Borås: Högskolan i Borås. http://hb.diva-portal.org/smash/get/diva2:1316575/ FULLTEXT02.pdf [2020-05-11]
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FIGURES
Figure1-3, 93-96: Photophy by Jan Berg.
Figure4: Jackson, P. (2017). Cut and fold paper textures: techniques for surface design. (p. 23) [Photography]. London: Laurence King Publishing, Ltd
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