RensiaMarais514741

Part5:TextilesLearningLog

Youlllookattextilesfromfourviewpointsbasedaroundthecoursethemesoftimeandplace.

Project1Thelifecycleoftextilesandmaterials

Constructedtextiles
canbemadethroughknitting(bymachineorhand),throughweaving,orthrough
otherprocesseswherefibresorchemicalsareunited,extrudedorbondedtocreateapliablematerial.

Printingtextiles
andemployingotherembellishmentandtextilefinishingtechniques,suchas
embroidery,laminatingandcoating,allowsustoapplyfurtheraestheticqualitiesontothesurfaceofa
textileortoalterthequalitiesaconstructedtextilepossesses.

Researchpoint

Stagesoftextileproductlifecycle

1.Agriculture/rawfibreproductionCottonisfarmedandonceplanted,usuallytakesaround200days
beforeitisreadytoharvest.Thisismostlydonewithmachines.ThereisalsowoolApproximately90
percentoftheworld'ssheepproducewool.Onesheepproducesanywherefrom2to30poundsofwool
annually.

InterestingTEDtalkfromafashiondesignerwhoismakingherownmaterials:
https://www.ted.com/talks/suzanne_lee_grow_your_own_clothes?language=en

2.Ginningmachineforseparatingcottonfromitsseeds,leaves,stems,dirtandburs

3.SpinningTheprocessofmakingyarnfromtextiles.

4.WeavingTheyarnproducedinstep3isnowusedtomakingfabricorcloth.Yarnisalong
continuouslengthofinterlockedfibers.Thelengthwiseyarnswhichrunfromthebacktothefrontofthe
loomarecalledthewarp.Thecrosswise

yarnsarethefillingorweft.

Usefullink:
http://www.teonline.com/knowledgecentre/fabricconstruction.html

5.ProcessingImassumingthatprocessingheremeanstonowtaketheclothcreatedfromweaving
andaddingdye,treatments,orprintstothemtochangetheirtextureorappearance.

Hereisausefulflowchartinthelinkbelowabouttheprocess:
http://textilelearner.blogspot.hk/2012/02/textilemanufacturingprocessprocess.html
http://textileguide.chemsec.org/find/getfamiliarwithyourtextileproductionprocesses/

6.Stitchingasingleturnorloopmadebyyarn.Thisistostitchclothtogether,itcanbeusedtocreate
embroidery,knitsorcrochet.

7.Distribution/retailProducingmassquantitiesoftextilesforsales.

8.Use/consumptionandendoflifeProductreachestheconsumer.Consumersmayreuse,donateor
recycletextiles?

Sustainability
Itisdifficulttodefinesimply.Weneedtoconsiderthreeaspects:

economy

society

environment.

Exercise1

Howwouldyoudefinesustainability?Lookitupifyourenotsure.
Thereareafewwaysoflookingatsustainability.Beingsustainablemeansmakingsmartchoicesin
productproduction.Itcaninvolveusingmaterialsorchemicalsthatarelessharmfulormoredurable.It
couldmeanreusingorrecyclingmaterials.Imightmeanmakinguseofresourcesthatarewealthily
availableandnotscarce.

Inwhatcontextsissustainabilityanissue?Thinkmorebroadlyherenotjusttextilesandwritealist.
EnergyOurcurrentmethodsofproducingenergyarenotonlyrunningout,butalsocausing
significantdamagetoouratmosphere.
Manyoftheprocessesinvolvedinproducingthegoodsweconsumetoday(particularlysynthetic
ones),createharmfulbyproductsthatmaybepollutinganddamagingoursurroundings.
Theworldisfacedwithincrediblewasteissues.Foodwaste,paperwaste,electronicwasteetc.
Throughrecyclingandreusablemethodswecouldbeabletomeetourneedsinamore
sustainableway.
Resourcescertainresourcesusedforproducingproductsarescarceandtocontinueusing
themwouldnotbesustainable.

Howdoyouthinksustainabilitymightbeaddressedinrelationtotheproductionandconsumptionof
textilesandothermanufacturedproducts?Usethestagesofthelifecycletohelpyouwiththisquestion.

ForthepurposeofansweringthisquestionIwillfocusontheproductionofcotton.

Stagesoftextileproduction

1.Agriculture/rawfibreproduction

Duringthecottonfarmingprocess,thelargestareaofconernforsustainabilitywouldbewater.There
aretwofactorstoconsider:1.theuseofwater2.thecontaminationofwatersuppliesduetotheuseof
herbicidesandpesticides.

Solutionsforsustainablewaterusage:
shallowsoilcultivationwhichwillresultinlesswaterusageaswaterisobservedquicker.
Rainfedcropsthismayrequireademographicshiftinwherecottonisfarmed
deficitwateringwithholdingwateratnoncriticaltimesthishasactuallyproventobenefitthe
growthofcottonbulbs

Irrigationsystemsandsubsurfacedripirrigationcostlyoption,butiffundsareavailablethe
technologybehindthesesystemscanhelptosavealotofwater.

Solutionstoharmfulchemicalpollutants:
Themostimportantkeyhereiseducation.Farmersneedtobeeducatedonbetterpractices.

TheBetterCottonInitiativeisagreatorganizationwhoassistsinteachingfarmersaboutorganicand
lessharmfulproductionofcottoncrops.Theyeducatedifferentmethodsofplantingandharvesting
cropsthatinturnenhancethesoil,whichmeansfarmersrequirelessharmfulproductstoprotecttheir
crops.Theyhavesignedupmanypartnerstotheirinitiativeandareslowlyeducatingtheproduction
industryonmoresustainablechoices.

Linkswithadditionalinfo:
http://www.idhsustainabletrade.com/cotton
http://www.triplepundit.com/special/sustainablefashion2014/bettercottoninitiativemakingsustainable
cottonmainstream/

2.Ginning,Spinning,Weaving,ProcessingandStitching

Thebiggestsustainabilityfactorinthesepartsofproductionwouldbetheuseofenergy.Cargillisa
companywhoisdedicatedtocreatingamoresustainableofenergyintheproductionofcotton:

Cottonginninghasarelativelylowenvironmentalimpact,becausetheoperatingseasonlastsforless
thansixmonthsoftheyearfollowingharvest,andfacilitiesuseminimalresources.Ourginning
operationsuserenewableenergysourcedfromnearbyhydroelectricsources.Allofthewasteproduced
atourginsisreusedorrecycled,includingwastewateranddiscardedplantmaterial.Thelatteris
compostedandgiventofarmerstomixwithfertilizer.

Waterusageandchemicalsagainplayaroleduringtheseprocesses.Manycompanieshavebeen
knowntouseunsustainableproductionmethodsthateitherwastewaterorcontaminatewaterwithdye
andotherharmfulchemicals.Again,thekeytosustainabilityhereistocreateastandardpracticeand
getcompaniestosignupandagreewiththesepractices.Educatingthemonmoresustainableoptions
forproductionwithlessharmfulwasteandbyproducts.

Useofrenewableandlessharmfulenergywouldbeagoodsustainablepracticetoemplyduringthese
stages.

InstituteofPublicandEnvironmentalAffairsreleasedareportnamingandshamingcompaniesthat
werepollutingtheirenvironmentswiththehopesofcreatinganawarenessandgettingthesecompanies
toinstitutesaferproductionstrategies.Thereportstatedthat:TextilesuppliersofZara,H&M,Ann
Taylor,Guess,Target,DisneyandUniqlo,amongotherbigbrands,haveviolatedChina'senvironmental
lawsbycontaminatingwatersupplieswithchemicalsfromdyesandprinting
http://www.huffingtonpost.com/2012/04/23/chinawaterpollutionfashiontextilefactories_n_1445766.ht
ml

Additionalarticlesofcompanieslinkedtopollutionduringthemanufacturingstages:
https://www.chinadialogue.net/blog/5203TopclothingbrandslinkedtowaterpollutionscandalinChina
/en
http://www.ecochicdesignaward.com/wpcontent/blogs.dir/3/files/2013/04/LEARN2014_LEARN2014_Fa
shionEnvironment_ENG_FINAL.pdf

Ultimately,policiesandlawsshouldbeputinplacetoensurethatcompaniesdisclosewhattheyare
usingintheirproductsandwhatexactlytheyareproducing.Auditsoffacilitiesshouldbeconductedto
ensurethatstandardsaremet.

7.Distribution/retail

Thisiswherewecanalsogettheretailersinvolvedinsustainability.Theyarewellawareofthetechnical
andchemicalprocessofproducingtheirfinalproduct.Levisforexamplehasstartedawaterless
processForinstance,bysimplyremovingwaterfromstonewashesorcombiningmultiplewetcycle
processes,wecansignificantlyreducewaterusageupto96percentforsomestyles.Atthesame
time,westilldeliverthesamegreatlookandfeelthatyouknowandlove.Theyalsoinstituteda
restrictedsubstancelistwhichblockstheuseofcertainherbicidesandpesticidesintheirclothing
production.

FairTradehasalsobeenamajorissueintheproductionofcotton.Particularlywiththeriseofsynthetic
fabrics.

SincetheintroductionofthefirstFairtradeMinimumPricesforcottonin2004,Fairtradehas
demonstrateditcansubstantiallyimprovethelivesofcottonproducingcommunities.Bysellingtothe
Fairtrademarket,cottonfarmershavethesecuritythattheywillreceiveaMinimumPricewhichaimsto
covertheiraveragecostsofsustainableproduction.TheyalsoreceiveaFairtradePremiumwhich
allowsthemtoinvestincommunityprojects,suchasschools,roadsorhealthcarefacilities.
http://www.fairtrade.net/cotton.html

8.Use/consumptionandendoflife

WhatcanIasaconsumerdo?

Showyoursupportforsustainablecottonbycontactingyourfavoriteclothingcompaniesand
askingthemiftheyrepartofthe

BetterCottonInitiative
.
Donateoldclothtoyourlocalclothingdrive,SalvationArmyetc.H&Mhasalsostartedcollecting
oldclothesviabinsintheirstores.Easytoaccessanddropoff.
Bemoreawareofthebrandsyoupurchase
Reduce,Reuse,Recycle!

Guardianarticle,Clothingtodyefor,LeonKaye

http://www.theguardian.com/sustainablebusiness/dyeingtextilesectorwaterrisksadidas

DyehousesinIndiaandChinaarenotoriousfornotonlyexhaustinglocalwatersupplies,butfor
dumpinguntreatedwastewaterintolocalstreamsandrivers.
Muchoftheanswerinsolvingthewasteinvolvedindyeingtextilesliesinafactory's
mechanisation.
Waterlessdyeisthebestsolution,butmaynotworkforallfabrics.
ColorZenandAirdyearecompanieshasfoundwaysofreducingwaterusageindyeingcotton
Manywellknowncompaniesaretryingdifferentmethodstoshowtheirsupport,like,IKEA,
Addidas,H&M,LevisandNike,butamoreglobalcommitmentisneeded.
Evenifstrongerregulationsorpoliciesareputintoplace,thereisthefearthatcompanieswill
simplymovetoareaswherethesepoliciesarenotinplace.

Exercise2

Selectanobjectwhoseconstructionorformormaterial/textileintriguesyou.
Canyoubreakdownthelifecycleandstorybehindtheobject?Youmightbeabletodetermine
whatitscomponentsaremadefrom.Youmaybeabletoresearchfurthertofindoutwherethe
rawmaterialsoriginatefrom.
Whatprocesseshasitundergoneinitsconstruction?Arethereanycluestoitsmakeup,creator,
productionororigins?Howmightyouresearchthisfurther?
Doyoubelieveitmightbepossibletoimproveonthematerials,designorformoftheobjectto
makeitmoresustainable?Whyandhow?
Analysehowwellyoufeeltheproductfunctionsorworksinitsintendedcontext.
Perhapsyoucanresearchothermakersorproducersofthesametypeofproducttodetermine
whatothermaterialsarebeingemployed.

Ihavedecidedtolookintotheproductionofthetoilet,asIwantedittobeanobjectthatIuseeveryday
andofwhichIneverreallyconsidereditsimpact.IwatchedanepisodeofHowitsMadetofindoutthe
productionprocess,
https://www.youtube.com/watch?v=pWE98FI9c_Y
Iwilllookateachstepintheproductionprocessandthenconsiderfurtherimplications.

Thetotalprocessofcreatingafinishedtoilettakes4days.

DesignProcessofToilet

mixtureofwaterandplasterisusedto
createthemold

FurtherResearch/Questioning
Wheredoestheplastercomefrom?
Plasterofparis,
isaquicksettinggypsum
plasterconsistingofafinewhitepowder(calcium
sulfatehemihydrate),whichhardenswhen
moistenedandallowedtodry.Knownsince
ancienttimes,plasterofparisissocalled
becauseofitspreparationfromtheabundant
gypsumfoundnearParis.

Theabovesubstancesareharvestedfromthe
Earth(rock/soil).Therearemanymineswho
gatherdifferentmineralsfromtheearth.Different
locationshavedifferentminerals.Theplasterhas
tobesulfatehastobebrokendownfromrock
formationintoapowder,whichwouldrequire
specifictoolsormachinery.Factorymachinesare
knownfortheiruseofenergyandwaterto
function,sotheremaybeasustainabilityissue
here,dependingonhowmuchenergyandwater
theyuseduringtheproductionofplaster.

Ontheplusside,thesestonesstillseemtobea
resourcethatisavailableinlargeamounts.Itis
alsoreusable.


Theuseoflocallyavailableandindigenousearth
materialshasseveraladvantagesintermsof
sustainability.Theyare:
Reductionofenergycostsrelatedto
transportation.
Reductionofmaterialcostsdueto
reducedtransportationcosts,especially
forwellestablishedindustries.
Supportoflocalbusinessesandresource
bases.

plastermoldsareusedtocreatethe
design
theplastermoldsaremadefrom6
differenttoolsandtheirlifespanisonly2
months

Thedownsidehereisthatasinglemoldonly
lastsfor2monthsandthennewmoldshaveto
bemade.Thegoodnewsisthough,thatthe
deconstructedplastermouldsarerecyclable.
CompanieslikeGypsumRecyclingcollectwaste
materialsfrommanymanufacturersandreusesit
tocreatenewplasterboards.
http://www.gypsumrecycling.biz/?gclid=CLOYw6r
mlskCFYmCvQodsYYL7g

Themoldisfilledwithliquidaslurrya
compositeofclayandsilica20kgper
bowlmold
Theprocessoffillingmoldstakes48
hours

Toiletbowlsandtanksaremadefromaspecial
claycalledvitreouschina.Vitreouschinaisamix
ofseveralkindsofclay,calledballclayandchina
clay,silica,andafluxingagent.

Readmore:
http://www.madehow.com/Volume5/Toilet.html#i
xzz3rhztBvRh

Clayiscollectedfromthesoil,usuallynearlarge
lakesormarinebanks.Aswithplaster,energyis
requiredtoharvestclay.

Thoughclayisanabundantmineral,theprocess
ofminingithasbeenleadingtodeforestation,
particularlyasthedemandinginthebuilding
industryincreases.

Fortunatelyclayisreusable,soifacompany
understandshowtoreusetheirclaycutoffsor
waste,theyarecreatingasustainablewayof
dealingwithwaste.

Onceunmolded,theedgesaretidiedup
byhand

Thepotteryisabletorecyclemuchofitsclay.As
longasithasnotbeenfired,alltheclayis
reusable.Eventheairdriedgreenwarecanbe
scrapped,softenedandreprocessedintothe
wateryslipofthefirststepoftheprocess.

Readmore:

http://www.madehow.com/Volume5/Toilet.html#i
xzz3ri0KbVwA

Thetoiletsthenairdryfor36hoursand
theninawarmairdryerfor12hours

Airdryingisquitesustainable.However,theair
dryerwouldrequireenergy.Again,Energy
consumptioncouldbeasustainabilityfactorhere.

Oncedriedthesurfaceishandsandedto
smooththesurfacewhichcreatesalotof
dust,thisiscaughtbyanairvacuum

Thegoodthingisthatthattheyarecatchingthe
dustandpossibleairpollutants.Claywasteis
alsoreusable.
EnergyuseofVacuum.

Acompressedairjetisusedtoblowaway Energyuse.
anyexcessdirtordebris

bowlsarehandpainted
watertanksarepaintedbyanautomated
robot

Automatedmachinestotomakeuseofenergy,
fuelsandwatertofunction.Thismaybe
somethingtoconsider.
Handlabourmaybemoretimely,butitisgood
forjobcreation.

partsarethenbakedinaovenat1176C
for23hourstofusetheclayandsilica
anditallowsthepainttobecomeshiny

Energyuse.

Thoughoneshouldconsidertheuseofenergyin
thisprocess,youshouldalsorecognisethatitis
thisimportantstepthatgivestheproductits
durability.Themoremeticulouslytheproductis
madethelongerlifespanitwillhave.

Furtherresearchonthedesignandsustainabilityofthisproduct:

Oneofthebiggestissueswithtoiletuseisthewaterrequiredtoflushwaste.Duringthemid19th
century,governmentsquicklyrealizedthatwaterwastewhenflushingwasanissueandthey
createdlawstocapflushingat1.6gallonsperflush.Manymanufacturers,likeToto,aJapanese
companythenstartedworkingonhighairpressuredesignsthatwouldassistwastetoflusheven
withlessamountsofwater.Thedualflusher,pioneeredbyCaromahassavedpeoplealotof
moneyonwaterwaste,whichisagoodthing.
http://www.hgtv.com/design/rooms/bathrooms/thelowdownonlowflowtoilets
AnotherbigissuerelatedtothetoiletisHumanWaste.Manycountrieshavenowstartedcreating
toiletwastetreatmentplantsthatbreakdownthewasteandreusesitasmanure.Eventhegas
thatistakenoutofthemanurecanbereusedforcooking.Onecompanywhoishelping
countriestochangetheirwaysandcreatebiofriendlytoiletsisCaparo,
http://www.caparo.co.in/powerbiodigesters.html
Manufacturerscouldconsidertheuseofamoresustainableenergysource.Thisisnotalways
easyandcanoftencostmoremoneytosetup.Thecompanymaychoosetodoanauditoftheir
energyuseandlookatwaysofcuttingdownenergyuseatleast.Switchingfrom3phaseto1
phaseelectricpowermaybeonewaytosaveenergy.
Therearemoreexamplesinthislinkoftoiletdesignsthataresustainableandenergyefficient.
https://www.one.org/us/2014/11/18/7sustainabletoiletsthatcouldchangethewaytheworldpoops/


FinalConclusion:

Ithinkthe19thcenturydesignofthetoiletisquitedurableandsustainable.Alongwiththelowflowlaws
thatwereputinplace,thetoilethascertainlyplayedalargeroleinhelpingustokeepasafe,
sustainableandhealthyenvironment.Letsfaceit,atoiletisanecessityandshockinglyon60%ofthe
worldhasaccesstoapropertoilet.Manufacturersaretryinghardtothinkofwaysthatthetoiletcan
continuetoimprove.TheincrediblecomputerizedJapanesetoiletsthatcaneventellifyoursick,shows
agreattechnologicaladvancement,thoughyouwontfindoneoftheseineachhome.Ithinkthe
dualflushingsystemandairpressureassistedflushinghasbeenagreatwayofbeingwaterwise.The
toilethasalsosparkedanawarenessofotherproductsthatarebeingusedinconjunctionwithit.Our
toiletpaperaddictionisanothersustainabilityissuethatneedsattention.

Justforinterest,herearesomeinterestingtoiletrelatedsustainableideas:
Reusabletoiletwipes
biodegradabletoiletpaper
Sewagetreatmentplants

Project2Therevivalofcraftandthehandmade

Whatismeantbycraft?
Iwouldconsidercrafttomeantheprocessofmakingorproducingsomething.Typicallyyouwould
associatecraftsmanshipwithworkbeingdonebyhand.Soonewouldlookasacraftsmanasbeinga
personwithaparticularsetofskillorexpertisefortheircraft.

Researchpoint

DosomeresearchintoSlowDesign.

SlowDesignisamovementwhichistryingtoencouragenew
designpracticesandvaluesthatconsidersocial,culturaland
environmentalsustainability.Itshiftsthefocusawayfromdesignfor
functionornoveltytodesignforthewellbeingofpeopleandthe
planet.Theprimaryquestionswiththisslowerapproachtodesign
include:"Whatarethequalitiesoflifethisdesignwillenhance?",
"Howwillitimpactthewellbeingofpeopleandtheenvironment?",
and"Isitnecessary?"Theanswertothesequestionshelpsto
directthedesigntosomethingthatistrulybeneficialwhileseeking
toeliminatewastefulandharmfulsolutions.

Whataretheguidingprinciplesofthismovement?

1.Reveal:Slowdesignrevealsspacesandexperiencesineverydaylifethatareoftenmissedor
forgotten,includingthematerialsandprocessesthatcaneasilybeoverlookedinanartifactsexistence
orcreation.

2.Expand:Slowdesignconsiderstherealandpotentialexpressionsofartifactsandenvironments
beyondtheirperceivedfunctionality,physicalattributesandlifespans.

3.Reflect:Slowlydesignedartifactsandenvironmentsinducecontemplationandreflective
consumption.

4.Engage:Slowdesignprocessesareopensourceandcollaborative,relyingonsharing,cooperation
andtransparencyofinformationsothatdesignsmaycontinuetoevolveintothefuture.

5.Participate:Slowdesignencouragespeopletobecomeactiveparticipantsinthedesignprocess,
embracingideasofconvivialityandexchangetofostersocialaccountabilityandenhancecommunities.

6.Evolve:Slowdesignrecognizesthatricherexperiencescanemergefromthedynamicmaturationof
artifactsandenvironmentsovertime.Lookingbeyondtheneedsandcircumstancesofthepresentday,
Slowdesignprocessesandoutcomesbecomeagentsofbothpreservationandtransformation.

Doyoubelievethisapproachtodesignandmakingcouldhaveapositiveimpactonourconsumption
ofproducts?

Manyoftheworldsproblemsexistduetoalackofknowledge.Oftenconsumersarenotawareofhow
thegoodstheypurchaseareproduced.Manyconsumersmaylookattheirproductsdifferentlyifthey
understoodthelongtermimpactthattheymaybehavingontheenvironment.Statistically,thereare
manymoreconsumersthantherearedesigners,soitwouldmakesensetotackletheproblemfromthe
productionstage.Educatingcurrent,andespeciallyfuturedesignerstobemoremindfulofhowthey
producetheirproducts.Bytakingcareinproducingtheirproducts,designersmightencouragepeopleto

alsocherishandcarefortheirgarmentsorinteriorproductsmore.Alotofclothingandtextilewasteis
producedasstylesandfashionchanges.Designercoulddesigntextileswhichadaptandchangewith
ageorallowsforcustomisationbytheowner.Ultimatelywewantconsumerstohaveamorelifelong
relationshipwiththegoodstheypurchase.

Wouldyouplacemorevalueonaproductthathasbeencreatedwiththisprincipleinmind?Whyor
whynot?

Fromadesignerpointofviewitdoesmakesenseforthisproducttobemorecostly.Theadditionaltime
andplanningthathasgoneintocreatingasustainableproductcreatedwithcarewouldwarrantalarger
pricetag.However,withtheriseinpovertyandtheeasyaccesstofactoryproducedproductsthatcosta
fractionoftheprice,itwillbelongbeforemanyswitchovertotheseproducts.Unlesslawsand
regulationsarebroughtinthatreinforceorchangethismentalityitwillbetoughtofindabiggermarket
fortheseslowmadedesigns.Educatingthepublicontheadvantagesofaqualityproductmayalso
assistwiththisdilemma.WehaveanexpressioninAfrikaans:Goedkoopkoopisduurkoop.Itdoesnt
translatewell,butitbasicallymeans:Acheapbuyisanexpensivebuy.

http://www.slowlab.net/slow_design.html
http://www.treehugger.com/sustainableproductdesign/whatslowdesignandwherediditcome.html
http://www.createthegoodlife.com/slow_design.html
http://www.tedresearch.net/media/files/Slow_Design.pdf

Exercise1

ReadJustinMcGuirksarticleinfull.
http://www.theguardian.com/artanddesign/2011/aug/01/risedesignermakercraftsmanhandmade

What'snewisthedesiretorevealtheprocessandnotjustthefinishedobject.Theseare
notsosubtlemessagesreassertingthevalueofthehandmadeoverthemachinemade.
Itisonlythroughmakingthings,hesaysbytryingandfailingandrepeatingthatwegaintrue
understanding
rejectingtheonesizefitsalloutcomeoftraditionalmanufacturing
globaleconomicsprohibitstheideaofaccessiblecraftsmanship,atleastinthedevelopedworld.

Doyoubelievethereisademandforhandmadeobjectsandwork?Whydoyouthinkthatsome
consumersseekoutthesequalitiesintheobjectstheybuy?

Ofcourse,therewillalwaysbeamarketfortheseproducts,evenifitdoestendtobeaniechemarket.
Peoplewanttoappreciatethethingstheybuy.Manypeopledowanttolookatthecraftsmanshipand
share(orboast)tofriendswhotheirgoodsweremadeandwhattheycost.Therearealsothosewho
understandthataproductthatwasmadeslowlyandwithtimewilllastlongerandhopefullybetaken
careofforlonger.Ifsomethingthatisreallycheapisdamaged,wesimplychuckitandbuyanewone.
Wetendtotreatourhandcraftedproductswithmorecare.Thehipstermovementandnostalgiatrendis
alsofuelingthedesireforthesekindsofgoods.

Doyouthinkthedesireforhandmadeproductsisbasedonaromanticperceptionofthehandmade
andasenseofpostindustrialnostalgiaforthepreindustrial?Whyorwhynot?

Asmentionedabove,weareseeingmanytrendstodaythathascausedolderpractisesofcreating
productstobepopular.Peopleareknownfornotbeingsatisfiedwithwhattheyhave.Whetheritbe
lookingbacktothepastorhopingforadifferentfuture,wetendtoromanticiseanytimethatisnotour
own.TheRenaissancemovementstartedbecausethepeopleromanticisedtheGreeksandRomans
andwantedtorecapturetheirwayoflife.Another100yearsfromnow,agenerationmightlookbackand
romanticizethiscentury!

Doyoufeelthathandmadeproductsareviewedasluxuryorvalueaddedproducts?Howdo
handmadeitemscomparewithmassproduceditems,intermsoftheirvalue,lifecycle,costandethics?

Handmadeproductstendtobemuchmoreexpensivethanmassproduceditems.Dependingonthe
craftsmanandmaterialusedthatdoesnotnecessarilymeanitisofabetterquality.Ihaveseensome
prettycrappyhandmadeproducts.Butletsassumethatitisaskilledandknowledgeablecraftsman,
thenyes,theluxury,lifespanandvalueandcostoftheitemwouldbesignificantlyhigher.Ethicstendto
beconsideredmorewhenthereisoneindividualwhoisabletomakethechoicesandtheyarebeing
consciousoftheirenvironmentalimpact,butwecannotassumethatallcraftsmanwoulddothis.They
couldstillbeusingmassproducedtextilesoraccessoriestomaketheirhandcrafteditems.

Reflectonanyhandmadeitemyouown(notnecessarilytextiles).Canyourememberwhyyouwere
drawntoit?Didthefactthatitwashandmademakeitfeelspecialordidyoujustbuyitbecauseyou
likedthedesign?Howdiditspricecomparewiththeindustriallyproducedequivalent?

IwillbehonestthatIdontbuytomanyhandmadeitems,particularlybecauseIdofindthemtobetoo
expensive.TheonitemthatIdoown,whichwashandmadeanddesignedismyweddingring.Itis
importanttomeforobviousreasons,butIwasdefinitelydrawntoitbecauseitwasunique.Itwas
designedandmadebyasmalljewelryshopwhospecialisesinhandcraftedjewelry.Isawtheringinthe
windowandfellinlovewith.Thedesignisnotatallthatofaconventionalweddingring,whichis
probablywhyIlikedit.Ilikedthefactthatitwasoneofakindandithappenedtofitmyfingerperfectly,
soitwasfate!IfIhadjustboughtasimpleringitwouldhavebeencheaper,butifIweretobuythemore
traditionaltypeofweddingring,itwouldactuallyhavebeenwaymoreexpensive.Butgiventhatwewere
studentsatthetime,itstillfeltexpensivetous.

Researchpoint

InthearticlebyJustinMcGuirk,hereferstoabookHomemadeEurope:theDIYgeniusesshakingup
design.Iwascurioustofindoutmoreandcameaccrosstheauthor,
VladimirArkhipov
.Hehimselfis
alsoanartist,thoughherfirststudiedengineering.Hewantedtopushhimselftoreconsidertheformof
objects.Hestartedexploringtheideaofselfmadefunctioningobjects.

Anobjectlikethisisprimarilynecessaryandmeaningfultoitsauthor.Heretheauthorshipismore
importantthanmotivationforitsproductionandmycriteriaofchoicenearlycompletelyexcludesitswide
usesincemanyoftheseobjectscanhardlybegivenasagift.

Whatistheircraftandhowdotheyapproachitintheirwork?
Vladimirstartedexperimentingwitheverydayitems,repurposingthemforadifferentfunction.Hewas
interestedinthisideathateveryartistcouldbeacoauthorinthedesignoftheirwork.Herealizedthat
theremaybeotherpeoplewhowereexploringwiththissameidea.Inthe90shestartedtravelling
acrossRussiatocollectthesekindsofobjectsfromordinarypeople.Peoplewhowerepushingthe
boundariesofstandardizationandbecomingheroesofcreativity.

Thevastprojectisnotmerelyaplayontheamateuranthropologicalcollectionhowever,butgives
expressiontotheartistsfascinationwithaparticularphenomenaofmodernculturethatisoften
forgottenintodaysvoraciousconsumeristsociety:thehandmakingofeverydayobjects.

Mostoftheartformscollectedhavebeencrafted,constructedorassembledfromwholeorfragmentsof
otherobjectstoformstrangebutfunctionalcontraptionswateringcans,baskets,pitchforks,ladders
andgocarts.

Theartistdescribestheseitemsasunintentionalfolkloreoreverydayfolkcreationinitscontemporary
form,explainingthattheobjectshavebeenmadebyspecificpeopleunderspecificcircumstancesand
areunitedbytheoneandsameaesthetictheaestheticofacompromisebetweenindividual
possibilitiesandneeds,whichisbasedonethicalchoice.

DotheyadheretotheideasofSlowDesign?Towhatextentdoesthisallowthemtotakerisks,
experimentandinnovate?

SlowDesignPrinciples

HowdoesVladimirsexhibitionscompare:

1.Reveal:Slowdesignrevealsspacesand
experiencesineverydaylifethatareoftenmissed
orforgotten,includingthematerialsand
processesthatcaneasilybeoverlookedinan
artifactsexistenceorcreation.

Ibelievetheartistswhoareparticipatingare
certainlyreflectingontheireverydaylifeand
experiences.Theyareconsideringtheirneeds
andlookingatresourcesaroundthemtofind
creativewayoffulfillingthoseneeds.Theyare
consideringmaterialsorobjectsthattheyhave
aroundtheirhomethatcanberepurposedor

designed.
2.Expand:Slowdesignconsiderstherealand
potentialexpressionsofartifactsand
environmentsbeyondtheirperceived
functionality,physicalattributesandlifespans.

Thefinalpiecesarecertainlyexpandingontheir
originalintention.Manyoftheobjectsarere
designedorusedforanewpurpose,inturnalso
increasingitslifespanasitnowtakesonnew
meaningandfunctionforthemaker.

3.Reflect:Slowlydesignedartifactsand
environmentsinducecontemplationand
reflectiveconsumption.

Alloftheseartistswouldhavetoreflectbefore
theyworkontheirdesigns.Ifthearemakinguse
ofitemsaroundthem,theywouldfirsthaveto
analyzeitsformandfunction,sotheyareableto
planpossiblenewusesforthem.

4.Engage:Slowdesignprocessesareopen
sourceandcollaborative,relyingonsharing,
cooperationandtransparencyofinformationso
thatdesignsmaycontinuetoevolveintothe
future.

CertainlyVladimirsinitiativetoexhibitthese
itemsandtellthestoriesofeachartistwhowill
formpartoftheexhibitionisagreatformof
collaboration.Hefeelsitisparticularyimportant
forthiscollaborationinRussia,ashesays:
This
collaborativeelementhasaspecialrelevancefor
Russiafor,accordingtoArkhipov,thecountry
currentlycombinestheworstfeaturesof
socialismandcapitalism,andlackssocial
dialogueandacommonsocietyforallcitizens.

5.Participate:Slowdesignencouragespeopleto
becomeactiveparticipantsinthedesignprocess,
embracingideasofconvivialityandexchangeto
fostersocialaccountabilityandenhance
communities.

Theprojecthasbeenincridiblysuccessfulin
findingparticipants.Hestartedtouringaround
Russia,thenEuropeandisnowalsoplanning
onearoundBrittian.Itisclearthathisexhibitions
andgoalofcreatingnarrativesfortheworkhas
drawninmanytochallengetheircreativeside.

Onfindingasuitablecontribution,heinterviews
andrecordsaudioorvideofootageoftheobjects
creatortalkingabouthisorherinvention.His
projectprivilegesindividualityamidthegrowing
standardisationofculture,seekingoutandgiving
voicetotheartisticingenuityofthoseusually
alienatedfromtheworldofcontemporaryart.

6.Evolve:Slowdesignrecognizesthatricher
experiencescanemergefromthedynamic
maturationofartifactsandenvironmentsover
time.Lookingbeyondtheneedsand
circumstancesofthepresentday,Slowdesign
processesandoutcomesbecomeagentsofboth
preservationandtransformation.

Thisprojectishighlyevolved,asseveralunique
contraptionsaremadebypeoplethroughmeans
ofrecycling,orcannibalisingotherartefacts.
Theseobjectsarepractical)lowcost,
homemade,anddesignedassolutionstoa
presentneed.

Istheirstoryorthestoryoftheirworkimportant?Why?
ForthepurposeofVladimirsexhibition,hebelievesthestoryisveryimportant.Oneofhisrequirements
forcollectingpiecestoputinhisexhibition,isthattheartistbewillingtosharetheirstoryand
interpretationoftheartwork.WhatImostappreciateaboutthisinitiativeisthatheispushingevery

peopletobecreativeandinnovative.Peoplewhonormallymightnotcontributetotheartindustryor
considertheworkthedotobesignificant,nowgetavoicethroughhisexhibitions.

Thetechnicalperfectionofaselfmadeobject,itssize,materials,technologyofitsmaking,itstypicality
isofnointerestatall.Theimportantfactistheactofcreationintheauthorsinterpretationanditsresult
theform

Doyouvaluecraftandcraftsmanship?Whyorwhynot?
Absolutely,Ithinktheirisnobetterformofexpressionthathavingyourownhandsinvolvedinthe
creationofsomething.Notonlydoesitallowforasenseofaccomplishment,italsocreatesastronger
attachmenttosomething.Thatinturnallowsyoutothinkmoredeeplyabouttheobjectorproduct.Italso
allowsyoutodevelopagreaterrespectforthetime,skillsanddifficultyinvolvedincreatingthings.Ina
worldwhereeverythinghasbecomequiteeasytoacquireitiseasytolosesightoftheprocessinvolved
increation.

Isthereroomforcraftinmodernsociety?
Always,Idontthinkitwouldeverdieout.Aslongasweemployahealthyeducationsystemthat
developsstudentswhoarewillingtoenquire,exploreandtakerisks,theywillcontinuetofuelthenext
generationindoingthesame.

Sources:
http://www.academia.edu/195330/Vladimir_Arkhipov_art_and_artefact
http://www.frieze.com/issue/review/home_made_contemporary_russian_folk_artifacts/
http://www.barbarianart.com/author.php?author_id=75
http://www.culturebase.net/artist.php?1327

Project3Cloudsandpillars

Thequalitiestousewhenanalysingtextilesincontext:

ARTorDESIGNcommercial,functional,art?

TEMPORARYorPERMANENT?

LARGESCALEorSMALLSCALEconsidercontext

TRANSFORMINGand/orDEFININGand/orFORMINGconsiderspace/place

IMMERSIVE(closeuportouched)and/orDISTANT(viewedafar)

PATTERNand/orCOLOURand/orREPETITIONand/orSHAPEconsidercontext

Researchpoint

AsyouworkthroughProject3,keepyoureyesopenfortextilesinyoureverydaylifeaswellasin
museumsandgalleries.Youmightfindtheminanofficebuilding,hospitalorpubliclibrary,forexample,
oronpublictransport.Dontjustlookattextilepiecesonwallsthinkabouttheirmoreutilitarianuses

too(curtains,upholstery,etc.).Ifyoucan,findoutwhomadeeachpieceandhowitcametobesited
there.Takeaphoto(e.g.onyourmobile)andmakesomenotes.

http://www.ikea.com/hk/en/catalog/products/50298423/
http://www.ikea.com/ms/en_HK/thisisikea/democraticdesign/index.html
http://www.ikea.com/ms/en_HK/thisisikea/abouttheikeagroup/index.html
http://www.ikea.com/ms/en_HK/thisisikea/peopleandplanet/index.html
http://www.ikea.com/ms/en_GB/pdf/people_planet_positive/People_planet_positive.pdf
http://www.forbes.com/sites/peterdetwiler/2014/02/07/ikeasaggressiveapproachtosustainabilitycreate
senormousbusinessopportunities/
http://inhabitat.com/interviewinhabitattalkstoikeaschiefsustainabilityofficerstevehoward/

Researchpoint

GoonlineandreadmoreabouttheSacklerGalleryextension.

TheSerpentineSacklerGalleryconsistsoftwodistinctparts:
aclassical19thcenturybrickstructure,whichisTheMagazine
anda21stcenturytensilestructure.
ZahaHadidArchitectshavecreatedasynthesisofoldandnew.
TheMagazinewasdesignedasaGunpowderStorein1805.Itcomprisestworawbrickbarrel
vaultedspaces(wherethegunpowderwasstored)andalowersquareshapedsurrounding
structurewithafrontalcolonnade.
TheArchitectsaddedacurvingcafeandeventsspacethatextendsfromoneside.
OutsideThestructureisbuiltfromaglassfibretextile,formingafreeflowingwhitecanopythat
appearstogroworganicallyfromtheoriginalbrickworkofthesinglestoreygallerybuilding.A
curvedframelessglasswallconnectsground,edgebeam,andfabricroof.
InsideFivetaperedsteelcolumnssupporttheroofandframeovalskylightstheylooklikemilk
pouringfromjugsandcreatequiteanelegantfeel.Columnsandtheglasswallcontributeto
makingtheinteriorappearbrightandaccessible.AcellularVoronoipatternisusedforthelayout
oftables,banquets,andchairs.
ArtistComments:'Wewantedtouseanewmateriality,'saysthearchitect,whooptedforaPTFE
coated,glassfibrewovenfabricmembranefortheexteriorskin.'Itlookstemporarybutisactually
attachedtothe[existing]buildinginareallylightway.'
Itgivesawhitemarquesfeel(tent).Swoopinganddroopinginasimilarwaythatatentwould
whenweatheringthestorm.

Additionalinformationofproductionandusesofglassfibretextile:
http://www.teonline.com/knowledgecentre/glassfibertextile.html

Canyoufindanymoreexamplesofarchitecturalusesoftextiles?

Linkaboutwhytousetextilesinarchitecture:

http://www.fabricstructure.co.nz/whyfabric/whyusearchitecturaltextiles/?/

DesignCreativity&Efficiency
Durability&Sustainability

MaterialProperties
SolarProtection
EnergyEfficiency
CostEfficiency
FireSafety
Recyclability

Sources:
http://www.architonic.com/ntsht/theveryfabricofarchitecturetextileuseinconstruction/7000625
http://www.drs2014.org/media/654285/0280file1.pdf
https://dspace.cc.tut.fi/dpub/bitstream/handle/123456789/6619/kuusisto.pdf?sequence=3

ChristoandJeanneClaude

ChristoVladimirovJavacheffandJeanneClaude,wereamarriedcouplewhocreated
environmentalworksofart.
Thepurposeoftheirart,theycontend,issimplytocreateworksofartforjoyandbeautyandto
createnewwaysofseeingfamiliarlandscapes.

SurroundedIslands198083

http://www.christojeanneclaude.net/projects/surroundedislands?view=info#.VlGBwEaePZk

Anouteredgeoffloatingfabric,pinkwovenpolypropylene,wasplacedaround11islandsinthe
areaofBakersHauloverCut,NorthMiami.
Itextened61metersoutfromeachislandintothebay.
Thefabricwassewninto79patternstofollowthecontoursofthe11islands
SurroundedIslands
wasaworkofartunderliningthevariouselementsandwaysinwhichthe
peopleofMiamilive,betweenlandandwater.

Handbookanalysis

Myownperceptions

ART
orDESIGN

TEMPORARY
orPERMANENT

LARGESCALE
orSMALLSCALE

TRANSFORMINGand/or
DEFINING
and/or

Iagreewith
ART
asthedesignersthemselves
alsoclassifytheirworksasart.Forthemitis
purelyaboutthefunandloveofart.

Iagreewith
TEMPORARY
,asthefabriconly
stayedupfor2weeks.Alloftheirdesign
installationsaretemporary.Theyfeelthatit
makesanartistmorebravetocreatethingsofa
temporarynature,andthatthismakesit
somehowlegendary.

Thisisdefinitelyonalargescale.Considering
theamountofplanningandorganizingthathad
togointoitonecannotdenyit.Cleaningupthe
surroundingislands.Gettingpermits.Creating
theboomsthatmaterialwillbeattachedto,
sewingthefabricpatterns.Havingmannedboats
topatrolthesurroundingislands.Andofcourse
thefactthattheywereclearlyvisiblefromthe
surroundingbayareas.

Iagreewith
DEFINING
,astheartistssaidtheir

FORMING

IMMERSIVEand/or
DISTANT

PATTERNand/orCOLOURand/orREPETITION
and/or
SHAPE

purposewastohighlight(define)thecommunity's
relationshipwiththeirenvironment.Particularly
theirrelationshiptolandandwater.

Iagreewith
DISTANT.
Theaudiencecouldnt
reallytouchorengagephysicallywiththis
artwork.Theideawasforittobevisiblefromthe
surroundingbayareas.

IagreewithSHAPE,asthewereverycarefulto
followtheshapesofeachisland,evenouttothe
perimeter.IpersonallyfeelthattheCOLOUR
mayalsobesignificant.Thefactthatthatchosea
veryvisibleandwhimsicalpinkcolourdefinitely
addstotheirideaofArtbeingfunandaesthetic.

Researchpoint

FindoutmoreabouttheWrappedTreesproject.Asyoullsee,thewrappingbothhidesanddraws
attentiontotheformsinside.

178treeswerewrappedwith592,015squarefeet(55,000squaremeters)ofwovenpolyester
fabric(usedeverywinterinJapantoprotecttreesfromfrostandheavysnow)
ThetreesarelocatedintheparkaroundtheFondationBeyelerandintheadjacentmeadowas
wellasalongthecreekofBerowerPark,northeastofBasel,attheGermanborder.
TheprojectwasorganizedbyJosyKraft,projectdirectorandbyWolfgangandSylviaVolz,
projectmanagers,whoalsosurveyedthetreesanddesignedthesewingpatternsforeachtree.
Thebranchesofthe
WrappedTrees
pushedthetranslucentfabricoutwardandcreateddynamic
volumesoflightandshadowandmovinginthewindwithnewformsandsurfacesshapedbythe
ropesonthefabric.

Onviewforthreeweeks,
WrappedTrees
wasextremelydynamic:varyingsilhouettesoftrees
movedinthewindwiththeskeletalframeworkofbranchesmadevisiblewhenthetranslucent
materialwasbacklightedbythesun.

Rereadthequoteaboveandthenlookattheworkfromthepointofviewofthetextileratherthanthe
trees.

ThewrappingisNOTatallthecommondenominatoroftheworks.Whatisreallythecommon
denominatoristheuseoffabric,cloth,textile.Fragile,sensuousandtemporarymaterialswhich
translatethetemporarycharacteroftheworksofart.

Howdoesthisaffectyourexperienceofthispieceofwork?

Certainlythechoiceoffabricwouldhaveagreatimpactonthevisualcreated.Thesamewayasilk
dresslooksdifferentonawomancomparedtoavelvetdress.Thefabricchangesthemood,feeland
textureofwhatitcovers.Idontknowthatitnecessarilymakesitfeeltemporary,therearemanytextiles
thatappearsoftandvulnerablebutareactuallystronganddurable,thinkofaparachute.

WhatIfindveryinterestingishowthefabriccreatesavisualthatalmostmimicsanimpressionist
painting.Ilikehowthecolorsofthematerialschangeasthelightchanges.Iimagineviewingthemup
close,thatyouwouldalsobeabletoappreciatedthesoundsofthematerialsmovinginabreezefor
example.Thefactthatitistranslucentstillallowsyoutoseethetreeandmakethatconnectionto
somethingearthmadeandmanmade.

YayoiKusama

InfinityMirroredRoom1998

Kusamasartshowsherlongtermfascinationwith
organicrepetitivepatterns
,vigorousand
psychedelic
colours
,
reflection
,
electriclights
,and
infinitespace
.
InfinityMirrorRoomPhallisField
isthefirstinstallationinwhichJapaneseartistYayoiKusama
(Matsumoto,1929)madeuseofmirrors,amaterialthatshehascontinuedtouseeversinceand
which.Togetherwithhercharacteristicdots,mirrorsareanessentialcomponentofKusamas
.
InfinityMirrorRoomPhallisField
wasKusamassecondlargescaletotalenvironment:a
mirroredroomthatconsumesthevisitorandmakeshimorheraparticipantinthework.

"
Myworkscomefromtheimpulsetobuildinvisualformtherepetitiveimagethatisinme
."
mylifeislikeapolkadotpolkadotlostamongathousand

TowardstheendisatinyInfinityMirrorRoomthat,inthesameveinasSelfObliterate,
SelfRecreatesinasense.Roundcoloredlightshangfromtheceilingatdifferentheightsina
mirroredroom,changingcolorsassomegooffandsomegoon.Aswepassthrough,the
evolvingpatternsorcoloredlightsandtheinfinitemirroringoftheminstillsanalmostsacred,
completelightwithin.Wefeelinfinite,full,whole,reaffirmed.Wegiggleatthemagicofit,orthe
scienceofit,andchildlike,yearntodiveintothefloor,orflyintotheceiling,and,opento
everything,obliterate.

YayoiKusamasDotsObsessionseriesofinstallationsreconfigureshertrademarkpolkadotsand
mirrorsalongwithhuge,amorphousinflatableobjectsinresponsetospecificsites.AswithReach
UptotheUniverse,DottedPumpkin2011,reflectionispresentedintwomodes:formally,inthe
continuityoftheballoonsredandwhitepolkadotpatternonthegallerywalls,floorandceiling,andin
theinfiniteeffectcreatedbyfloortoceilingmirrors.Bothinstallationsincorporatetheviewerasacrucial
element

ART
orDESIGN
Ofcoursethereareelementsofdesigninwhatsheisdoing,butwiththenarrativeandoverallimage
shecreates,Iwouldclassifyitmoreasart.

TEMPORARY
orPERMANENT
AsaninstallationpieceIwouldconsiderittemporaryasitwillbetakendownagain.However,Ireadthat
oneofherearliestmirrorinstallationswaspurchasedbyamuseumtokeeponpermanentdisplay.

LARGESCALE
orSMALLSCALE
Herinstallationstakeupwholerooms,soIwouldconsiderittobeonalargescale.

TRANSFORMING
and/orDEFININGand/orFORMING
Herpurposeistotransformtheroomtobecomeanimmersiveenvironmentthatrepresentsher
hallucinationsthatshehadasachild.Throughheruseofshapes,colours,patternsandmirrorsshe
succeedsincreatinganenvironmentthatfeelsdifferent.Theaudiencedoesntexperienceitsimplyas
anotherroominagallery.

IMMERSIVE
and/orDISTANT
Thecoloursshapesandpatternscertainlyengagetheviewers.Asyouareinthespace,youseeyour
reflectionsandalsothoseoftheshapes(balloons).Therepetitivenatureofherworkalsmakesthe
viewerfeelmoreengaged,astheypayattentiontotherepetitions.

PATTERN
and/orCOLOURand/or
REPETITION
and/or
SHAPE
Thepolkadotsformpatterns.Theartistlovesrepeatinghersignaturepolkadots.Shehasusedballoon
typeshapestocreateinterestinganddifferingangles.Themirrorshelptomultiplytheeffect.
RonanandErwanBouroullec

Clouds

FrenchdesignersRonanandErwanBouroullechavedesignedamodularroomdividingsystem
calledCloudsfortextilemanufacturersKvadrat(2typesoffabricsand11differentcolours)
Cloudsconsistsoftextilepiecesheldtogetherwithelasticbandstomakefreestandingor
hangingstructures,whichcanbeusedtodividespaceandabsorbsound.
ThepointofCloudsisthatwedonothavetoreplaceallofthethingsthatarealreadyinour
homes.Cloudsisanextraandnewelementthatprovidestheopportunityforpersonalised
designwhereindividualsarethearchitect,designerandworkman.Theingeniousclicksystem,
combinedwithacoupleofsimplescrewsandstringsmakesitpossibletocreateanythingfroma
walltoaspecificfigureandexpressiontofitonestaste.Cloudsenablesallimaginableuses,as
itcanbehungonwallsorfromtheceiling,placedonthefloororaddcolourfullivelinessto
railingsandstairs.Inotherwords,Cloudsrepresentsanewtypology,oranewinterpretationof
theuseoftextiles,concludesAndersByriel.

ARTor
DESIGN
Theseinterlockingtextilesweremadeforthepurposeofdesign.Theywantedpeopletobeabletotake
theseindividualpiecesandshapeandformthemaroundtheirownspaceinwhicheverwaytheyfelt
inspired.InawayIfeellikethatthenmakesthepersonusingthemtheartistinaway.

TEMPORARYor
PERMANENT
Isupposeitmightdependonhowthetextilesarebeingused,butitismorelikelytobepermanentif
usedwithinaspaceforapurpose.

LARGESCALEor
SMALLSCALE
Again,thismightdependabitonthepersonusingthetextiles.Ifyouarecreatingadividerorwall
featureinyourhouseitreallyisonlyonasmallscale.However,ifyouhavealargeofficebuildingand
youareusingthesedesignsasfeaturesinyourgrandfoyerforexample,theywouldbeofalargerscale.

TRANSFORMING
and/or
DEFINING
and/or
FORMING
Ithinkthistextilecanfunctioninallthreetheseareas,again,becauseitprovidessomuchfreedomto
theuser.Thetextilemaybeusedtotransformaspace,especiallyifitisfunctioningasadivider.It
definethespace,byuseofpatterns,orcurtainsforexample.Anitcouldbeformingaspace,particularly

asthetextileisflexibleandabletoformaroundotherobjects.Itreallycouldbemanipulatedintomany
forms.

IMMERSIVE
and/orDISTANT
Theuserhastoengagewiththisproduct,asitisuptothemtousetheindividualpiecesandcreated
theirdesireddesign,abitlikebuildingwithLego.Theuserisincontrolandmakingcreativedecisions.
Ofcoursetheycouldalsobeappreciatedbyothersfromadistanceonceadesigniscreated.

PATTERN
and/or
COLOUR
and/orREPETITIONand/or
SHAPE
Patternsarecreatedthroughtheuseofcolourplacement.
11coloursareavailable,allowingalotoffreedomwithinfinitecombinations.
Theusercanmanipulatethistextileinomanyshapesorformingthemaroundtheshapeofpreexisting
furniture.

Iquitelikethisideaofcreatingsomethingthatencouragescreativityinothers.Astheindividualpieces
interlockforeasyattachmentorarrangement,theusercanalsotakethingsapartagainandredisignthe
textiles.

MarianneStraub

ShewasoneoftheleadingcommercialdesignersoftextilesinBritainintheperiodfromthe
1940sto1960s
Shebecamealeadingnameinindustrialdesign,creatingupholsteryforeverythingfromLondon
UndergroundtoBEAaircraft

Moquettetextile1970

Moquette
(fromtheFrenchwordforcarpet)isatypeofwovenpilefabricinwhichcutoruncut
threadsformashortdensecutorlooppile.Aswellasgivingitadistinctive
Ithasavelvetlikefeel,isparticularlydurable,andideallysuitedtoapplicationssuchaspublic
transport.
Itsnonrigidsurfaceprovidesdurabilityandantistainbenefits.
Traditionalmoquettefabricsaremadefromawoolnylonfacewithaninterwovencottonbacking.

ARTor
DESIGN

Thisisadesign.Sheparticularlydevelopedthisfabricforlongtermuse.ThoughIdothinkthatalotof
creativitywentintothecreationofthefabricsandthepatterns.

TEMPORARYor
PERMANENT
Thewholepurposeofthesefabricsandprintsistobedurable,soitisdefinitelyandlongtermdesign.

LARGESCALE
orSMALLSCALE
AsthisdesignwasusedonmanyformsofpublictransportintheUK,Iwouldcertainlysaythatthiswas
doneonalargescale.

TRANSFORMINGand/or
DEFINING
and/orFORMING
Bythistextilebeingusedonpublictransportthematerial,colourandpatternwouldbeseeninarow,in
uniformity.Ithinkthishelpstodefinethespace.Thespaceismeantforpeopletositontheircommute
andthemoquettecoveredseatswouldhighlighttheirimportanceanduseforthispurpose.

IMMERSIVE
and/orDISTANT
Thepassengersarerightintheenvironment,sittingontheseats,seeingtherowsofseatsinfrontof
them.Theyaredefinitelyinphysicalcontactwiththetextile,eveniftheyarentnecessarilypaying
attentiontothedesignortextureofit.

PATTERN
and/or
COLOUR
and/or
REPETITION
and/orSHAPE
Patternthepatternsontheseseatsareoftendesignedtobequiteboldandwithmuchrepetitions.
Theseloudpatternsareaparticulardesignchoiceasthehelptoconcealdustanddirt.Thesequencing
ofsquaresandrectanglesonherdesignhelptokeeptheseatlookingfresh.Ofcoursethemoquette
textileitselfalsocontributesgreatlytothedurabilityofthedesignandisquitegoodathidingdirt.

ColourBoldcoloursareoftenused.Inthiscaseastrongblueandgreenisusedtoapposeeachother.
Yetanothermethodtohelpconcealdirt.

RepetitionWiththedesignitselfweseetherepetitionclearly.Thepatternsandcoloursrepeatacross
theseatarea.Everyseatinthetrainwouldalsobecoveredwiththissametextiledesign,sowealso
becomeofawareoftherepetitivepatternformedwhenlookingdownthecarriage.

Exercise1

WhatfunctionisStraubstextileservinghereotherthanprovidingsomethinghardwearingtositon?
Imnotsurewhetheritfitsproperlyinthe6typesofdesigningmessage,butifIhadtochooseone,I
wouldsay
IdentityDesign
.Straubmanagestocreateasignificantnameforherselfinthetextileindustry
throughhermoquettetextile.Itbecamehighlyrecognizabletocommutersandindustry.Imnotsureall
passengerswouldnecessarilyimmediatelyassociateitwithabrandbuttheretheywouldbeableto
associateandrecognisethedesigneasilyandmaketheconnectiontoitbeingusedonvariousformsof
publictransport.Peoplemayevenassociatethedesignwithanemotionalresponse,asitwouldbe
somethingthatisfamiliartothemandthattheyseeeverydayontheirtravelstowork.

Researchpoint

FindoutaboutChristianBoltanskis2010installationPersonnes,attheGrandPalais,Paris.Startby
analysingitusingthetermssetoutatthestartofProject3.
HeisaFrenchartistwhoseartisticworkrevolvesaroundthethemesmemory,deathandloss.

Theworkisasocial,religiousandhumanisticexplorationoflife,memoryandtheirreductable
individualityofeachandeveryhumanexistence.
Itsthecreationofacoherent,intenselymovinginstallationconceivedasagiganticanimated
tableau
Youareimmersedbetweensixtyninecampsfilledwiththousandsofoldclotheslyingonthe
floor.Theyrepresentthepoordepartedsoulsthathavepassedonyoung,old,faded,new.
Thesquarescordonedofffeelabitlikeacemeteryormassgrave.
ThebigpilerepresentingGodinaway.
Thesoundofheartbeatsplayinthebackgroundtheartistaskedpeopletorecordtheir
heartbeatsbeforethego.

ART
orDESIGN
Hehadaveryartisticintentionwithhisinstallation.Hecallsthepieceametaphorofchanceor
somethingthatrepresentsthefingerofGod.Hesaysitislikeanimmersivepaintingorpoem.

TEMPORARY
orPERMANENT
Itwasonlyondisplayforamonthandallitemsusedinthedisplaywillberecycled.

LARGESCALE
orSMALLSCALE
Theblocksofclothingandlargemountainattheendareunmissableandmakeanimpressionassoon
asyouenter.Iwouldconsiderthatlarge.

TRANSFORMING
and/orDEFININGand/orFORMING
TheGrandpalaisisanexhibitionhallandmuseumcomplexusedformanydisplaysandartshows.This
installationpiececertainlytransformed.Themetaphorcreatedthroughtheclothingalongwiththe
emotionalresponsesoftheviewers,wouldlikelytransportthemtoadifferentplace.Transformingtheir
ideaofwheretheyare.

Iwouldalsoconsiderdefiningtobepossible,asthemetaphorcreatedwouldallowviewerstoquestion
theirbeliefsandconsidertheirownresponsestothefinitenessoflife.

IMMERSIVE
and/orDISTANT
Thewholewayhehasputthepiecetogetherisforittobeimmersive.Youaresurroundedbythe
squaresofclothingpackedaroundthespace.Youarecaptivatedbythemountainofclothingwherethe
forkcontinuallypicksupanddropsclothingandyouhearthesoundofheartbeatswhileyouareinthe

environment.Theartisthimselfsaysthattheenvironmentbringsoutanawarenessandemotion.
AccordingtoBoltanskiyouareinsidesomething

PATTERNand/orCOLOURand/or
REPETITION
and/orSHAPE
Ithinkyoucouldarguethatthepiecereallyrepresentsallofthefourelements.Therearecoloursand
patternsintheclothingonthefloor.Rectangleshapesarecreatedwiththeclothesaswellasthe
mountainofclothingattheend.ButIdofeelthatrepetitionisthemostevidenttrait.Therepetitionofthe
squaresandthepiles.therepetitionoftheclawpickinguptheclothinganddroppingitagain.The
repetitionoftheheartbeatsplayingoverandoverinthebackground.

Youllseethat,inadditiontothegarments,thenoiseofheartbeatspermeatestheexhibition.Whydo
youthinkthismightbe?

Itisanotherwaytomaketheviewerfeelimmersedintheart,liketheyareinsideofsomething.Italso
triggersandemotionalresponseasitmakesyouthinkabouttheclothingandhowtheycouldrepresent
people.Youthenstartwonderingifthesepeoplewerealive,dead,youngorold.

Towhatextentarethetextilestransformedintosomethingotherthanfabric?

Well,theybecomemorethatclothesbecausetheyrepresentpeople,life,death.Theviewerwillstop
seeingaspecificitemofclothing,butratherstartimaginingthepersonwhomighthavewornit.

Whatsthesignificanceoftheinstallationtitleandofthemechanicalgrabber?

Personnesmeanspeople,soyoustarttounderstandthetheclothingrepresentspeople.thenwhenyou
seehowhowtheyarestackedandcordonedyoubegintoassociateitwithdeath.Theclawattheend
representsthefingerofGodmakingthechoicesofwholivesanddies.

Whatassociationsdoesthisworkconjureupinyourmind?

Therearemanythathavealreadybeenmentioned:
lifeanddeath
chance
finite
questioningbeliefandthemeaningbehinddeath
massmurderorsenselesskillings
Formethereisalsoabitofaplayonourobsessionwithmaterialthings.Ifourlifeissofinite
whydoweneedsomuch?
Theclothingcouldalsobeawayofshowingusthatwearedependantonthemtocoverus,to
hideourflawsandsins.Areourclothesafarceormask?

ProjectfourEnvelopingthebody

Twomajorfactorfordesignofclothing:

1. Aesthetic
Thelookandfeelofagarmentsubjecttoindividualjudgement

2. Functionality
Focusoncomfort,durabilityandprotection

TextileQualities:

1. Silhouette
Determinedbyhowagarmentiscutandthesoftnessandfluidityofthetextileused.
Itrepresentshape,form,proportion,scale,balance,flowandcomposition

MaikoTakedasatmosphericreentry:

Hundredsofcolourfulbristlesemanatefromheaddresses.Theadornmentsconsistoftransparentplastic
spikestintedwithcolourgradientsatthebasesandtips,whichareheldinplacebetweensectionsof
acrylicjoinedbysmallsilverrings.

2.Volume
Volumeaddressesthespacearoundthebody.
Itiscreatedthroughtheweightandthicknessofthetextileitself.

3.Drapeandmovement
Drapeisthewayinwhichafabricorgarmenthangs,andisinfluencedbythestructureandweightofthe
fabric.
Drapeisappliedbyusingexcessfabrictobuildfolds,gathersandpleats.
Thequalityofdrapeofatextileisdeterminedbyitssoftness,rigidityandweight.

Researchpoint

Asyoulookatfashionimages,focusontheimageitselfaswellasthegarmentitrepresentsandnote
downwhichtextilequalitiesthephotographerhasbroughttotheforeandhowtheyveachievedthis.
Youmaywishtolookatfashionimagesbysomeofthefollowingphotographers:

IrvingPenn

Thephotographerishighlightingthe
patternonthetextile.Thewaysheis
seatedalsoallowsthefabrictohave
greatvolumeandyouimaginethatthis
textileisalsoquitethickanddurable.
Themodelspositioningandframingof
theimagecreatesanexpensiveand
fashionforwardfeel.

MarioTestino
Thefocusherewouldmostlybe
thequalityofthetextile.The
thicknessofthefabricandhow
thatcreatedvolumeanddrapery.

Keepingthebackgroundplainand
placingherononcesideofthe
frame,trulyhighlightsthatthe
dressisthestarhere.Thelightings
helpstoshowofthesheeninthe
materialagainhelpingyoumake
theconnectiontothequalityofthe
fabric.

RichardAvedon

Thephotographeris
highlightingthesoftnessand
fragilityofthisgarment.They
arelikelyusingafanalong
withthemodelsmovement
toshowcasehowfluidand
femininethisfabricis.

Imnotsureifitisthesame
modeloradifferentmodelin
thesamedress,butitis
interestingtohavethe
repetitionintheframe.It
givestheimageasensual
energy,almostlikeadance.

TerryRichardson

Thephotographeris
reallyplayingofthe
connectionbetween
thesubjectshairand
thefringecoat.Both
haveafluidand
rockerfeelabout
them,whichsuitsthis
particulardivaquite
well.

Hermovement
createsenergyand
volumeinthefringe
whichcreatesan
interestingpicture.

SarahMoon

Volumeandtexturearecertainlythehighlightsofthecoatfeaturedbelow.Thelightingonthecoat
createsacrispcontrast,reallyallowingtheviewertoviewitstexture.

Itappearsasthoughthephotographertooktwophotographsoverthesameframetocapturethisimage.
Itmakesitreallyinterestingasanartisticimage,butalsoagainhighlightsthedensityofthisamazing
coat.

DavidLachapelle

Asanartisticphoto
thisisvery
interesting.the
photographerhas
createdaclear
juxtapositionbetween
theenvironmentthat
themodelisinand
thefreshness/
softnessofwhatshe
iswearing.

Thistypeofframing,
reallyhighlightsthe
uniquenessofthe
garmentandthe
fluidityinthefabric.

4.Texture

Thisisaboutprovidingavisualandtactilesurfacequalitytogarments.
Texturecanbedeterminedbythefibresused,thedesignoftheyarnsinthefabric,thetechniquesused
tocreatethetextile,andthefinishesappliedtothesurfaceofthetextile.

Researchpoint

DosomeresearchintoChanelsuseoftweedingarmentdesign.StartwiththeirAutumn2013
readytowearcollection:

CocoChaneliscreditedwithbringingtweedtohighfashionbeyondutilitarianlooksinthe1950sand1960s.

Inthe1890sBritishtweedbecamepopularwhenmadeintothe'tailormade'garmentsforwomeninthe
workforceasitwaswarmanddurable
Inthe1920sChaneluseditemsnormallywornbymenandtranslatedthemintopareddownstylishfemale
fashion.
Sheusedarangeoftweedsandfinetexturedwoolboucleandpoodlefabrics.Andhercollarlessjackets
becamefamousaroundtheworld.
SheworkedalotwithLintonTweedsinthebeginning.
Since1998ChanelslightweighttweedhasbeenmeticulouslymadeintheFrenchateliersofMaisonLesage.
Severalmaterialsfromwool,cottonandsilktolace,leather,denim,chains,zipsandplasticsarelovingly
wovenbyhandintotheuniquelyirregularfabric

"Thetweedismadebyweavingthewarpandweft,usingavarietyofdifferentkindsofthreadswhichcreatesa
uniqueandsomewhatirregularappearance.Thewarpverticallystrungisthebackgroundofthefabric,thebase
thatwillsupporttheassemblyofmaterials.Therecanbeupto12differentthreadsusedforasinglewarp.Theweft
wovenhorizontallygivesthefabricitsuniquecharacterandcanhaveanunlimitednumberofthreads.Tight,
perforated,textured,thick,witharelief,plaited,random,twillthepotentialnumberofeffectsisendless,"thehouse
says.

Videothatshowsthemweavinguniquefabrics:
http://www.telegraph.co.uk/luxury/womensstyle/52399/themakingofchaneltweed.html

JapanesedesignerIsseyMiyake

IsseyMiyakeandhisdesignteamhavebeen
experimentingwithandrefiningtheirpleatingtechniquesince
1988.Thegroundbreakingmethodbywhichpleatsare
appliedafterthefabriciscutandsewnisarevolutionary
departurefromtraditionalprocess.

Itmadeitsdebutaselegantyetversatileclothingthat
offereditswearerbothcomfortaswellbeauty.Theclothingis
easytocarefor,store,andtravelwithandoffersachoiceof
colors,patternsandshapesthatmakefulluseofthe
lightweightpolyesterknittedfabric.

5.Colour

Usuallythefirstthingtobenoticedinagarment.
Canbeguidedbythedesignerspersonalchoice,themesandinspiration,designtrends,fashiontrends

ZandraRhodes

GarethPugh

Colourcanbeaddedatdifferentpointswithinproduction:

intheproductionofyarn
atthetextilecreationstage
oratthelastminuteafterthegarmenthasbeenconstructed

6.PatternandPrint

Textilescanbecreatedinalloverrepeatpatternsorcanbedesignedasplacementprintssothatmotifsappearin
predeterminedpositionsonagarment.
Embellishmentscanbeaddedtoaddtothepatternandtextureofthegarment.

Researchpoint

Canyouthinkofanydesignerbrandscharacterisedbytheiruseofprintandpattern?

LouisVuitton
Burberry

Doyouthinkthisisprimarilyaboutaestheticconsiderationsorisitinpartanattempttocreateanidentifiablebrand
thatcanthenextendtootherproductssuchasfashionaccessories,householditems,etc.?

Itdefinitelymakesthebrandidentifiable.EvenfromadistancethecombinationoftheBrownandGoldisvery
recognizable.Thesepatternscanbefoundonhats,bags,wallets,bedding,suitcases,shoes,clothingandmore.

MaryKatrantzouisafashionandtextiledesignerwhotakesplacementprinttoanextremelevel.Usingcontemporary
digitalprinttechnology,shedesignsthegarmentshapeandcutsimultaneouslywiththeprintdesign,toachieve
uniquecompositionsonthebody,quiteoftenfusedwithstrikingopticaleffects.Digitalprinttechnologyallows
photorealisticimagestobeprinteddirectlyontotextilesubstratesinmillionsofcoloursusingaCMYKprintprocess.

Designersarenowabletousecomputercontrolledlasersandhighpressurejetstoinjectinkdirectlyontothe
fabric,producingdetailed,graphicaldesigns.

Maryismostlyknownforheruseofboldandandelaborateprints,digitaltrompeloeilprints

MaryKatrantzou
,iswidelyknowntohaveinitiatedtheprintrevolution.Shelaunchedherfirstreadytowear
collection,autumn/winterat
LondonFashionWeek
in2008.
Hergarmentshavefluiditytothem,regardlessoftheircontrastingnature.
Katrantzou'sthematiccollectionsareinspiredbyartandtheculturalsignificanceofdesign.Theyrelyon
textileinnovationandprecisionengineeringofformandtexturetocreatedesirableandimmediately
recognizablecollections.

Ifinditherprintsveryinteresting.Shedoesntonlyrelyontheinterestingdesignprint,butsheisalsoreally
meticulousinwherethedesignwillbeplaced.Shehasanincrediblyeyeformanipulatingthefabric,creatingthisreal
contrastbetweenaverystructuredmasculineshapesandthesoftcolourfulfeminineflow.Ialsoadmirehowshe
keepspushingherselfwithfabrics,notjustchoosingonethingthatrepresentsher,butusingothertechniquesto
provetothefashionindustrythatsheismorethanjustdigitalprinting.

Exercise1


Selectafashionimageofyourchoiceandanalysethegarmentshownintermsof:

Imagetakenbackstageat2015runwayshow
VogueNetherlandsDecember,byViktor&Rolf.

Thereisalsovideoonthewebsitethatshowsthedressbeinghandpainted.
http://www.schiaparelli.com/en/collections/hautecouturefallwinter201516theinspiration/

Collectioninspiration:

Thedesignerssaythattheirinspirationforthewholecollectionwastheessenceofstyleandofa
cosmopolitanlife.ItfeaturestheverticalityofaNewYorkskyscraperandtheVendmecolumn,thefantasy
andextravaganceofLondon,ParischicandculturallifeandthebaroqueandlightofRome.

ForthisdressinparticularIcancertainlyseetheideaoffantasyandbaroqueinthehandpainteddesignon
thedress.

silhouette

Thedesignersfocussedonsimplelines.Theywantedtocreateaverticalsilhouette,whichisveryevidentin
thedress.Thefoundationinblackandwhitedefinesabsoluteelegance.

volume

Thestructureofthisdresscombinesfemininityandrigor.Thebodiceandfemininelinesontopshowofthe
bustanelegantneckline.Theverystructureandboxyskirtisalmostabitmasculineandcreatesan
interestingjuxtaposition.

drape


Imnotsureoftheexactfabricthatwasused,thoughIimagineitisathicktypeofsilk.Itisdrapeddowninatypeof
boxshapeanditkeepsitshapeverywell,sotheartworkisvisibleevenwhenthemodelmoves.Thisreallyallowsthe
designonthefabrictobethestar.

movement

Asmentionedabove,thematerialisquitestiff.Evenwhenwatchingthevideoclipofthemodeldowntherunway,you
canseethatthegarmentdoesntmovemuch.Thougthefactthatitclocksoutatherwaiststillmakesiteasyforher
towalk.Thestiffnessofthedrapekeepsthedressintheboxshapethatwasintended,allowingtheartworktoalways
bevisible.Almostasthoughsheiswearingapainting(canvas)

colour

Onlyblackandwhiteisusedforthedress,whichcreatesanelegance.Italsoallowsthedresstoreallystandoutin
thecollection.Thewhitebackgroundmakestheprinteddesignpop.

print/pattern.

TheprintswereinspiredbyBrardandVertsarehandpaintedonorgandiorsilkchiffon.Ithasavery
classicalandelegantfeel.Onceagaintheirbaroqueinspirationcomesthrough.

Questionsyoumightconsider:

Whatarethetextilequalitiespresent?

Thetextileisquitethickandasmentionedaboveitallowsthedresstokeepitsstructuredshape.Theywantedthe
designstofeaturethestructuredelementsofskyscraperandtheeleganceofLondon.Thethicksilkhelpstocapture
thisvisionwell.
Whatisthecontextofthegarment?

ForthephotousedinVogue,theyhavecreatedarealfairytail/fantasycontext.The
imageisreallyfocussingonthestorytoldbythisdress.Thestrong,yetfeminine
structureofthedressmakesthewomaninthephotoappearconfidentandsoftatthe
sametime.

Whatistheimageforandhowdoesthisaffectitsappearanceandfocus?

Itisforafashionmagazinewhoislikelytryingtoboostthecollectionanddesigners.
Asmentionedabove,thefocusoftheimageisreallyaboutthesilhouettecreated.The
lightingwhichisspecificallyonthepatternontheskirtalsohelpstocreatesome
mystery.Theviewerwilllikelywanttoseemoreofthedress,astheyarenow
intrigued.

Howdoyourelatetotheimage?

Asmentionedbefore,Ireallyexperiencethemysteryandfantasyoftheimage.Itfeelslikethecoverofafairytale.
Thereisabitofmysterycreatedaroundthewomanandthedress.

Isthemodelimportant?

Ithinkthedressisreallythestarhere.Ofcoursethestanceandprofilecreatedbythemodeladdtotheelegancein
thesilhouette,butsheisnotthestarinthisimage.

Reflectionaftertutorreportandfeedback


Imhappywiththefeedbackmytutorgavemeaboutmyassignment.Iwasworriedatfirstthathemightthinkthe
essaywasabitstrangeasIfirstcreatedacontextformytextileproductbetalkingabouttheimportanceforsleep,but
heappreciatedhowtheflowandstructureoftheessaybroughtalltheelementstogether.Hementionededitingdown
theprocessofcreationforPolyester,buttobehonest,Ialreadyeditedthisdowntoonlyonesentenceandcouldnt
reallytakeawaymore,oritwouldntmakescientificsense.Ihavechosennottomakeanychangestomyeassay.

Suggestedreading/viewing

Checkoutthelinksbelowforsomecoolartanddesignprojects:

http://www.archdaily.com/245728/higheratlasbarkowleibingerarchitects

Tocreatethislooktheyusedtraditional
Moroccanweavingonawoodframeloomacraft
whichinvolvesorganizingwoolorcottonyarninto
anarrayof(typicallycolored)lineallinesofyarn
warpedthroughaloomweavingandtyingin
ordertoproduceawovenfabricsurface.The
frameoftheloomisarigidstructuralframewhich
holdsyarninplaceasaseriesofparallellines
formingsurfacesatechniquewereappliedatan
architecturalscalewiththeambitionofproducing
not2dimentionalsurfacesbutrather
3dimensionalvolumesstretchedoveraseriesof
fixedwoodenframes.

http://www.thisiscolossal.com/2015/01/soundweaving/

SoundweavingisarecentprojectbyHungariandesignstudentZsanettSzirmaythatturnspatternsusedintraditional
folkembroideryintomusicbytranslatingthemintolasercutpunchcardsfedthroughacustommusicbox.Theproject
waspartiallyinspiredbyactualpapercardsusedinsomeweavingloomstoeasilyreproducepatternsforvarious
textiles.SzirmaycollaboratedwithmusicianandcomposerBlintTrknyKovcswhohelpedwithaudiomapping
andthedevelopmentofeachtrack.