A role for industrial looms in craft research
DOI:
https://doi.org/10.7577/formakademisk.4202Emneord (Nøkkelord):
Woven textile design, jacquard weaving, craft research, digital fabrication, CAD/CAMSammendrag
As a definition of craft practice, the workmanship of risk emphasises the judgement and skill of the crafter, as they engage with materials, tools, and techniques to produce artefacts. Through experimental design research methods, self-forming three-dimensional textiles were created with the aim to develop both the use of digital and automated tools for weaving, and language to describe the process of textural forming in weaving when hand and machine meet. Examples of experimental work illustrate the potential of industrial looms as tools for crafting complex textile systems and expressions. The results include a method for crafting at the intersection of the workmanship of risk and CAD/CAM, providing a framework for this hybrid practice, while a new language of textile forming for craft including industrial and CAD/CAM tools emerges.
Referanser
Adamson, G. (2007). Thinking through craft (reprint 2013). Bloomsbury. https://doi.org/10.5040/9781350036062
Albers, A. (1965). On weaving (reprint 2003). Dover.
Bang, A., Trolle, H., & Larsen, A. (2016), Textile illusions-Patterns of light and the woven white screen. In N. Nimkulrat, F. Kane, & K. Walton (Eds.), Crafting textiles in the digital age (pp. 47-60). Bloomsbury. https://doi.org/10.5040/9781474285902.ch-004
Brock, P. (2010). Acquisition information sheet: CC accession no. T173, T174, T175. Crafts Council. http://onviewonline.craftscouncil.org.uk/4040/files/T173-PDF-1.PDF
Collins, J. (2007). Sculpture today. Phaidon Press.
Corning, P. (2002). The re-emergence of "emergence": A venerable concept in search of a theory. Complexity, 7(6), 18-30. https://doi.org/10.1002/cplx.10043
Dormer, P. (Ed.). (1997). The culture of craft: Status and future. Manchester University Press.
Downes, T., Acti, T., & Rumble-Smith, D. (2016). Digital embroidery practice. In N. Nimkulrat, F. Kane, & K. Walton (Eds.), Crafting textiles in the digital age (pp. 35-46). Bloomsbury. https://doi.org/10.5040/9781474285902.ch-003
Foote, J. (2017). Redoing is the new undoing: Workmanship of risk and certainty in digital craft. Il Quaderno: The ISI Florence Journal of Architecture, 2, 12-19.
Field, A. (2008). Collapse weave: Creating three-dimensional cloth. Trafalgar Square.
Gaca, A. (n.d.). About. Aleksandra Gaca. https://www.aleksandragaca.eu/about
Hemmings, J. (2007). NUNO: Tradition & Technology. Surface Design Journal, (Summer 2007), 6-11. https://www.jessicahemmings.com/nuno-tradition-technology/
Hemmings, J. (2012). Warp & weft: Woven textiles in fashion, art and interiors. Bloomsbury.
Loh, P., Burry, J., & Wagenfeld, M. (2016). Reconsidering Pye's theory of making through digital craft practice: A theoretical framework towards continuous designing. Craft Research 7(2), 187-206. https://doi.org/10.1386/crre.7.2.187_1
Millar, L. (Ed.). (2005). 2121: The textile vision of Reiko Sudo and Nuno. University College for the Creative Arts at Canterbury, Epson, Farnham, Maidstone and Rochester.
Piñeyro, A. (2019). Kinetic morphologies: Revealing opportunity from mistake. Design Journal, 22(sup1), 1871-1882. https://doi.org/10.1080/14606925.2019.1595027
Philpott, R. (2012). Crafting innovation: The intersection of craft and technology in the production of contemporary textiles. Craft Research, 3(1), 53-74. https://doi.org/10.1386/crre.3.1.53_1
Piper, A., & Townsend, K. (2015). Crafting the composite garment: The role of hand weaving in digital creation. Journal of Textile Design Research and Practice, 3(1-2), 3-26. https://doi.org/10.1080/20511787.2015.1127037
Pye, D. (2010). The nature and art of workmanship. Cambridge University Press. (Original work published 1968)
Redström, J. (2011). Some notes on program/experiment dialectics. In Nordes 2011 - Making Design Matter. Nordic Design Research. https://archive.nordes.org/index.php/n13/article/view/91
Richards, A. (2012). Weaving textiles that shape themselves (reprint 2016). The Crowood Press.
Risatti, H. (2007). A theory of craft: Function and aesthetic expression. The University of North Carolina Press.
Smith, T. (2014). Bauhaus Weaving Theory. University of Minnesota Press. https://doi.org/10.5749/minnesota/9780816687237.001.0001
Sudo, K., Hodges, R., & Birnbaum, A. (1997). Boro Boro. Nuno Corp.
Tandler, L. (2016). The Role of Weaving in Smart Material Systems [Doctoral Dissertation, University of Northumbria at Newcastle]. http://nrl.northumbria.ac.uk/id/eprint/31052
Taylor, J., & Townsend, K. (2014). Reprogramming the Hand: Bridging the craft skills gap in 3D/digital fashion knitwear design. Craft Research, 5(2), 155-174. https://doi.org/10.1386/crre.5.2.155_1
TextielLab. (2015). Yearbook TextielLab. TextielMuseum.
Thompson, R. (2014). Manufacturing processes for textile and fashion design professionals. Thames & Hudson.
Thomsen, M. R., & Tamle, M. (2009). Narratives of Making: Thinking practice led research in architecture. In J. Verbeke, & A. Jackimowicz (Eds.), Communicating (by) Design (pp.343-352). Chalmers University of Technology & School of Architecture Sint-Lucas. https://adk.elsevierpure.com/files/111874/narrativeofmaking_format4_short.pdf
Nedlastinger
Publisert
Hvordan referere
Utgave
Seksjon
Lisens
Opphavsrett 2021 Kathryn Walters
Dette verket er lisensiert under Creative Commons Attribution-NoDerivatives 4.0 International License.
- Forfatteren(e) beholder sin opphavs- og kopieringsrett til eget manuskript, men gir tidsskriftet varig rett til 1) å fremføre manuskriptet for offentligheten i den opprinnelig publiserte digitale form, og 2) å registreres og siteres som første publisering av manuskriptet.
- Forfatteren må selv forvalte sine økonomiske kopieringsrettigheter overfor eventuell tredjepart.
- Tidsskriftet gir ingen økonomisk eller annen kompensasjon for innsendte bidrag, medmindre det er gjort særskilt avtale om dette med forfatteren(e).
- Tidsskriftet plikter å arkivere manuskriptet (inklusive metadata) i den opprinnelig publiserte digitale form, i minst ett dertil egnet åpent tilgjengelig langtidsarkiv for digitalt materiell, som for eksempel i de norske universitetenes institusjonsarkiv innen rammen av NORA-samarbeidet.
- Lesere av tidsskriftet kan ta utskrift av de fremførte manuskriptene under samme betingelser som gjelder ved kopiering av fysiske eksemplar. Dette innebærer at masseframstilling av fysiske eksemplar, eller framstilling av eksemplar for kommersielle formål, ikke er tillatt uten etter avtale med forfatteren(e).