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Dynamic Folding Knits: Play // Interact // Explore

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Dynamic Folding Knits: Play // Interact // Explore Dynamic Folding Knits: Play // Interact // Explore // An exploration into self-forming and self-folding knitted textiles. Victoria Salmon 2020 Master in Fine Arts in Fashion and Textile Design Specialisation in Textile Design Degree Project Master of Fine Arts in Fashion and Textiles With a Specialisation in Textile Design. Title: Dynamic Folding Knits Play // Interact // Explore Author: Victoria Salmon Supervisor: Ulrik Martin Larsen Examiner: Delia Dumitrescu Opponent: Sarah Taylor Report No: 2020.6.01 Date: June 2020 The Swedish School of Textiles Borås Sweden. 2 “Play” /pleɪ/ verb 1 occupy or amuse oneself pleasantly with some recreation, game, etc 2 act light-heartedly “Fold” /fəʊld/ Verb 1 tr a bend or close (a flexible thing) over upon itself b bend a part of (a flexible thing) in the manner specified 2 intr (intransitive) become or be able to be folded 3 tr make compact by folding Noun 1 the act or an instance of folding 2 a line made by or for folding Abstract: Physical interaction with textiles is generally found through the purpose of the textiles; for clothing, or interior use. We engage not just for the textiles, but primarily for it’s function. Within Dynamic Folding Knits, the purpose of the material is purely interaction focused. To encourage and to entice the visitor to play, and thus creating a new focus to the materi- al. One that focuses on the materiality before the function. Described through practical based research, knitted materials have been explored to investigate and encourage the physical interaction between the viewer and textiles. Folding methods have been developed that increase the tactility of the material, and integrate intricate form. Both these qualities have been shown to increase curiosity to interact and Acknowledgements: explore the textiles due to the materials tactility. First and foremost, to thank the technicians, Kristian, Lars and Stefan Working within three main categories of folding methods; The Strict within the knit lab. Without their knowledge, time and their trust this Fold, The Soft Fold and An Amalgamation of Folds, the results provide a project would have taken a very different path. vast range of folding textiles, through strict geometry set into the struc- To thank my supervisor Ulrik Martin Larsen for his advice and guidance ture of the material, to the softer accumulation of fabric that builds and throughout. forms. All of these are then offered to visitors to interact with through A mention to Cansocks for their sponsorship, providing me with yarn. touch and play, to experience the movement, the textures the folds and To all my classmates who have offered endless support and inspiration the forms. with matters large and small, especially through this bizarre time of study. Thanks to my family for their confidence, reassurance, and moral sup- Key Words: port, even from afar. To Gilly for his never ending patience and unlimited amount of encour- // Dynamic Aesthetic agement. // Visual Haptics // Structural Form And a thanks to the cats I once disliked. Their persistent affection // Play helped get through the tough known and unknown moments of the // Fold year. // Knit // Interaction 4 Table of Content: Line up __________________________________________________________________________________________________________________________7 - 17 1. Foreword _________________________________________________________________________________________________________________________18 1.1 Introduction to Tactility, Aesthetics and Interaction ___________________________________________________________________________ 18 1.2 Introduction to Play ________________________________________________________________________________________________________19 1.3 Introduction to Folding ____________________________________________________________________________________________________20 1.4 Introduction to Knit _______________________________________________________________________________________________________ 21 2. State of the Art 2.1 To Crease (To Fold) _______________________________________________________________________________________________________ 23 2.2 To Form _________________________________________________________________________________________________________________ 24 2.3 To Self-Support. To Self-Fold _______________________________________________________________________________________________25 2.4 To Interact. To Play ________________________________________________________________________________________________________26 3. Motivation ________________________________________________________________________________________________________________________27 4. Aim ______________________________________________________________________________________________________________________________28 5. Design Program __________________________________________________________________________________________________________________ 29 5.1 Folded Knit ______________________________________________________________________________________________________________ 30 5.2 Knitagami ________________________________________________________________________________________________________________31 5.3 Overview _________________________________________________________________________________________________________________32 6. Methods 6.1 The Reflective Practitioner __________________________________________________________________________________________________32 6.2 Play _____________________________________________________________________________________________________________________ 33 6.3 Domestic Knitting Machines ________________________________________________________________________________________________ 34 6.4 Industrial Knitting Machines ________________________________________________________________________________________________ 35 6.5 Working with Colour ______________________________________________________________________________________________________ 36 7. Development _____________________________________________________________________________________________________________________ 37 7.1 Strict // Precise // Rigid Folds______________________________________________________________________________________________ 38 7.1.1 Into The Pink ____________________________________________________________________________________________________ 39 7.1.2 Cocoon _________________________________________________________________________________________________________47 7.1.3 The Flippables ___________________________________________________________________________________________________ 53 7.1.4 No.6 Not So Straight Forward ___________________________________________________________________________________ 75 No.7 Circular _____________________________________________________________________________________________________75 5 7.2 An Amalgamation of // A Combination of // A Blend of Folds ___________________________________________________________________ 87 7.2.1 Ongoing _______________________________________________________________________________________________________88 7.2.2 The Combination Flip ____________________________________________________________________________________________ 95 7.2.3 Hand Ripples ____________________________________________________________________________________________________102 7.3 Soft // Weighted Folds _________________________________________________________________________________________________ 109 7.3.1 The Weight Of It All ______________________________________________________________________________________________ 110 7.3.2 A Multitude Of Knit _____________________________________________________________________________________________117 7.3.3 Mountains ______________________________________________________________________________________________________125 8. Overview of Results ______________________________________________________________________________________________________________ 135 9. Discussion and Conclusions _______________________________________________________________________________________________________137 10. List of References_______________________________________________________________________________________________________________ 140 11. Image References ______________________________________________________________________________________________________________ 142 6 Into The Pink 7 Cocoon 8 The Flippables 9 No. 6. Not So Straight Forward 10 No. 7 Circular 11 The Combination Flip 12 Ongoing 13 Hand Ripples 14 The Weight Of It All 15 A Multitude of Knit 16 Mountains 17 1.1 Introduction to Tactility, Aesthetics and Interaction. A tactile quality of a textiles often enhances the aesthetics of the material. To entice the viewer to want to touch and explore the material on a physical basis. Increasing the haptics and tactility of a textile creates an interesting surface, which, as suggested by Dumitrescu (2013 pg. 51), “is based on ... two dimen- sions, structure and texture, continuously interplaying in the design process one 1. Foreword defining the form of the other.” Using these two elements simultaneously to push the tactility of a material, one could increase the desire to interact with the I am a fidgeter. I have too much energy. I have an unconscious need to constant- textile. ly move; to release this energy, to release stress. This allows me to focus. Thanks to this need to fidget, I find the surface texture of any given material fascinating. Used within reference to the visual
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