The Metamorphosis of Weaving - Pattern and Space Through Dimensional Hand Weaving

THE METAMORPHOSIS

Pattern and space through dimensional hand weaving Degree Project Master in Fine Arts in Fashion and Textile Design with Specialization in Textile Design

Title The Metamorphosis of Weaving - Pattern and space through dimensional hand weaving

Author Mirjam Hemström

Supervisor Hanna Landin

Opponent Sarah Taylor

Examiner Delia Dumitrescu

Report No. 2020.6.09

The Swedish School of Textiles University of Borås

ii Form forms thought. Interspace forms dreams.

iii Table of Contents

1.1 Abstract 1

1. 2 Keywords 1

1. 3 Images of results 7

2.1 Introduction to the Field: on form, pattern and scale 26 2.1.1 Haptic qualities and visual aesthetics in woven design 26 2.1.2 Woven form 28

2.2 State of the Art 29 2.2.1 On Weaving 29 2.2.2 On Kasuri and some interpretations of it 32

2.3 Motive 35

2.4 Aim 36

2.5 Design Program 37 2.5.1 The Thread 38 2.5.2 Three dimensional patterns 39 2.5.3 Immersive Installation 42

3.1 Method of Exploration 44 3.1.1 Theoretical framework 44 3.1.2 Application of the theoretical model 45

3.2 Methods for evaluation 46

4.1 Development 47 4.1.1 The thread as the fundamental building block: developing ropes and rags 48 4.1.2 Developing Metamorposis I, II, III 68 4.1.3 Developing Woven Prism 69 4.1.4 Developing Woven Space 71 4.1.5 Developing Geology/Geometry 75 4.1.6 Developing Lush Bonanza 78

4.2 Design Rationale 82 4.2.1 Reasons behind design decisions 82 4.2.2 The justification for it 82 4.2.3 Argumentation that lead to the decision 82

iv 5.1 Result 83 5.1.1 Presentation 83 5.1.2 Woven Prism 85 5.1.3 Woven Space 86 5.1.4 Metamorphosis I, II, III 87 5.1.5 Geology/Geometry 88 5.1.6 Lush Bonanza 89

5.2 Discussion 90 5.2.1 The power of thread design 90 5.2.2 Considerations for further work 92 5.2.3 Reflections on how a line becomes a surface > a space > a trace. Or a conversation 93 5.2.4 The in-betweens 94

References 95

Table of Figures 97

v 1.1 Abstract

There is a link between the tactile and optical modes of perception. Woven textiles’ materiality and ability to take three dimensional form, make them a good medium for creating shapes containing several pattern scales and textures.

By conciously working with tactile-visual qualities and aesthetics one can achieve the most powerful effects, and in turn, the textile can take the role of a sensation director. By interpreting Kasuri with large scaled threads on a computerized hand loom and in space, an exploration of details and spatial installation can be conducted simultaneously.

The five examples developed in this project demonstrate different approaches to dimensional hand weaving, intending to build a better understanding of micro and macro spatial features in woven textiles.

Significantly, the project challenges the scale of hand weaving as well as the design process: stretching from thread to dimensional weave empowers the designer. By highlighting crafted details on a large scale, a sequence of events can be discerned that makes the spectator aware of quality and of the production process. Parallels between the 1. 2 Keywords body of work and our perception of lines and interspaces are drawn as an attempt to refine 3D Weaving our relation to the objects around us. Dimensional Weaving Hand Weaving Rope making Rags Pattern Perception Spatial Installation Textile Design

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1. 3 Images of results

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2008). From a textile design perspective, 2.1 Introduction to the these theories are interesting to use as Field: on form, pattern and a base for exploration. Furthermore, ”[t] he brain has an intuitive system which scale marries the feel of information with its look” (Bernstein, Bader, Bengler and Künzner, Pattern and form influence each other. 2008), meaning that forms, patterns and Moreover, the combination of scales in scales together enhance the perception of pattern and form effects the visual aesthetics the material. as well as the haptic perception. By working consciously with scale, form, pattern and In other words, haptic perception is the texture, one can achieve the most powerful tactile and kinesthetic feedback the brain sensations. Designing rags, ropes and cords experiences when looking or touching a with a wide spectrum of pattern scales, allows surface or an object. Likewise, it can be an exploration including spatial installation, explained as “the ability to grasp something”. form as well as surface pattern. Hence, this Undoubtedly, a weave is a compatible chapter will include an introduction to haptic medium for contributing to stimulating perception from a textile design perspective spaces. as well as the area of three dimensional weaving.

2.1.1 Haptic qualities and visual aesthetics in woven design

In a time of information overload, in which the world embraces the digital and our minds and intellects must think and interact at increased speeds, the field of textile design has the opportunity to offer sensuous experiences of tactility, and influence our perception of time and space. In Get touched – Bodycare as a design of media for self-perception, Stein (2008) questions if it is possible to create products open for physical contact and multi-sensual self experience.

The brain organizes information similarly whether patterns are perceived by vision or touch. Significantly, psychophysical studies suggest that macro spatial features such as object shape is strongly connected to vision, while touch is more sensitive to micro spatial Figure 1. Untitled. Material Study, Otti Berger. features such as texture (Lacey and Sathian, (Kirsten-Collein, U. 1926).

26 When art director Kenya Hara writes about designing for the senses, he calls for a high technology that were to evolve in a more delicate manner, subtly correlated with the periphery of the sensory perception (Hara, 2004).

During the 1920’s, the Bauhaus school was strongly influenced by Aloïs Riegl’s theory about the relationship between tactile and optical modes of perception (Smith, 2014). Riegl’s theory on tactility, tactile memory and visual perception of space, went hand in hand with the weaver Otti Berger’s writings claiming that fabrics are not only felt by hand but also sensed unconsciously. In the article Stoffe Im Raum (Textiles in Space), Berger (1930) discusses how haptic qualities are perceived in her textiles. By fusing optical properties; color and composition, with tactile ones; smoothness or roughness, her juxtaposition of material, color and texture show that vision and touch overlap (figure 2). Undoubtedly, haptic perception have taken new paths since, and in the twenty- first century the word mostly refers to high- technological or digital experiences. Within the field of textile design, woven textiles with tree dimensional properties have indeed evolved in the delicate manner Hara (2004) calls for.

Figure 2. Linen slub clothing material, Otti Berger, 1930-1944. (Nipkow, E. 1952).

27 2.1.2 Woven form

Three dimensional weaves through multi layer weave constructions have developed in recent years, mainly on jacquard power looms. To mention a few, Juliette Berthonneau and Kathryn Walters both explore three dimensional structures and form generating weaving through synergistic material combinations, finishing treatments and the interaction of active yarns (high twist, elastomeric or other shrinking) in layers and floats (Walters, 2018). Berthonneau’s and Walters’ textural, sculptural or structural interests clearly appear in their works. Moreover, the works’ three dimensionality and patterned surfaces are from a designing for the senses point of view.

Figures 5-6. Bouncing Patterns, exploring Figures 3-4. Form from Flat, exploring three dimensional woven patterns in relation emergent behavior in woven textiles, Kathryn to material, form and structure, Juliette Walters, 2018. Berthonneau, 2019.

28 2.2 State of the Art

Through this thesis, “dimensional weaving” is chosen as notion for the field of research. Currently, “three dimensional weaving” is frequently used within artistic, experimental, industrial weaving as well as in the transport industry and in the medical technology, where it continues to evolve. The two notions have much in common, however using another distinguishes the focus areas in order to emphasize the research on form in relation to perception rather than the technique of generating form.

In this section, experimental, dimensional Figure 7. Breathing Colour, exploring how color, hand weaving is presented followed by an form and light influence each other. Hella introduction to Kasuri: a resist-dyeing technique Jongerius, 2019. for a weaving purpose.

2.2.1 On Weaving

Designer Hella Jongerius is recognized for her research on the meaning of colors, materials and textures (Jongerius, 2020). Taking the form of finished products, the body of work is characterized by open ended questions where playful investigations show the potential of materials and techniques. Through discussing the topic of weaving not only as an ancestral craft practice but as cultural innovation, Jongeriuslab is an avant-garde representative within textile design. In the exhibition Breathing Colour (Jongerius, 2019), a collection of designed objects in ceramics, textiles and paper demonstrate how the experience of color and form is affected by the quality of light. The reflective properties of the objects’ surfaces, play an important role for the spatial perception.

29 hierarchies between warp and weft by giving the vertically hanging warp threads a superior role. Yet, something that Space Loom does not discuss, is the numerous scales of pattern in one piece: the different densities of micro or macro patterns (colored parts) that together create a large scale form.

Textile writer Jessica Hemmings1 sketches on a desirable future where the designer possesses the skill of moving freely between technology and craft. Hemmings suggests that the future designer is an open-minded maker and thinker that knows how and when to combine old tools with new technology. Coming from an industrial design perspective, Jongerius’ approach to weaving through tools rather than technology Figure 8. Space Loom, Hella Jongerius, 2019. is an incarnation of Hemmings’ desirable future (Houzé, 2019). By moving across a scale that stretches from manual to mechanical to industrial, the work of Jongerius is put in a During 2019, Jongeriuslab developed the perspective that includes the past as well as an evolutive exhibition Interlace, Woven Research, unsettled future. showcasing live production and research at Lafayette Anticipations in Paris (Jongerius, 2019). Through custom built, manipulated and decoded tools such as braiding machines, traditional shaft looms, a digital Jacquard hand loom, and an on site installation called Space Loom, different aspects of three dimensional weaving were explored. This laboratory-like project is an inspiring example of how designing own tools can be an approach to practice-led design research.

In the example of Space Loom, sixteen meter long ropes and braids that hang from the ceiling represent warp threads (Jongerius, 2020). Weft ropes with varying patterns and thicknesses are intertwined and form a woven volume in space in the shape of a sphere. The example of Space Loom addresses notions of 1 Jessica Hemmings. Design Seminar. looms, hierarchies, vocabulary, pattern and The Swedish School of Textiles, University of form. One of its main ideas is to play with the Borås. 2018-10-16

30 To conclude, Interlace, Woven Research explores dimensional weaves and details simultaneously, which this project aims to build on. The creativity in large scale thread design, demonstrates a potential in woven textile design. There is much to explore on different scales of woven form and patterned threads.

Figures 9-10. Interlace, Woven Research, Hella Jongerius. (van Tour, 2019). 2.2.2 On Kasuri and some interpretations of it

Kasuri ( ) is a Japanese word for fabric that has been woven with yarns dyed with a resist- dyeing technique, specifically to create patterns in the fabric. When woven together, the un- dyed areas form patterns on the surface. Presumably, it is a rather intricate procedure of pattern making. Nevertheless, the technique lies closer to weaving than printing and dyeing, since it is integrated in the weaving process. Compared to a weave pattern achieved by the binding system, the dimensions of the motive is unlimited similarly to that of Jacquard weaving, although it can be implemented in a regular shaft loom. Figure 11. Nu allongé sur le canapé (With her Recently, a few projects inspired by the Kasuri eyes shot), Josefin Gäfvert, 2019. technique have emerged. Hand weaver Josefin Gäfvert paints and prints on the fabric before tearing it into rags. The raw rags combined with a rough, almost charcoal sketched expression of her motives, fascinates when the contradiction of tradition and contemporary meet (figure 11). However, her body of work consists of pictorial or figurative elements rather than form.

Similarly, hand weaver Åsa Pärson uses a process of weaving - dyeing - unweaving - reweaving to create a pixelated surface (figure 12). Surely, the slow creation process captivates the viewer, even without understanding the large number of steps in the process. The surface appears optical on a distance, while slightly uneven when coming closer. Delicately, a sequence of events can be discerned.

Figure 12. Panama, Åsa Pärson. (Björkquist 2017).

32 Furthermore, in the project Intersect textile designer Dienke Dekker uses striped paper strips for her weaving (figures 13-15. Taking the step from surface to form, Dekker’s work contains both Kasuri, dimensional weaving as well as pattern changing with the form.

Figures 13-15. Intersect, Dienke Dekker. (RAW COLOR, Barbara Medo and Dienke Dekker 2014).

33 Last, Fransje Gimbrere’s project Standing Textile(S) also deals with the subject thread design, although focusing on form and space rather than pattern (figure 17).

To conclude, common to the five examples mentioned is a curious approach to intricate thread making techniques where the design of the weft is key. Undoubtedly, time is a central ingredient, whether the idea is based on an interest in finding a method of customized, small scale production, or acts as a counteraction on today’s fast production methods declaring the playful and subtle message: the slower the better.

Figure 16. Untitled, Studio HILO, 2020.

Another example based on thread design is Studio HILO’s1 yarn spinning machine, in which the user can determine the textile properties in a software at the very beginning of the production process. The software translates a digital pattern or image into different yarn features such as thickness, lightness, and hardness (figure 16). Similarly to the traditional craft of resist-dyeing, the machine slowly produces a custom-patterned weft thread that, when woven, gives the fabric its programmed characteristics.

1 Sara Diaz Rodriguez. Design Seminar. The Swedish School of Textiles, University of Figure 17. Standing Textile(S), Fransje Borås. 2019-09-17 Gimbrere, 2017.

34 2.3 Motive

The Metamorphosis of Weaving: seeking perception in textile form and pattern

The Industrial Revolution have had a The technique of Kasuri possesses large significant impact on the development of potential in regards of pattern and scale weaving, directing the intelligence and in weaving. The aesthetic of Kasuri is well creativity of the hand towards industrial known (used by the fashion industry), and by production which sets the frames of possible interpreting it in a large scale, it is possible to designs. In the text Haptic perception: an highlight the craft technique for the purpose historical approach, Jütte writes that ”[t] of refining the relation to the object, make he transformation of the sense of touch as it more sensuous, and change how we talk a result of the Industrial Revolution is still about the experience of the objects around uncharted territory” (Jütte, 2008, p. 9). There us. Possibly, dimensional hand weaving can is something missing between industry and tell something about quality. craft, and design possesses the knowledge to bridge the two. Hella Jongerius work in this field is a beginning point for this project. Jongerius’ research on Within the field of woven textile design, loom- three dimensional weaving includes volume based weaving as a method for creating form and scale, although dominated by the warp has almost disappeared, while producing which emphasizes color and the design of the three dimensional weaves or sculptural forms thread rather than perception and pattern that utilize the potential of Jacquard power in relation to form. Aware work with micro looms is major. With an interest in both textile and macro spatial features (texture and a architecture and hand weaving, it is easy to scale of details), in woven form, could add compromise and go either way: large scale, new knowledge to the field. To explore and industrially produced, or small scale hand design for the senses, is significant to the woven. The work in this thesis is an attempt development of spatial textile design. of bringing the two together: by designing and making large scale threads, space and The ambition to create a collection of weaves details can be managed simultaneously. that demonstrates different approaches to dimensional hand weaving, is a way to better By approaching craft from a designer’s understand the relation between space, perspective, techniques and tools can weave and pattern, and learn something be manipulated to serve the research in about time. perception. Utilizing the principle of a warp and weft system, layers and shapes can be created that enhance the spatial-sculptural properties, and also produce new knowledge about the experience of spatial textiles, that could be adapted in the textile industry.

35 2.4 Aim

The aim is to explore macro and micro spatial features in pattern and form through large scale, dimensional hand weaving, as an attempt to work with details and spatial installation simultaneously.

36 2.5 Design Program

The work presented and discussed in this an experience of letting something temporary thesis is part of a design program: Immersive unfold, the program attempts to create Weaving. a perception: the metamorphosis from spatial experience into ephemeral sensation. As Redström (2017) states, a design program This is explored through parameters such can provide a framework for experimental as geometrical shape, surface texture, light, research in design. Throughout the design color, weight, temperature, and kinaesthesia process, experiments and conceptual (movement of the body). framework influence each other and an overall direction of the program takes form.

Immersive Weaving consists of four projects: a technical weaving project, Three dimensional patterns, investigating how weave bindings effect the three dimensional pattern in three layered cloths; an artistic development project, Immersive Installation, which focuses on immateriality, translucence and transparency by filtering and layering light; a craft emphasized project, The Thread, an introduction to yarn spinning and cordage, integrating the technique of Kasuri into the process of thread making; and the project discussed in this thesis, The Metamorphosis of Weaving. The Metamorphosis of Weaving explores a combination of the three previously mentioned, however there is a shift of focus from immersive space to haptic qualities and aesthetics, while still aiming to explore the possibilities of dimensional weaves for a spatial context.

Throughout the program, the materiality of the three dimensional weave is put in relation to the perception of the space within or around it. Undoubtedly, everything we feel and think, all our sensations, relate to and interact with space (Fridh and Laurien, 2009). The design program has an ambition to expand notions of time and space - to embody an interspace. Moreover, by creating

37 2.5.1 The Thread

With an introduction to yarn spinning and cordage, this project aimed to learn thread making techniques that could be integrated in the weaving process. Initially, traditional wool spinning on an electronic spinner was the gateway to the world of yarn spinning.

By mapping the varieties of patterns, textures and color effects in woven surfaces through single yarns, 2- and 3-ply yarns (figure 19), yarns with high twists (figure 20), s- and z- twists, all in a natural gray scale, the craft of thread making evolved into a larger variant: cordage. Designing the thread is one of the most powerful savoir-faires for a weaver, and the craft of thread making laid the foundation for the project in this thesis: approaching dimensional weave design through the design of the thread, and, interpretations of Kasuri (figure 18).

Figures 19-20. S+S 2-plied yarn and texture in woven surface by over spun yarn.

Figure 18. Interpretation of Kasuri in the spinning process.

38 2.5.2 Three dimensional patterns

Weave bindings’ relations to each other Moreover, the weaves played with the spatial through multiple layers and shrinking yarns, perception through their different ways of was a first attempt to explore pattern in reflecting and conducting light (figure 22). The relation to form (figure 21). By replacing more space between the layers, the more one layer’s weave binding with another, the light could be filtered. pattern possibilities in the three dimensional, translucent weave were mapped down. A combination of diagonal and straight weave bindings generated varying three dimensional patterns. Interestingly, the pattern that appeared (diagonal or straight) corresponded to the weave bindings patterns.

Figure 21. Detail of a three layered cloth. Figure 22. Natural light conducted through a Mono-filament and cotton-elastane. three dimensional pattern.

39 Furthermore, an exploration on floats, mainly in the weft direction, was carried out in a jacquard power loom. As in previous weaves, the rhombus was used as pattern shape for the exploration. Different combinations of mono-filaments and shrinking materials played with the perception of the two or three dimensional surface, and moreover, together with light a strong haptic perception could be achieved.

Figures 23-26. Three layered cloths exploring haptic qualities in industrial, three dimensional weaving. Mono-filament and pemotex.

40 Figure 27. Three layered cloth cooperating with light to enhance the spatial perception. Mono- filament and pemotex. (Berg, 2020).

41 2.5.3 Immersive Installation

In an Artistic Development course, a shift of focus was made exploring weave through immateriality. By mainly focusing on translucence and transparency through filtered and layered light, the whole space was transformed into a three dimensional weave (figures 28 and 30). The slow movement of light captured in the horizontally and vertically installed layers (figure 29), created a captivating atmosphere where time felt fluid or almost absent.

Figures 28-29. Light projection on smoke, tulle, plastic and aluminum strips. (Bigolin, 2018).

42 Figure 30. A projected dot pattern moving across the space, caught in the smoke and in the vertically and horizontally installed strips. (Bigolin, 2018).

43 3.1 Method of Exploration

3.1.1 Theoretical framework

Rheinberger describes experimental systems By bringing another sitting device into the as [... systems of manipulation designed to picture, we can redefine the term. The give unknown answers to questions that the practical work and outcome of this research experimenters themselves are not yet able aimed to re-define or widen the notion of clearly to ask]. (Rheinberger 1995, p. 110). weaving. Thus, they are not simple, straightforward experimental devices generating answers, but Secondly, there is a space between design rather [... vehicles for materializing questions.] particular and design universal, and it ranges Similarly to the field of biology, Schön states from addressing what a design is to what that design is the process of changing existing designing is (Redstrom 2018). This means that situations into preferred ones (Schön, 1983). the particular can be a specific object and its definition, whereas the universal can be about Textile design methodology deals with the project and its process and methods, “erfahrenheit” (acquired intuition), “tacit which deals with what kind of designing it is. knowledge” or “intimate observation” gained In other words, design can be personal and at in a laboratory, generating a mix of predicted the same time general. and often also unpredicted outcomes. With these, the designer can steer the project into Thirdly, the space between object and a wished result (Rheinberger, Polanyi 1967). paradigm can be occupied by projects, programs, and practices (Redstrom 2018). The As a theoretical foundation for this research, illustration below stretches from a specific Redstrom’s three definitions of design design to defining designing. The object in this serve as a convenient chart for identifying project is represented by a series of textile the context this work intends to influence. examples that trigger the spatial perception Firstly, we make definitions through design and generate an emotional experience. (Redstrom, 2018). As an example of how Further, the project discusses three humans connect things and words, Redstrom dimensional weaves produced with large lets a chair illustrate how we define the term scale weft materials (macro and micro spatial ”sitting” through the concrete design of a features). Moreover, the program revolves given thing. When someone asks what sitting around weave in relation to space. Thereto, is, the best way to explain is to share the the practice comprises dimensional weaving experience of actual sitting in a chair. in loom and in space. Finally, the paradigm of this project and thesis is the definition of weaving.

Object Project Program Practice Paradigm 3.1.2 Application of the theoretical model

Some major characteristics that define future. humans are big brains, language, religion, art and technology. Oxford Dictionary’s definition Steps of methodical investigation occurred of technology is “the application of scientific periodically throughout the process. Firstly, knowledge for practical purposes, especially testing the manageable amount of threads in industry.” The word origins from Greek’s per bundle that the cord machine could “techne” which means technical, art or skill. A handle, in order to outline the range of tool, on the other hand, is a device, especially scales that could be produced. Secondly, one held in the hand, used to carry out a determining the pattern possibilities of the particular function. The loom is the most same machine, by changing color on one important tool for a weaver: it sets the frames bobbin at a time. Moreover, other methods of the project and by pushing its boundaries of making and designing ropes were charted: one always comes back to: is this weaving?, traditional cordage at an old Ropery along the technique is developed. with an interpretation made on a drilling machine. Next, all cords and ropes were When Schön explains reflection-in-action, woven in a plain weave to explore the micro he uses jazz musicians as an example using patterns that emerged when the wefts the complicated process of simultaneously interacted with each other. thinking what they are doing and, in the process, evolving their way of doing it (Schön, Furthermore, three dimensional sketching to 1983). Explaining that ”[w]hen good jazz explore macro patterns in relation to form, musicians improvise together, they also was carried out with paper models. Also, manifest a ”feel for” their material and they a projector was used in the paper model make on-the-spot adjustments to the sounds sketching, but mainly it acted as weft material they hear.” in the example Weaving in Space.

The act of weaving is to plan meticulously and work intuitively simultaneously. When talking about textile technologies, the emphasis is usually placed on techniques rather than on tools (Röhl 2019). Within textile craft, weaving is often referred to as a comparatively technical field, driven by technique rather than by material. As much as weaving is planning and preparing (programming the warp threads’ interlacement and imagining how the materials will react in the weave) it is to throw the shuttle between one’s hands and insert one weft in relation to the former, taking conscious and unconscious decisions and making adjustments in action. One is just in the middle, seeing the past, visioning the

45 3.2 Methods for evaluation

Jones’ model of the design process splits is of high value. Through the phase of designing into three phases: divergence, transformation, [... one cannot achieve an transformation, and convergence (Jones, optimal solution, only an optimal search] 1992). (Jones, 1992). The outcome is a pattern perceived as appropriate but not yet proved Firstly, the design process goes through to be right. the divergent stage where possibilities are explored and critical thinking is applied. Thirdly, convergence is the stage after Jones explains it as ”the act of extending the problem has been formulated. The the boundary of a design situation so as to uncertainty has been progressively reduced have a large enough, and fruitful enough, until only one alternative design is left, and search space in which to seek a solution” a greater understanding of the context and (Jones, 1992). The aim of divergent search its parts are established. Thus, the third is to de-structure the original brief and its phase of the project is where samples and features; limits and effects towards a degree prototypes are made more concrete and of change. A divergent search is a testing for detailed. For this project, the desired qualities stability or instability, in everything connected and aesthetics was emphasized in new to the problem. In this project, the different prototypes, distributed (between weaving on components of three dimensional weaving loom and in space) by their properties. were identified and put in relation to each other: haptic and spatial perception, micro Last, there are two ways of converging: the and macro spatial features, pattern scale, conventional out-in strategy, where, using form, Kasuri. Methods in this stage involved the example of an architect, the process both rational and intuitive actions. goes from external shape of a building to the arrangement of the rooms within it (Jones, Back to Jones’ theory behind the design, as 1992). The other is the in-out strategy, where soon as it has been mapped, the practical the architect begins with activities that are level of the design process is done through a going to take place in rooms, and works transformation. This is the phase of sample outwards to the external shape. According making, where variables are identified and to Jones, a skilled designer works from both the project is framed. In the case of exploring ends at once, meeting in a match. In the pattern on cordage and rags for dimensional project Three Dimensional Patters, psycho- weaves, the visual and haptic effects of physical studies on haptic perception where the swatches were analyzed in relation to used as a starting point of the process, the design program. According to Jones using the converging strategy of in-out. In (1992) “[t]his is the stage when judgments the project discussed in this thesis, a closer of values, as well as of technicalities, are attempt of working from the two ends theory combined in decisions that should reflect the and practice is made. political, economic and operational realities of the design situation”. Small degrees of transformation are made, where experience

46 4.1 Development

The examples developed in this project had different processes. As a general method of working, a thread making technique was developed to be used as an interpretation of Kasuri for a dimensional weaving purpose. Looking at the patterns achieved in the woven surfaces, evaluation of the threads’ properties were made, to decide which thread design was suitable for each example’s development towards a form.

This chapter has a similar chronological order as the process had in a whole: it takes off in the three thread making techniques and when enough matter is collected, it diverges into five separately developed examples.

As mentioned in the Method chapter, an example was assessed to be successful when a thread making technique suited a dimensional weaving technique, and together sustained a complexity in pattern and scale. The collection was developed by pairing threads with dimensional weaves, and last, composing the pattern scales and colors on the form.

The intention of this phase was to form an understanding of the pattern possibilities within the chosen thread making techniques. Other techniques and materials have been explored in previous projects within the design program. The choice of exploring three existing, easily accessed crafts, allowed a focus on thread design for a dimensional weaving purpose. Opening up the design space in this manner allowed a project balancing thread making and weaving for a spatial context, all at once.

47 4.1.1 The thread as the fundamental building block: developing ropes and rags

Three tools served for the production of large scale threads: a braiding machine, a rope- wheel wound by hand (later changed into a drilling machine), and last, a circular knit machine.

To begin with, a set of workshops was conducted to explore the qualities and the pattern possibilities of the braiding machine (figure 31). By going through the patterns achieved by changing the bobbin setup, the pattern possibilities were mapped. The investigation was mainly carried out in black and white in order to achieve high contrasts that highlighted the patterns.

Further, the number of threads on each bobbin were tested to understand the limits of the machine as well as the qualities of the cord. Figures 32-34 illustrate the patterns of the cords achieved by the placement of the bobbins, paired with the woven swatches creating new patterns. Some of the more course patterns had an optical effect on the surface, often created by the zig-zag pattern caused by a deracination of the thread and consequently, the surface was intriguing from different distances.

Figure 31. Cordage on a braiding machine.

48 Figure 32. Surface patterns created by differently patterned cords.

49 Figure 33. Zig-zag pattern by patterned cord on woven surface.

50 Figure 34. A zig zag patterned cord creating a rhombus grid pattern when woven into a surface.

51 An essential discovery for the technique of cordage, was the pattern achieved by feeding the cord manually through the machine a second time (figure 35). Searching for an expression where a sequence of events could be discerned, the irregularities caused by manual feeding created a surface where the eye could rest on the distortions, while creating a uniform surface as a whole (figures 36-39). In comparison to the earlier cords, this technique had bigger potential in variety of irregularity: precise versus asymmetrical. Moreover, the micro pattern of the outer layer resembled a rhombus grid, similar to that which had been used in earlier research.

Figure 35. Feeding a cord through the machine manually, creates an uneven rhombus pattern. The skein to left has a core consisting of two cords, while the right has one.

52 Figure 36. Rhombus pattern by plain black Figure 37. Rhombus pattern by two gray cords core and two white threads per bobbin in the as core and two white threads per bobbin in surface pattern. the surface pattern.

Figure 38. Rhombus pattern by plain black Figure 39. Close up of weave in figure 38. core and one white thread per bobbin in the surface pattern.

53 Figures 40-42. A wheel in one end, a top (used to keep the strands apart before twisted into a rope) in the other end.

As a second thread making technique, a set of workshops were conducted in rope making. An 18th century rope wheel served as an introduction to this craft (figures 40- 42). To begin with, at the Textile Museum of Borås, and further, to increase the length, at the Ropery and Museum of Rope Making in Älvängen. To easier explore the pattern possibilities of rope making, the wheel was changed into a drilling machine with a large hook placed in the nozzle (figure 44). Hence, the experimentation did not demand assistance and could be explored more freely.

As in the exploration on cords, a gray scale was used to keep the focus on pattern rather than on color effects. In this way, high and low contrasts of the same color could be explored. The following pages illustrate the development of drilled ropes (figures 45-53).

By building up different scales, for example low to high twisted, dark to light dominance and combinations of thin and thick strands, several qualities such as density, texture, Figures 43-44. A drilling machine in one end, pattern and optical effect were explored. hooks at a house facade in the other.

54 Figure 45. Ropes made with drilling machine. Figure 46. 2- and 3-ply plied together, color 2-, 3-, 4-, 5-, 6-ply. melanges in mixed plies.

Figure 47. Color melanges in 3-ply ropes. Figure 48. 9-ply, 4-ply, 5-ply, 6-ply.

Figure 49. Gray scale through combinations Figure 50. 3-ply and 3-ply plied together, 2-ply of two shades. and 2-ply plied together.

55 Figure 51. Combinations of s- and z-twists around a twisted core, and differently high- and low-twisted.

56 Figure 52. Combinations of s- and z-twists around a twisted core. The skein in the middle is the final thread design developed into Woven Prism.

57 Weaving the ropes into plain weaves, as seen on the following page, a library of variated surface patterns was built up. Similar to the research on cords, the collection consisted of surfaces with zig zag patterns, textures and a scale stretching from diffuse to precise. The result was beautiful, however no swatch was satisfying enough in itself. Hence, the most intriguing pattern, as portrayed in figure 55, consisting of a rhombus pattern reminding of that in the rhombus patterned cord, was chosen for the development of a dimensional, airy weave.

58 59 Figure 54.

60 Figure 55.

61 As a third category of large scale threads, as Being able to focus on pattern and scale, an an attempt of exploring larger patterns than exploration of abstraction and precision could those on the cords and ropes, patterned be conducted. The categories explored were rags were developed. At first, the rag fabric thicknesses of lines, level of details, painted was produced on a jacquard power loom, brush strokes, color combinations and mainly, but eventually it was made on a circular knit geometrical shapes. Figures 57-62 portray machine. While the maximum report width of the six different scales of checks. A few pages the jacquard loom was 40 centimeters, the later, as illustrated in figures 71-73, three circular knit machine allowed figures up to scales on circles can be seen. Last, several 150 centimeters. versions of the rhombus shape were tested. As seen in figures 63-70, rhombus grids Moreover, when cut into rags and hand and patterns were explored as well as large, woven into plain weaves, the patterns of the placed shapes. reversible fabrics generated more distinct patterns. Consequently, these were easier to work with when taken into the next step of weaving a form built up by multiple layers. In general, the woven rags were coarse with fibrous edges, whereas the knitted rags’ sharp edges made them easier to work with. Also, the patterns became less dissolved in the selvage, keeping a distinct pattern in the loosely hanging rags.

Figure 56. Rags waiting to be woven.

62 Figures 57-62. Woven fabric with stripe pattern woven into checks.

63 Figures 63-70. Knitted rags, rhombus patterns.

64 Figures 71-73. Scale of circles in woven and knitted rags.

Figures 74-79. Rhombus patterns, reversible weaves.

By keeping the fringes long, the patterns could be more or less detected depending on the scale. One discovery that was developed later, was the large scale shape continuing out in the fringes, following gravity. This gave a fluid expression, almost as if the weave was floating out in space (figure 80).

65 Figure 80. Rhombus changing shape through gravity.

66 Figures 90-92. Color tryouts and freely hand-painted shapes on circular knitted rags. 4.1.2 Developing Metamorposis I, II, III

Finding that the cord could be fed through the braiding machine several times, the cord was built up firstly with a surface in gray, plain cotton. In addition to the surface layer in cotton, the core consisted mainly by cotton yarn but also a stainless steel wire. Hence, the cord was given molded properties (figure 93).

Fed through the machine a second time, a thin cotton thread added an uneven rhombus pattern (figure 94). This second turn was made by hand in order to intentionally create irregularities in the pattern.

Finally, the cord was used as weft when weaving a plain weave pattern in the hand Figure 93. Cord with metal core. loom, and after cutting it off the loom, the weave could be molded into any preferable shape.

Figure 94.

68 4.1.3 Developing Woven Prism

Taking off with a cotton rope with wavy texture and a rhombus grid pattern (figures 95-96), a concept of vertically hanging warp Figures 95-96. threads with weft threads interlaced was developed.

Several concepts were explored. Firstly, two forms of draping the weft by loosely braiding it into the warp (figures 97-98). This technique enhanced the heaviness of each rope. However, the expression brought the thought to drop curtains which made the installation an object rather than a form.

Consequently, a technique of weaving three dimensionally was developed. As portrayed in figure 99, a shape with ninety degrees Figure 97. angles could be built up. The cubic shape was successful in relation the rest of the collection and also, in regards of spatiality within the piece. This piece offered another proposed approach to dimensional hand weaving.

The piece turned out to be satisfying exploring from different angles and distances, especially with natural light highlighting the depth and more importantly, filtering the light in the space similarly to the two dimensional textiles in the project Weaving with Light. The piece became a three dimensional object as Figure 98. well as a filter. Hence, it became important to find the most effective density of the weft threads for filtering light. In the final example, the piece was woven half as dense as in figure 99. Moreover, it was turned over ninety degrees, giving the installation the shape of a rhombus instead of a cube.

Figure 99. To enhance the filtering effect, an attempt was made to build up a shape with two dimensional layers of plain weave (figure 100). However, the technique of weaving in three directions responded better to the aim of weaving three dimensionally.

As for the macro and micro patterns, a macro pattern could be detected in the transition of colors, devolving from light green in the top of the cube, to lavender gray in the bottom. A micro pattern, also in the shape of a rhombus grid, could be discerned in the details of the ropes.

Figure 100.

Figure 101. 70 4.1.4 Developing Woven Space

As a continuation on the project Immersive Installation, an experimental workshop with light projection was conducted as an attempt to find an alternative weft material. Similarly to the starting point of Woven Prism, vertically hanging warp threads were installed as a three dimensional projection canvas.

Tests of geometrical forms, patterns, textures and colors were made, in order to find a pattern where the projection somehow came in dialogue with the warp threads. In general, several forms generated mesmerizing effects on the installation as well as on the space around hit. For example, as illustrated in figure 102, rhombus shapes moving sideways created a fluid expression, whereas vertically moving horizontal lines were perceived as small dots, following every weft thread’s shape, almost as if going on a rail (figure 103). Moreover, photographs of textures (figure 104) and three dimensional objects (a skein of cords, portrayed in figure 105) added more three dimensionality to the installation.

Figure 102. Figure 103.

Figure 104. Figure 105.

71 In order to give the plain, white ropes a second surface, coatings were added to the vertically hanging ropes. As illustrated in figures 106-107, silver sprayed ropes were tested as an attempt of creating a reflective surface for the projection. However, the silvery surface did not change the level of reflectiveness when hit by the light more than the raw, white ropes did.

In the end, a slowly growing stripe pattern was chosen (similar to the test seen in figure 108), since it added three dimensionality to the piece, yet kept a balance between ropes and projection to keep the two equally important for the expression. Starting as an empty, almost two dimensional canvas, a cube was built and lit up by horizontals woven Figures 106-107. Cotton ropes with silver spray. into it weft by weft. Successfully, light became a weft material where it met the surface of the hanging warp.

Figure 108. 9 x 9 ropes installed, moving patterns and color tryouts.

72 Originally, plain white ropes were used for the hanging warp. By giving the projection the purpose of bringing color into the installation, its role were as important as the ropes’ (figure 109).

However, when seen without the projected colors and patterns, when the projector was turned off but also and more importantly, when moving around the installation seeing it from other angles, the installation gave the impression of having a backside. Hence, the plain ropes were changed into differently patterned ropes, to create a cluster of textures with varying surfaces (figure 110). Seen from the angle of the projected light, there was a focus on the moving pattern, while seen from the opposite side, the uniqueness of every patterned rope came in focus.

An additional effect of the projection, was the two dimensional weave of shadows and light on the floor behind the installation. In this way, the weave could be perceived both as two dimensional and three dimensional.

Figure 109. Final projection.

73 Figure 110. Exploration of patterns on monochrome ropes made with a drilling machine. 4.1.5 Developing Geology/Geometry

As for the development of the rags, after effects such as a three dimensional illusionary finding a suitable level of details for the cube pattern was tested (figure 122). Further, purpose of Kasuri weaving as well as colors patterns that became complete when seeing that kept the yarns’ intensities, an exploration them from a certain angle were explored on pattern in relation to form was carried (figures 117-118 and 120-121). Several out. Paper models with the correct amount of patterns had interesting effects, however, the layers as the weave structure served as base. final pattern of a growing triangle, as seen in Different geometrical shapes, grids, densities figure 125, was chosen due to its magnified and scales were explored, as an attempt of heaviness. Furthermore, it was exciting finding a pattern that collaborated with the making such a well known, strict shape into a woven form rather than embellished it. Also, textile version.

Figure 111. Small checks. Figure 112. Large checks. Figure 113. Rhombus.

Figure 114. Grid with increasing Figure 115. Grid. Figure 116. Rhombus grid. density. Figure 117. Figure 118. Figure 119. Circles.

Figure 120. Figure 121. Figure 122. 3D pattern.

Figure 123. Triangles. Figure 124. Triangles, random Figure 125. Growing triangles. placement. Distinctly, the pattern contributed to the perception of weight when light fell on the scale model and the shape of the shadow and the triangle coincided. Moreover, the shadow formed a similar shape as the triangle, adding an extra pattern that would move with the rhythm of the day. Hence, the spatial perception could be enhanced. To conclude, the triangular macro pattern had many interesting, spatial qualities.

By choosing two contrasting colors for the knitted fabric, light green and wine red, the sensation of weight was enhanced even more.

Figure 126. Pattern for knitted fabric. When the cut rags were woven into a surface, the height of the pattern decreased with approximately 50 %.

77 4.1.6 Developing Lush Bonanza

Working on the example of Geology/Geometry, with its strict pattern and eventually also rather precise hanging, an interest in developing a more fluid piece grew. Hence, Lush Bonanza were developed as a final piece linking the others as a collection as well as affirming the textile qualities of weight, warmth and softness.

As an attempt of blurring the boundaries between weave and space, and also to highlight the thread, an workshop focusing on fringes was conducted (figures 127-129). The intention was build a better understanding of how different patterns were perceived when woven and when hanging loosely.

When woven, two categories were crystallized: the first, portrayed in figures 127-129, was abstract pattern in the weave and precise pattern in the fringes. The second, illustrated in figures 130-131, was precise pattern in Figures 127-129. Patterns dissolved into the weave and precise pattern in fringes. fringes. Abstract weaves, precise fringes.

Finally, for the purpose of enhancing both pattern and form, a grid pattern large enough to be perceived even in the loosely hanging fringes, was chosen for the continued development.

Figures 130-131. Geometrical shapes creating precise patterns in woven surfaces as well as in fringes.

78 Based on the pattern/form workshop from the process of Geology/Geometry, two rhombus patterns were developed: one grid and one form. Firstly, the grid was made large and color intense enough to compete with the honey comb structure of the weave. A bright, neon orange was put in contrast to the same wine red as in Geology/Geometry. Secondly, for the rhombus form, wine red, neon orange, lavender purple and light green (all picked up from other pieces) filled the rhombus and the background. As noticed in the early made swatches (figure 33), micro patterns created a raster on a distance and when coming closer, appeared as zig-zag patterns. Hence, a scale stretching from macro to micro patterns was used.

Figures 133-134. Knitted cotton fabric before cut into rags, woven into plain weave.

Figure 132. Sample weave of a grid pattern, exploring the percentage of shrinkage in warp direction. Figure 135. Zig-zag micro patterns.

79 Figures 136-137. Patterns for the circular knit machine.

Figure 138. Final patterns and pattern placement. One large scale rhombus grid in two contrasting colors, one rhombus in four colors including differently sized micro patterns.

80 4.1.7 On color

The color palette evolved gradually during the project. Dead stock yarns were collected in the beginning of the process, hence the first piece, Woven Prism, was made entirely in lavender gray and mint green (figures 139-140). From there, colors were added in turns. In addition to the first, another light green and wine red was used for knitted rags Figure 139. Figure 140. (figures 141-142).

Developing the colors for Lush Bonanza, the intention was to give it the role of an attention grabber and create rags as far from dusty cotton rags as possible. Therefore, neon orange was brought in, as well as a lavender purple, which was one of the few colors that could compete with the neon Figure 141. Figure 142. (figures 143-144). Also, the light green and wine red was reused in the piece.

Meanwhile, the cord for Metamorposis I, II, III was developed out from dead-stock yarn in another nuance of greenish gray (figure 145). Further, lavender purple was used in the surface pattern.

Furthermore, two additional weaves were Figure 143. Figure 144. produced in the series of Metamorposis I, II, III. One with the same yarns as Geology/ Geometry, connecting the pieces better as a collection, and another in light lemon yellow (figure 146).

Moreover, the yellow was repeated in the light projection. Due to its brightness and high level of saturation, it was the easiest color to project in any space. Also, the brightness of Figure 145. Figure 146. the light yellow in Metamorposis I, II, III could compete with the projected light, hence it linked the projection with the other pieces.

Last, the white ropes of Woven Space were projected with a gradation stretching from lemon yellow to dark purple. Figure 147. 4.2 Design Rationale

4.2.1 Reasons behind design decisions

Three dimensional weaving and spatial level of intricate production techniques. and haptic perception, where the design of Certainly, dimensional weaves generating a the weft is key, have all contributed to this haptic perception can occur regardless of any project. It is through the references of the chosen material or scale. Therefore, it can former and the theories of the latter that be said that the justification for the decisions decisions regarding pattern, color, scale, made are based on hypotheses about when a density and form have been developed. The perception is most efficient and sensuous. iterative process has lead to various amounts of shifts between the phases of thread The Development chapter itself is making and weaving, yet has through that characterized by a chronological order, contributed to a better understanding of why gradually mapping knowledge expansion and various decisions were made. improvement of design suggestions through time. In addition, the design process enables It has been significant to demonstrate interpretations of each example made, where the variety within each thread making theory and methodology is used to map its technique, to build a foundational knowledge qualities and reflect on which criteria it fulfills. and pattern library, while still sustaining complexity within every design. In most of 4.2.3 Argumentation that lead to the the unsuccessful examples, the ambition of decision designing haptic or dimensional qualities is visible, however these are inefficient in terms Through the process, there is a pre- of combining properties in one example understanding of what is being discussed. as well as instructing the viewer what to When producing examples the knowledge focus on. Therefore, it has been important expands, and the topic of discussion to develop examples that can easily disrupt is developed. Whilst key components traditional representations of dimensional were identified, it was easier to act with weaves, whilst still allowing the viewer to intentionality. This means that throughout the retrace the steps back to that preconceived experimentation, logic and reason evolved representational understanding of it. as time passed in order to put the spatial theories in relation to the examples. The 4.2.2 The justification for it dimensional weave with macro and micro patterns became the object of intentionality, Throughout the fact that the project has giving meaning to what was being explored. explored one material only, the focus has A successful example was recognized when it been kept on color, and macro and micro answered to a theory in several ways, as well scale patterns. Further, weft production as giving the design of the thread a purpose techniques appropriate within the time frame, as important as the woven design. make decisions for me by choosing a suitable

82 5.1 Result

5.1.1 Presentation

Developed through a theoretical and methodological approach, the chronological order of the design process has lead to an exploration of haptic qualities and aesthetics in weaves. By using traditional thread making techniques such as cordage, rope making and rag making, large scale weaves are created. The use of well-known techniques has been of great importance for the development of this work, as it is believed that pre-understandings of textiles add to the experience of what weaving is - connecting past with present.

The following page illustrates the proposed finished line-up (figures 148-149), consisting of five groups of examples, that together explore pattern and space through dimensional hand weaving. Each of the groups aims to interpret dimensional weaving, using the process of thread designing and making in an individual way.

83 Figures 148-149. 84 5.1.2 Woven Prism

Figure 150. (Ferro 2020). 85 5.1.3 Woven Space

Figure 151. 86 5.1.4 Metamorphosis I, II, III

Figure 152. (Ferro 2020).

87 5.1.5 Geology/Geometry

Figure 153. (Ferro 2020). 88 5.1.6 Lush Bonanza

Figure 154. (Ferro 2020). 89 5.2 Discussion

5.2.1 The power of thread design

There is a point in proofing that making by However, the project proves that hand hand plays an essential role in the design weaving does not necessarily go slower. process: the freedom of instant action on Surely, it involves more practical work than reflection is natural. Moreover, there is an industrial production. Nontheless, more obvious shift of focus when going up in decisions are made in action in comparison to scale, turning from surface to form. The soft those of the industrial design process: many geometries of the dimensional weaves create ideas are caught in the analogue. an oddity in space and its three dimensions talks with the space around it, catching light Throughout the project, the ambition has in a more complex way than the filtering, two been to have as many scales of patterns as dimensional textile. possible, in order to stimulate the senses and make the pieces attractive from several When it comes to large scale hand weaving, distances and angles: the woven structure there are two restrictions: firstly, the length of representing the largest form, followed by the the loom or the cloth beam limits the amount macro pattern on the surface and the middle of material that can be rolled on. The cloth’s sized pattern after that, and last, the tiny thickness generated by the many layers details of the knitted loops in the rags. woven simultaneously, create a difference of tension in the warp threads weaving at the top layer compared to the bottom layer. As a result, the bottom layer becomes looser and looser. To keep the shed clear, there is a constant compensating in thickness of the weft in the different layers, and other small adjustments in the tension of the warp. Further, it is fully possible to weave something larger than oneself, however handling the weave when it is cut off the loom needs assistance.

It takes practice and concentration to weave six layers at a time. Since the top layer is the only visible while weaving, one has to keep a track of the pattern position in every one of them. The action of weaving holds much tacit knowledge. Several things are happening at the same time, and only time can learn the lesson of looking at the right details.

90 In Hella Jongerius’ Interlace, Woven Research, Design often involves products and thereof there is a shift of focus from weft to warp. economy. However, by designing and “Shifting the hierarchies”, it is explained. highlighting something in the interspace However, the pattern possibilities of weft between object and human, topics such as materials in weaving are more profound, color and form can teach us something about since the weft is exposed to less tension quality. during weaving and consequently, holds a larger potential material repertoire. There, Regarding Hemmings’ call for a designer the nuances in light an heavy, fragile and that knows how and when to move between dense, can be more exaggerated. technology and craft: if technology means to apply scientific knowledge for practical Due to the work invested in production of purposes, a machine is a device that weft materials, the details of the examples’ transmits or modifies force or motion, and threads are accentuated even from a a tool is a device held in the hand to carry distance. Consequently, there is a shift of out a particular function, then the braiding focus from object to material - favorably a machine, the computerized hand loom as well welcome move of attention. as the drilling machine used in this project have acted as devices somewhere between As discussed above, even though every machines and tools. Possibly, an electronic example has had a clear vision of form, tool modified for a specific purpose could be the end result has a strong material focus. viewed as a fusion of technology and craft, Through conscious work with large scale and certainly, a self-managed technical device threads, the story of the creation is easily provides the designer with power. accessed. When coming close to the pieces, traces of the hand can be discerned: the Design speculates in the future. Solnit states traces of the process that has built up that [... to become a maker is to make the the immersive pattern, line by line, are world for others, not only the material world mesmerizing. Small varieties in weft density, but the world of ideas that rules over the differently sized rags, uniquely embellished material world, the dreams we dream and ropes - all discern reflections made in action. inhabit together] (Solnit, 2014). Importantly, Traces of the process left by the designer objects speak without words - it is embodied engage the spectator, reassess the value of imagination. Nevertheless, design can also, as the production process and consequently, Ettore Sottsass declared in the sixties, be [... also of the object. a way of discussing society, politics, eroticism, food and even design. At the end, it is a way Throughout the project, a central question of building up a possible figurative utopia or has been: how can we create multi-faceted metaphor about life (Dormer, 1993). Clearly, experiences where space, hand and design deals with imagination as well as technology are connected? One suggestion realization, and the slow process of making is: when one can see traces, that something thread is both political and pedagogical. has happened, when a sequence of events can be discerned. Maybe, from a human’s perspective, that is what time looks like.

91 5.2.2 Considerations for further work

From a haptic and spatial perspective, the design program can benefit from a more varied selection of materials. By consciously working with theories of spatial perception, transparency, light reflection and absorption in materials, dimensional weaving could be developed further. Earlier projects within the design program prove that shiny and matte materials, as well as textures, enhance the haptic perception. For example, other bindings than plain weave on the surfaces such as rose path and broken twill, could develop the tactile-visual qualities in the textiles even more.

Alongside the theories of perception, exploring color theories could contribute to the development towards an independent color scheme. Conscious work with theories such as that of dimensional colors, claiming that certain colors can effect the perception of a form, could serve as a tool of enhancing three dimensionality. To conclude, color theory could lead to stronger spatial effects and consequently, give textile design the forceful position of a sensation director.

92 5.2.3 Reflections on how a line becomes As an anthropologist, the view of a thread a surface > a space > a trace. Or a is rather metaphorical, but as a maker of conversation textiles, this literally describes the process of rag rug making: a fabric cut into rags, re-woven. The perception of a continuous line on a coherent surface, gives it the appearance of a trace. Clearly, the technique of Kasuri enables the spectator to follow how one long line is drawn back and forth into a pattern. The digital and the physical characteristics of a thread connect the history of and the development of textiles, stories Points joined together continuously in a row that are strongly connected to memories and constitute a line. So for us a line will be a sign emotions that let the mind wander. whose length can be divided into parts, but it will be so slender that it cannot be split . . . If many This is how weaving and writing meet. The lines are joined closely together like threads in a common derivation of the words text and cloth, they will create a surface. textile from “texere”, translated to weave, points to the significance of this relation Leon Battista Alberti, De Pictura, 1435 (Ingold, 2007). Similarly to the weaver’s (Alberti 1972: 37–8) shuttle that moves back and forth as it lays down the weft, so does the writer’s pen move up and down, leaving a trail of ink behind it. It is both a visual trace and an underlying story Ingold defines a thread as a filament of some that can be more or less read with knowledge kind, which may be entangled with other of the background. threads or suspended between points in a three dimensional space (Ingold, 2007). Last, the woven space is my settlement Similarly, in 1926, Kandinsky noted that [... with the woven past, the contemporary 3D a particular capacity of line is its capacity to weaving, and the making to find new paths for create surface] (Kandinsky, 1982). Further, a wished future. The importance of the action Ingold argues that it is initially through to prepare materials, is in fact ceremonial. the transformation of threads into traces, The thread tells a story; one that holds that surfaces are brought into being, and women’s work at home as well as industrial conversely, it is through the transformation production and fast-consumption of matter of traces into threads that surfaces are as well as of experiences. Planning warp and dissolved (Ingold, 2007). weft interweave time and space. The tale can be more or less discerned. Traces of the hand, of the interplay between light, material and space, aspire for ephemeral sensation and momentarily experience.

93 5.2.4 The in-betweens There is something exciting in the interspace. Metaphorically, but also physiologically. As Albers states, “[a]rt is concerned with the discrepancy between physical fact and psychological effect.” The physiological perception, in other words the optics, generates a psychological effect.

The spatial relations of the objects in the collection, between the pieces and between the component parts within one piece, can be perceived as interspaces. Especially flourishing are the spatial transformations There are also other places where one can feel in a moving piece. The constantly changing full of grief of hate, between the hall doors shape of the space, by haptic perception where the letters drop through the letterbox, for and kinaesthesia, evokes the experience of a example. The hall door has small red and green metamorphosis. glass panes, it is narrow and solemn, and the hall is full of clothes, skis and packing cases, Interspace creates form. Form between but it is between the two doors that there is just spectator and object, form between surfaces enough room to stand and hate. If one hates within an object. This space is my attempt in a big space one dies immediately. But if the of taking the role as a sensation director space is narrow the hate turns inwards again designing for the senses. and goes round and round one’s body and never reaches God.

Tove Jansson, 1968

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96 Table of Figures

Except as noted below, photographs and figures are by the author.

Berg, J. (2020) Three dimensional patterns [photograph]

Berthonneau, J. (2019) Bouncing Patterns [photographs]

Bigolin, R. (2018) Immersive Installation [photograph]

Björkquist, K. (2017) Panama [photograph]. In Pärson, Å. Fabricate: composition and texture. Stockholm: Pärson

Dekker, D. (2015) Intersect [photographs], http://www.dienkedekker.com/?p=1095 [2020-09-10]

Diaz, S. (2020) Studio HILO [photograph]

Ferro, D. (2020) [photographs]

Gimbrere, F. (2007) Standing Textile(S) [photograph], https://www.fransjegimbrere.com/projects/ StandingTextiles/StandingTextiles.html [2020-09-10]

Gäfvert, J. (2019) Nu allongé sur le canapé (With her eyes shot) [photograph]

Kirsten-Collein, U. (1926) Untitled (Material Study by Otti Berger, Josef Albers’ Preliminary Course, Bauhaus Dessau) [photograph]. © Tate. https://www.tate.org.uk/art/artworks/collein-untitled- material-study-by-otti-berger-josef-albers-preliminary-course-bauhaus-p80042 [2020-09-11]

Nipkow, E. (1952) Linen slub clothing material [photograph]. Harvard Art Museums/Busch- Reisinger Museum, Gift of Mrs. Walter Gropius. https://www.harvardartmuseums.org/collections/ object/223608 [2020-09-11] van Tour, R. (2019) Interlace, Woven research [photographs], https://roelvantour.com/lafayette- anticipations [2020-12-23]

Walters, K. (2018) Form from Flat [photographs]