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University of Huddersfield Repository University of Huddersfield Repository Redmore, Nicola Open to change: Embracing nature and the fragility of design. An investigation into outdoor seating materials through the practice of leno weaving. Original Citation Redmore, Nicola (2014) Open to change: Embracing nature and the fragility of design. An investigation into outdoor seating materials through the practice of leno weaving. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/23669/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Open to change: Embracing nature and the fragility of design. An investigation into outdoor seating materials through the practice of leno weaving. Nicola Redmore A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Masters by Research June 2014 Abstract The research documented in this thesis investigates the potential of leno woven fabrics to be developed for outdoor seating use, and to understand the influence that hand- weaving of these fabrics has on the design process for the commercial textile designer. It investigates the potential of hand woven leno fabrics to be aesthetically pleasing and yet meet the physical requirements for a seating material exposed to the external climatic conditions. Themes of, material change over time and fabrics that blend into the landscape are explored through a series of samples produced on a handloom using a range of manmade and natural fibres. Contemporary weave practitioners, artists, product designers and an analysis of the current uses of leno fabrics has informed and guided the direction of this research. The hand weaving of doup-controlled leno fabrics employing a mix of monofilament and wool yarns has resulted in the creation a range of dynamic, stable and open net-like structures that could be suspended within a seating frame. It has been demonstrated that this method of fabric production is capable of producing strong yet flexible substrates whose design successfully reflects the beauty in colour and forms found within the landscape. Reflection on the relationship between the handcraft of weaving, and the decision- making process and knowledge of the textile designer has been recorded. The resulting knowledge of the design process and the insight into the mechanics of leno weaving on a table loom, are to be built into a programme of undergraduate workshop and weave theory lectures. This research has grown out of an interest in the slow decay of abandoned textiles in the landscape and forms a starting point for the exploration of how climatic conditions might affect the physical and visual appearance of a fabric used outdoors. 2 Acknowledgments Thank you to the University of Huddersfield Textile Workshops for the kind loan of a table loom for the duration of this project, and for the provision of a range of yarns used in the initial trials. I would also like to thank my supervisor, Dr. Pammi Sinha for her patience, understanding and support throughout this process and my partner for his emotional support. My final year weave students in 2013-14 have also provided me with the inspiration and encouragement to focus on my own studies. 3 Table of Contents Acknowledgments .............................................................................................................................. 3 List of Figures ................................................................................................................ 7 Glossary of Terms ........................................................................................................ 11 Chapter 1 Introduction to research ........................................................................... 13 Project background and overview ................................................................................................... 13 Inspiration ........................................................................................................................................ 14 Aims and Objectives ......................................................................................................................... 18 Criteria for analysis of samples ........................................................................................................ 19 Chapter 2 Literature Review ...................................................................................... 21 Introduction ..................................................................................................................................... 21 The plastic bench ............................................................................................................................. 21 Open networks, dynamic structures ................................................................................................ 23 Taking imagination seriously ............................................................................................................ 26 Ageing and decay ............................................................................................................................. 28 A decayed aesthetic ......................................................................................................................... 31 Interventions in the landscape ........................................................................................................ 33 Ghost nets ........................................................................................................................................ 36 Chapter 3 Leno techniques, the alternatives and seating ......................................... 40 Techniques employed in creating open structures .......................................................................... 40 Methods of producing open fabrics. ................................................................................................ 41 Macramé ............................................................................................................................. 41 Lace ..................................................................................................................................... 41 Warp knitted lace ................................................................................................................ 41 Open nets produced through weaving ................................................................................ 42 Leno fabric samples in the archive ...................................................................................... 44 Leno weaving ................................................................................................................................... 45 Mechanisms used in the production of Leno weaving. ....................................................... 46 Leno Advances .................................................................................................................... 47 Nets, seating and the great outdoors .............................................................................................. 48 Contemporary seating concepts ......................................................................................... 49 4 Leno fabrics in seating ........................................................................................................ 52 Chapter 4 Methodology ............................................................................................... 55 Introduction ..................................................................................................................................... 55 Methods for capturing information ................................................................................................. 55 Methodology overview .................................................................................................................... 57 Design research or craft practice-led research? .............................................................................. 60 Visualisation and development of ideas .......................................................................................... 60 Methodology for textiles ................................................................................................................. 63 Weaving by hand ............................................................................................................................. 66 Hand versus machine .......................................................................................................... 67 Thinking time on the loom .................................................................................................
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