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
2a 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 aesthetics, the visual haptics within a mate-

Most of the time, without realising, my hands and fingers are exploring new rial is the focus on the aesthetical quality of the material in relation to the sense

surfaces and new textures. Finding new intriguing compositions to play with, to of touch. Allowing for the mind to explore the tactility of a material when the

move, to adjust. ability to physically experience it is unavailable. “[A] textile is imagined, based
on its perceived tactile characteristics.” (Baurely et al, 2015) By focusing on this,

I know I am not alone, and know that the mind of most human beings crave the the viewer can begin to imagine the surface touch of the fabrics, and begin to

need to know how things feel. It is a way of exploring new materials, exploring explore the haptics of the textile without the material being present.

how things work. It is the child in us that has yet to grow up. It is the fascination
to constantly develop our knowledge on the world surrounding us. Focusing on the visual haptics of the fabric would lead to a natural increase in
intrigue once the fabrics are available in person. Now, the visitor is in touching

Working and developing textiles, this urge to feel and to explore through touch distance of this tactile quality, the urge to touch and explore can be satisfied

work hand in hand. To develop textiles in which the focus is not necessarily on and enjoyed. Allowing interaction within a textile piece would allow for physical

the typical function of the material, such as clothing or interior textiles, but how exploration and lead to a further understanding of the qualities of the material.

the human interacts with it. “[H]andeling a textile is crucial for its appreciation and understanding” (Bau-
rely et al.). It is only through this physical touch we can understand a physical
material.

18
1.2 Introduction to Play

Play can be described in many different formats, from getting lost in ones imagi-
nation, to hobbies, or the play of tricks on one another (Sutton-Smith. 2001 pg.4)
however, the reasoning behind the conduct of play is a constant. It is a stress-
free activity. This research within textiles will have a focus on the physical play,
that of exploring through senses, predominantly touch, to discover.

Our sensory encounters provide valuable information for our understanding

of our surroundings from a very young age. How does something work? What
are the materials like? Is it hot, cool, hard or soft? Do I like how this feels or am
I uncertain about this object? We are constantly making judgements with the
use of our senses. Using these senses to explore and to play with new materials
could not only teach us about the qualities of a material, but allow us to play in a
way that is stress releasing. To simply explore something new to allow the mind
to wander.

The focus within the work of Berglind was to also bring a “joy and playfulness
to the field” (2018) with a general aim to create fun within the textiles. Stating
“[o]ne of the qualities of textile design is that one should be able to touch and
interact with the work” (pg.84) she focused on a sense of happiness that her
pieces brought to the visitor. This sense of play within the textiles is an element
that is focused upon also through Dynamic Folding Knits.

Within this research, the focus will not be more to the creation of textiles that
Fig 1. Berglind, J Hairy Filter 2018.
allows for play and exploration through physical interaction. A piece of interac-
tive design. The play is integrated into the piece by allowing the visitor to get
lost with the physical sensations of the textiles in a similar manner to getting lost
within their imagination. There is no expected outcome or problem to solve with
the textile other than that of exploration.

19
1.3 Introduction to Folding

Folding. A simple process to create three-dimensional form within a material. Be

this to twist, curve, or crease, folding a flat material into form cannot be achieved
without this relatively simple psychical process. (Jackson. 2011 pg.9)

The folding of textiles is a surface manipulation process, to alter the form of the
material, and to incorporate surface pattern and detail to an otherwise flat piece.
If structured, folds can become crisp and linear. Geometry influenced patterns
turn generally soft fabrics into pleated strict formed patterns. Introducing
folds through more organic methods, such as gathering and draping, the fold
becomes the undulation of material. Softer on the eye; a more natural creation
of volume, similarly to the folds of a fabric as it drapes once hung, compared to
strict mathematically calculated folds.

Origami, the practice of folding paper, was seen as a past-time and a leisurely
activity that then through time, grew to be admired as a form of art (Rich-
man-Abdou 2017). These methods of folding have been taken from a simple fold
of paper from the 1st century in China, to intricate and delicate displays to now
the manipulation of fabric for fashion and interiors, to science purposes for uses
in today’s space technology (Zirbel 2014).

Folds within the material of cloth has also been practiced through time. Pleat-
ing and gathering fabrics to form shape was used as early as Ancient Greece in
which lengths of cloth were gathered, twisted and set within a starch solution
(Encyclopaedia Britannica 2020). Today, similar processes still exist, yet the pro- Fig 2. Konjevod, G., No 28. 50-50. (2016)
duction of synthetic fabrics allow for more complex shapes and more permanent
form to be achieved. Whilst heat setting and steaming fabric into shape still
being the favoured and most traditional process, a development within fabric
construction itself now allows the integration of folds and form into the fabric
structure to create internal pleats.

20
1.4 Introduction to Knit

Believed to have been developed from the 3rd century in the Middle East (Black,
2012), the process of knit is the creation of intertwining loops that interlock into
each other. Traditionally formed from needles, development has lead through to
the creation of basic machines for home use, to that now of industrial machines
for mass production of textiles and garments.

Flat knitting compromises of a flat piece of knit as a result, rather than a tube;
the resulting fabric from circular knit. Within flat knitting, both warp knitting and
weft knitting techniques are used, however the development of weft knitting
processes will be focused on within this research as it has a “greater versatility
in loop structure combinations and patternings” (Wonseok, 2005). Whilst warp
knitting uses many lengths of yarn that run vertically into the construction, weft
knitting can be the use of a single length of yarn to construct the fabric as the
carriage moves horizontally across the needle bed. The ability to create formed Fig 3. Dubied Machine Poster (1950s)
and structural fabric from a single yarn has been a personal draw to the develop-
ment of knit materials; the exploration of how just one yarn can create so much
diversity within a fabric.

21
Flat knitted fabric offers an almost unlimited breadth of possibilities of stitch
manipulation to create texture and shape of fabric through fully-fashioned1 piec-
es alongside an incorporation of a limitless range of yarn type (Onegina, 2017).
By simply altering the placement of the stitches, or the sequence in which the
needles are used, the final surface of the knit fabric will alter. This ability to form
structural pieces within the binding gives the knit its character and form within
the primary material, rather than through a material manipulation process at a
later stage of fabric construction. It is within the one process that material and
form is made.

Knit, with it’s malleable and flexible qualities, is generally more associated with
clothing and interiors rather than form and structure. Yarn and technology de-
velopments within the field are beginning to suggest this textile could be used
within form and structural projects. Spacer fabrics being one of the most struc-
tural knit materials, has it’s role within compression or sound insulation materials
(Glazzard pg.159). Knittel, C et al (2015) begun to look into self-folding knit
structures for use within smart textile applications, and Knit-Crete use a knitted
structure as a mould to create a concrete sculpture. (Popsecu, M 2018).

The use of spacer fabrics within Wolff Metternich’s (2019) masters thesis creates
form and function that support the body and create a sense of comfort. The
thick spacer fabric is supportive and structural, creating form within a knitted
Fig 4 & 5. Wollf Metternich, The Burst, 2019)
material.

An intrigue into structural knit fabrics, and pushing away from the stereotypical
knit textiles (with an intention in clothing or interiors) will focus this research
topic. Exploring the possibilities of merging art with textiles through the use of
form and structure.
1 By means of fully-fashioned, the knit piece is constructed in the exact shape
desired, rather than as a material in which the shape needed is cut and extracted from the
material.
22
2. State of the Art

2.1 To crease (To fold).

Crease /kriːs/
Noun:
1a a line in paper etc caused by folding
b a fold or wrinkle
Verb:
1 tr (transitive) make creases in material

Fig 6. Foldability Display for Desso (2019)

Foldablity designer McCallum (2019) works with traditional origami folds and
meticulous precision within the geometric forms and shapes to control folding
techniques into large scale folded paper forms for functional home pieces, and
decorative interior panels or set design. Her art showcases traditional linear
pleats of origami yet allow this traditional technique to now serve a purpose
rather than be observed as a piece of art upon a plinth.

Transitioning through into fabric form, Studio Samira Boon is a textile architec-
ture studio in which “[a]daptive and dynamic textiles [are developed to] improve
the use and experience of spaces, acoustics, climate regulation and energy
efficiency.” (2020). These folds are structured as internal folds within the materi-
als. Constructed on the loom this ensures the fabric holds shape memory as the
folds are integrated into the skeleton of the material.

The development of folding within the textiles now allows practicality within
the materials. Not only do the materials posses aesthetical qualities but also
functional qualities; sound absorption, climate control and decorative collapsible
room dividers. Allowing the folds to form the fabric, a purpose can be brought Fig 7. Studio Samira Boon, Hortus Bionica: Proxi Flower (2019)

23
within the three-dimensionality of the material.

2.2 To form.

Form /fɔːm/
noun
1 The visible shape or configuration of something.

Form is a consequence of a fold. It runs parallel. Once a material has a fold

implemented, form has been made. The amount of form created can vary
dramatically from a delicate relief through the slight raise of material, to the vast
expansion of structure.

Weber’s (2018) felted panels have little created form. Only that of the fabric
layered on top of each other to give a delicate relief. Compared to the work Fig 9. Shilian, Unholy 216, (2019)
Fig 8. Weber, Eingefaltete Streifen, (2018)8
of Shilian (2019), in which folds create a harsh form and depth within the piece.
Both geometric in pattern, yet with vastly different expressions through form
from folds.

Not all forming has to be so rigid in pattern and conform to such strict geometry
similar to origami. A beauty in organic folding can easily be found with a crum-
ple of paper; “controlled anarchy and an antidote to the geometry” (Jackson
2011).

McPhereson (2019) stitch manipulation on semi-industrial knit machines create

organic undulations of material by allowing the knit to relax into shape. A beauty
within the randomness of this structure allows for a much more natural approach
to the fold that contrasts the geometric, mathematically calculated folds of ori-
gami. This organic form adds a delicacy to the knit fabrics.

Form within textiles is potentially one of the most important qualities. It gives
the material it’s purpose. Form for sound insulation, form for clothing, form for
art. Creating interesting structural qualities that can be explored through sight, Fig 10 & 11. McPhereson Untitled (2019)
touch and functionality.

24
2.3 To Self-Support. To Self-Fold

Self-Support. /ˌsɛlfsəˈpɔːt/

Adjective
1 staying up or standing without external aid

Related to Form, all folds are self-supporting once the fold has been imple-
mented. If we look back at the work of McCallum (fig 6.), the folds within the
paper form a structure. The support within the folds and the strength within the
materials allows for the form to support itself. If the folds and materials were not
self-supporting, the form would collapse back to the original flat state.

To ask the fabric to self-support, a decision on materials qualities, or construc-

tion methods needs to be addressed. The fabric would need sufficient stability
to allow for the form to support the weight of the fabric.

Miyake has developed fabrics in which self-supporting qualities are integrat-

ed into the construction process. With the application of steam or heat, folds
placed into the fabric during the fabric construction stage shall emerge, and the
fabric shall self-fold into a self-supportive material. This new technology allows Fig 12. Miyake 3D Steam Stretch (2015)
for the fabric to imitate origami, yet without the painstaking process of folding
and pleating by hand (Miyamae 2014).

Structural forming potential has been discussed primarily within woven materi-
als (Studio Samira Boon and Miyake respectively), however self-supporting knit
materials appear to have had lesser developments. Most certainly due to the
natural stretch and flexibility knit has to offer. Development into self-supporting
knit fabrics through material and technique choice is the fundamental progres-
sion of this research. To create knit textiles that can retain and remember form.

25
2.4 To Interact. to Play

Interact /ɪntərˈakt/
verb
intr. act reciprocally; act on each other

Interactive
adjective
1 reciprocally active; acting upon or influencing each other
2 responding to the user’s input

The human naturally explores through the senses to learn more about their
physical environment, and objects within. Touch and sight being the main senses
that explore interesting materiality and objects. As Jeon states “[t]ouching is
an important way of exploring … since it can help us understand an object’s
aesthetics” (2015).

Textiles are found within “every part of our psychical environment” (McQuaid
2012) and influence our everyday lives. Despite textiles being ever present, our
engagement and interaction with textiles is often through functioning textiles;
items of clothing, bed linen and curtains to control natural lighting. Textiles with-
in art are generally only viewed rather than experienced.

Ernesto Neto is an exception to the norm and uses space and textiles to intrigue
and encourage the viewer to interact and experience his art. Gaia Mother Tree,
an installation within Zurich train station is a ”walk-in structure that functions as a
meeting place and a venue for interaction and meditation” (World Art Founda-
tions. 2018), a place for contemplation and calm amongst the hustle of every-day
life.

Incorporating organic shapes and materials, Neto “engage[s] all five senses, pro-
ducing a new type of sensory perception that renegotiates boundaries between
artwork and viewer ” (Tanya Bonakda Gallery. 2020) within his installations.

26
Fig 13 & 14. Neto, Gaia Mother Tree (2018)
3. Motivation

Touching textiles is as an every-day happening and often evokes emotional asso-

ciations (Jeon. 2015). The textiles of a teddy-bear we have had from childhood
brings back fond memories and a sense of security. The linen on our beds relax
us and bring us comfort. An upholstered chair adds individuality and personality
to a home. Textiles have a “fundamental part in human daily life [and have done]
for thousands of years” (Mazouer, 2015 pg.1), and will continue to do so. Our
interaction with textiles is not only a continuous and ongoing experience, but
one that results in a strong relationship between the physical exploration of a
material and the emotive connotations.

These textiles within this research will be developed through self-folding and
The motivation of this research is to develop textiles in which the focus is not just
self-supporting techniques within knit fabrics. It feels important that the folding
the visual aesthetics of the materials, but the visual haptics and visitor engage-
structure is integrated into the fabric, as once “embedded in the material, the
ment. To develop a textile that is somewhat satisfying to touch and intriguing to
form reveals itself” (Blaisse, 2013. pg 146). Once the foundations of the fabric
experience. It encourages the viewer to revisit the textiles and to explore further.
has structure and shape, the form naturally then is able to come to light without
much further manipulation processes. Having previously delved into the depths
“Experience is critical, for it determines how fondly
of folding knit materials and integrating the folds into the structure of the fabric,
people remember their interactions.” (Norman, 2013, pg.10)
these materials offer interesting and intriguing physical properties that naturally
encourage the viewer to explore.
Typically textiles are considered for interiors and clothing rather than as an in-
teractive material for the focus to be on the experience rather than the function.
As Mazouer states, “[k]nitted pieces have the potential to retain their three-di-
Emphasising on interaction, similarly to that of Neto and Berglind, the viewer
mensional shapes without the presence of a [form] to support them.” (2015). Knit
can experience the work for what it is, rather than searching to find the purpose
lends itself naturally to the creation of shape whilst in the basic fabric construc-
behind the textiles. To see textiles for what they are within colour, texture and
tion due to being so flexible to manipulate through stitch construction.
form.

27
4. Aim

This work aims to develop three-dimensional self-supporting knitted fabrics through

folding techniques.

With a focus on visual hapticality and tactility to encourage interaction.

28
5. Design Programme

This section discusses previous findings in past projects that have lead to the
direction of this research.

A fascination with tactility, an appreciation for attention to detail, a tendency to

provoke reactions and a background knowledge in knit lead to the interest and
intrigue that fuels this research. Placing these four elements into practice, and to
then observe the viewers reaction, gives a personal gratification and motivation
to continue.

Having previously mentioned an inability to be still unless in a very relaxed state,

the notion to develop textiles that are for physical exploration has been a con-
stant strive, to not only satisfy my personal need to fidget, but also the satisfac-
tion of others to help calm and relax.

The fascination of haptic qualities within the surface of a textile and the want
to explore these through touch lead naturally through the following design
projects.

29
5.1 Folded Knit Fig 15 - 16. Hand knitted folding samples using the semi-industrial Dubied machine.

Folded Knit (2019) was the beginning of the exploration into developing the
integration of the folds into knit fabrics. Using paper as a starting point, the
research centred on basic fold patterns, and then developed knit bindings that
allowed for these paper folds to be mimicked within the textiles. Explorations
were started through the domestic machines but then lead onto the industrial
machines to gain a wide knowledge of the bindings and folding techniques.

Fold categories naturally developed over the course of the research focusing on
a particular fold method (the herringbone fold), and the inclusion of dimension- Fig 17 - 18.The development of folding techniques are tested on the industrial Stoll machines.
ality within the folds (folding to create a two-dimensional material, and folding to
create a three-dimensional material.)

Materiality development alongside development on knitting machines became a

focus to increase the success rate of the materials, and the intricacy of the folds.
A wide variety of yarn recipes were used to distinguish which yarns were best
suited for each particular folding technique. These changed and varied through
the different machines used.

The purpose of this project was to begin to understand how form and folding
techniques could be implemented into textiles. Having researched Knittel et al,
alongside domestic knitters, the understanding that self-folding forms within
knit was very much possible. It was now the understanding of how this could be
explored and developed through material, scale and a structural basis that drove
the project.
Fig 19 - 20. More developed pieces presented as ‘final’ tests for the project.
30
5.2 Knitagami.
Fig 21. Ripple test on the 10 gauge Stoll Machine within the weighted fold
Beginning to blend the knowledge of folding knit fabrics with the intricate Fig 22. Hand knitted ripples on the domestic Silvereed knitting machine within the
detailing within origami, Knitagami (2019) became the resulting research project. weighted category.

Through this development process, an appreciation for folds and forms of a

more organic nature were implemented into the textiles to explore form expres-
sion.

Aesthetical qualities within the knitted textiles became a focus. How could the
incorporation of colour or texture add to the visual haptics of the piece? Un-
derstanding the folding potentials also questioned the interactive nature of the
knitted textiles.

Dividing this project into three categories, Controlled fold, Organic Folds and
Weighted Folds, helped the viewer to understanding the qualities of the fabrics
they were exploring. The categories defined the expectation of the folding pro-
cess and the exploration.

Investigating into the Controlled Folding category, the viewer was able to un-
derstand there was a preconceived method to the folding of the material. The
organic fold allowed for a looser exploration. Although folding skeletons imple-
mented within the fabrics, the results were less defined and much more open to
interpretation. The Weighted Fold category allowed a perception that the folds
were related to a build up of material. The fabric became not only physically
more dense, but visually heavy.
Fig 23. Screen shots of a video made to show the folding and moving potential to the
folding structure within the Controlled Folding category.
31

5.3 Overview:
Through applied research; “a type of research that enables practitioners to
investigate and evaluate their own work” (Muratovski (2016), Pg.38), decisions
are constantly made on materiality and techniques used that would enhance the
interaction of the textiles. The previous projects have helped the development
of evaluation, and have enabled educated changes to be made to the textiles to
help enhance and encourage interaction.
32
6. Methods
6.1 The Reflective Practitioner.
Some of the decisions made within the development began to seem instinctive
and intuitive, however were it not for reflection throughout the process, this
would not be so. Practising the method from Schön (1983), decisions were able
to be made through the process of a continuous learning. Observing, reflecting,
analysing and then deciding were key methods to the developments within this
research.
“The practitioner allows himself to experience surprise, puzzlement, or confusion in a
situation which he finds uncertain or unique. He reflects on the phenomena before him,
and on the prior understandings which have been implicit in his behaviour. He carries out
an experiment which serves to generate both a new understanding of the phenomena and
the change in the situation“(Donald A. Schön, 1984, pg.68).
By continually practicing Schön’s methods, decisions for further sampling tech-
niques and larger scaled pieces became more intuitive. Through reflection upon
the basic samples, trust in ones own method of working is built. It soon became
clear the continuous reflection and observation of samples naturally developed
the knowledge. Decision making to forward the project then became a natural
progression of the whole process.
The use of Schön’s method within the research allows for a continuous reflection
and development of the techniques and textiles. Through this method there
were no failures of samples, just a learning process. This is similarly described
by Norman who suggests the word ‘failure’ should be replaced with learning
experience. That the human reflects on each ‘failure’ and alters their process to
that of a successful one, and in the process creates a learning experience (pg 64.
2013).
To gain a full understanding of yarns and techniques, one can only make a deci-
sion on the success of a sample once one has experimented and reflected. With
so many variables in place, observation and reflection is paramount to successful
techniques.
6.2 Play

The use of play within the development of the materials allowed for an explo-
ration into the movement, the form and the ability for shape change. Primarily
working with paper forms, the mathematics were finalised before being trans-
lated into textile form. This method of play allowed for the mind to wander and
question ‘what would happen if this....’, ‘how could this be folded’. Allowing
the mind not to question much for end result, or the process of getting there,
but the exploration of the process. It was this Play that was fundamental to the
development of understanding of the paper folds and the development of them
further.

To look at child’s play as an example, children play though their early life to
experience and begin to understand the world around them. The older the child
then becomes, play is less critical to their understanding as knowledge has been
gained and the child can begin to make educated guesses.

Witnessing a child play with a piece at the Stockholm Furniture Fair, it became
apparent that to a child the value or expense of fragility of a piece is not cared
for. What is most enticing are the colours, the shape, the movement of some-
thing. They do not possess much in terms of guilt or respect as their experience
at breaking or damaging items do not hold such severe consequences of that as
an adult.

Now, as adults, we can formulate preconceived ideas of how an object will

function based on pre-formed knowledge of prior experiences. This at first was
a result of play as a child, but now becomes the result of experience. Experience
of something has replaced play.

From this use of play as a method, the creation of art that allows for such limit-
less physical exploration, the textiles have focused on what entices the visitor.
Whether this is the structural element, the colour usage or the visual haptics Fig 24 & 25. Observing child’s play with the first flippable
knit piece at Stockholm Furniture Fair 2020.
becoming enticing to explore.

33
6.3 Domestic Knitting Machines

Although potentially perceived as basic due to their craft connotations, hand

knitting machines have the potential to be much more creative than the comput-
erised industrial machines. One has the allowance for each stitch and row to be
manipulated by hand throughout the whole knitting process.

The variety of materials that are able to be used are also much more extensive
than that of industrial machines as individual stitch manipulation and physical
control of the carriage over each needle allows for more challenging yarns to be
placed into the knit. This breadth of possibilities allows for the development of
ideas in a basic concept to be explored and played with before the potential of
transitioning onto industrial and potential more complex scale.

Working with the domestic machines for many years has allowed a full under-
standing of their workings, and the potential they hold for the development
of materials. These machines will be fundamental to the continuation of the
research on a more refined level.

The use of the domestic machines would allow much more exaggerated textural
qualities to the knits. As the maker has total control of the textiles whilst they
Fig 26. The domestic knitting machine construction Hand Made Mountains No.2
are knitting, an emphasis on the build up of material and dimensionality can
become the focus. Also no longer constricted by the automatic take-down 2,
techniques can be achieved in which the knit is placed back onto the needle bed
and re-worked. This build of form is not possible on the industrial machine.

2 Take down being the pull of the fabric down and away from the needle bed to
ensure the fabric does not become caught in the machine carriage or needle bed. Within
domestic knitting, the take-down is through the use of weights placed onto the knit material
so can be achieved manually and in much more precise areas.
34
6.4 Industrial Knitting Machines

Use of the industrial machines through out the research project allows for much
more intricate folding patterns to be implemented within the structure of the
material. By hand this process would have become a huge number of man
hours, yet once programmed was completed in a number of minutes. The focus
can now change from the general technique development, to focus on form
and structure. Allowing a progression and inclusion of surface tactility into the
textiles. A fusion of form, texture and the ability to scale within one machine.

The addition of colour into the materials also become much quicker to imple-
ment. Complex patterning of colour alongside the use of structural techniques
through several yarn feeders at one time resulted in a development of pattern
work not possible on the domestic machines. he focus was now not only the
form, but the colouring placement also.

The transition onto the industrial flat bed machines was developed through the
second and third research projects as described within the design program. The
ability to transfer the research onto the industrial machines gave quality fabrics
that are refined, precise and at a higher industrial standard.

These machines did, however, prove to be limited within certain techniques (as
will be explained through the development section) where decisions to alter
designs, or to take them back to the domestic machines were made where
necessary.

The use of circular machines within this research was not included. Current circu- Fig 27. The Stoll 330TC 12 gauge in progress with Untitled 2

lar knitting machine technologies allow for some three-dimensional techniques,

but no methods similar to those previously and currently used.

Each machine serves its purpose best with each technique for time efficiency,
quality and general expression. It is now down to the design and the formulation
of shape and form to ensure the most is gained from each machine and tech-
nique.

35
 Fig 28. Bunt im Dreick. Kandinsky, (1927),
Fig 29. Colour samples taken from Kansinsky.

6.5 Working with Colour

Colour, and the interaction of colour can help the process of enticing and
encouraging viewers to engage with the textiles. Most obviously seen within
child’s play, colour is used to create contrast within the objects and to differen-
tiate shapes, textures and play things. This contrast, and saturation is then most
enticing to children.

The use of primary colours is the most basic observation of colour theory and
the use of Itten’s rule of contrast of hue (1961). To elevate this further, colour
harmony (Anderson Feisner. 2006) is integrated to create a sophisticated colour
palette from which pattern can be played with both through geometric pattern,
and form pattern through the folds.

This colour harmony is through the use of tonality within the contrast of hue and
will often be used just with contrasts rather than a typical triad of colours.
To take an example of this; Wassily Kandinsky’s Bunt im Dreick (1927) portrays
the contrast of hue through desaturated tones. The contrast between the hue,
yet with the harmonious balance between nuance creates a playful sophisti-
cation. The piece became the inspiration behind the colour work within the
Fig 30 - 41 . Using samples of yarn to create colour samples
development of the textiles. Fig 42 - 44 Knitting the yarn samples into knit samples to explore with colour, and ratio of colour

36
 “Embedded in the material, the form reveals itself”

(Blaisse, 2013. pg 146)

7. Development

Although to be seen as a group of interactive knitting objects or pieces, the

method of thinking behind the development of work seemed to lend itself well
by introducing three categories; Strict Folds, Soft Folds and An Amalgamation of
Folds. There is an allowance to warp and bend the definitions in each category.
Some strict folds may become much more organic and soft, some soft folds may
possess more strict folding movements. It was an idea to use similar strategies
from previous research courses to organise the development of the work.

Thornquist 3(2019) suggested material, and the focus on material selection at

the beginning of the design process is fundamental to the development of
work rather than leaving the material development to be integrated into the
overall development. The materiality used within Dynamic Folded Knit has been
focused on through two previous design projects, therefore almost became the
starting point for the development within the categories. Without this previous
research, the resulting forms and knits could have taken on a much less compel-
ling expression.

3 Thornquist, C. 2019, Week 42, Material Explorations, Higher Seminars, Hög-

Fig 45. Folds implemented into the fabric reveals form.
skolan i Borås. 15th October.
37
7.1. Strict // Precise // Rigid Folds

The description of the strict fold would be one in which the fold is integrated
into the structure of the fabric, and one in which the fabric folds into predeter-
mined forms. The folds are much more structured. Similar to those of folded
paper in origami, the material will generally only fold in one direction.
The majority of these folds were constructed on the industrial machines.

The fold skeleton will help guide the visitor through their interaction and will act
as a sort of instruction manual. The visible rigid geometry to the folds shows the
visitor where each fold should take place, and in which direction. This limits the
interaction slightly to that of the fold structure, however, due to the exact fold
placements, and the unlikely materials, this entices the visitor to interact with the
structural knit fabrics. The visitor then has a choice. To follow the fold skeleton
and explore the folds in their natural fold directions, or to explore the fabric just
as that. A fabric in a much more organic nature, and to force the structural mate- Fig 46. Folding paper into strict rigid folds became the base and
rials out of the premeditated structures. starting point of this category.

Through play, the visitor can interact with and alter the predetermined fold into
much more organic shapes, however the folds will encourage the predetermined
shape to return with a little encouragement through the physical interaction.

38
7.1.1. Into The Pink

Origins:
Derived from the water-bomb tessellation fold traditionally from origami, this
material development first arose through the second design project in 2019.
Investigating how the fabric would fold once a tessellated fold skeleton was
implemented, the placement within textiles creates an interesting detailed fold.

Small in scale, the monotone piece originally developed drew attention through
the detail to texture and self-supporting qualities. Folding to form a duo-sided
material, the folding detail of the material attracted much attention to explore
the folds physically and visually.

Tessellation in form and structure being the main draw to use the water-bomb
tessellation. Creating a repetitive form of structure to create a strict three-dimen-
sional self-supportive form.
Fig 47 & 48. Final water-bomb tessellated knit piece from
39 Folded Knit design project
Fig 49 - 60. Interaction with a sample of the Pink fold. As the viewer stretched and compressed the module, the form was explored. Through the strict folding of the sample,
organic forms were introduced blending the boundaries of the folding categories.

40
Materiality and Form Developments:
Fig 61. Increase in scale lead to interesting singular
forms, however they lacked the structure and support
Once the basic form was set, scale and colour placement could be developed. from smaller tessellated forms due to material weight.
Jacquard knit techniques were advanced that allowed the continuation of folds
within the material. The use of Jacquard emphasising depth of field within the
piece once folded and formed according to the folding skeleton.

Tessellations and singular forms were experimented with to find the most allur-
ing textile form. Scale within singular pieces sometimes jeopardised the final
form with the weight of the module resulting in warped and collapsed shape
and fabric (fig 61.).
Tessellation placement also being of interest to give contrast of material through
delicate outer edges compared to that of the strict inner structures. The seem-
ingly fragility playing off against sharp structures within (fig 63.). However it was
thought this distracted the viewer away from the intended structure.
Scale and placement trialled and tested to reveal limitations. Variation of scale
within a singular piece could lead to more intriguing interactive textiles, however
similarly to fig 61., the results proved the weight of a large scales folding module
could cause the material to warp and collapse. Nonconforming to the strict,
controlled folding category.
Fig 62. Using the same principles as fig . to al-
ter the scale, however in this sample Jacquard
adds colour detail. Subtlety within scale may
prove more successful, however it may then
become more enticing as a textile to have a
Fig 63. Contrasts between fragility and structure uniform surface form of details ans structure
through outer edges and the dimensional inner area. compared to one which fluctuates in size.
Still monotone, the focus is on the form and the slight
shadow play that forms through the three-dimension-
ality. Developments with colour still continuing, this
bright chartreuse colour caught the eye through the
acidity. Striking yet to be developed further.

41
Visual Haptics and Engagement:

Investigating the complexity of the tessellation, and how this can be incorporat-
ed into textile automatically brought this textile into the haptic world by naturally
being intriguing to touch. As the knit fabric is not behaving in a stereotypical way
for knit; it is not conforming to the body as a garment, nor is it covering a soft
furnishing, instead it is standing rigid into an accumulation of points and valleys.
It has shape and form. It is a material that is going against the traditional values.
Although the forming structure has been kept similar throughout the develop-
ment, the overall shape, length and colours used intrigue visitors. Shown at Stock-
holm Furniture Fair, it drew the most attention. Despite the bold pink, the colours
become somewhat subtle in contrast. Accentuating areas of both high and low
relief, they help portray the folding pattern within the material. The eye can follow
the geometry easily through colour blocking and patterning.

The range of movement within the length also proves fascinating. The application
of the shrinking comfil yarn adding a sturdy quality to the textiles. The folding of
the textile will not be compromised despite regularly changing the overall form
and shape. The gentle flex within the knit combined with the structural folds give
the self-forming qualities within the fabric.

Presenting both sides of the material also provides a full experience of the fold- Fig 64. The Pink is constructed. With a shrinkage of approx 50%,
ing. Each side possessing different folding qualities create different expressions the full colour combination and pattern detailing is not revealed
until steam has been applied and the comfil thermoplastic yarn has
within the same singular piece of knit.
been activated.

42
 Result:

Exploring the textile within a length, positioning on the ground, a plinth and
then hung were trailed to best encapsulate the textiles character. These posi-
tions gave insight into how the material reacted with the surrounding, and how
formed when different outside support was used.

Working on the ground (fig 65 - 96.), two people were able to stretch and relax
the piece. Moving it along a horizontal form kept the three-dimensionality. The
relief from the flat surface up into the open, defying gravity, absorbed the viewer
into the tessellated pattern.
The undisturbed organic movement that occurred through the natural strength
of the material aided the structural element, the piece now displaying not only
strict and controlled folding elements, but an organic nature through displaced
tension within the length.

Fig 65 - 96. Images from a stop motion video made to explore the material through
the length. The fabric is stretched and warped.
43
 Fig. 97, Into The Pink draped over a plinth.

Half supporting the length upon a plinth (fig 97.), the piece began to take on
and own the surrounding space. Now half suspended, the length’s character and
bold personality becomes apparent. The viewer now intrigued by the undulating
shape such a conformed tessellation can give. This piece now not only occupies
the plinth it rests on, but the open space around, it becomes all-consuming.

44
 Fig. 98. Close up detail of Into The Pink.

45
 Lastly, hung (fig 99.) the length, suspended in air allows for a full 360* exploration
and interaction. With no need for support from below, the visitor can twist, fold
and bend the length to their liking. Full exploration of the double sided material
encourages open deformation of the strict folding, before the piece naturally
relaxes back into position. The movement is intriguing. Even left hanging the
piece can gently sways through the stretch and relax of the folds.

When static, the form allows for a visual exploration of the fold and tactility.
Shadow play within the piece allows for depth to appear enhancing the dimen-
sionality of the knit.

Simply the addition of a second colour, and the contrast of yarns that have been
used, allow for a much more detailed view of the knitted piece. When observed
closer, the contrast of materials entice the viewer forward to explore the differ-
ence in yarns. A wool placed through the flat squares add texture, whilst the
orange in the peaks and troughs bring

46
7.1.2 Cocoon.

Origins:

A continuation of Pink, this piece was a nod towards the original tessellation
piece from Folded Knit. Working with length of material was generally simple
due to the ability to repeat sections of the programming for infinite times allows
for an infinite length to be constructed. However, restrictions to the width of the
machine’s needle bed enforces a restriction to the final width of the fabric. This
was an area that was looked into to overcome. To abolish restrictions potentially
imposed by the machines.

Materiality and Form Developments:

Fig 100. The folded tem- Fig 101. Into The Pink in a twisted
Creating lengths that, once sewn together, continues the folding pattern was plate of Into The Pink position
relatively easy to program. Loosing the seams within the folds was also the
objective. Hand sewing these pieces together along the fold lines ensured for an
invisible seam.

A single length of a piece has width boundaries (fig 100.). They are visible within
eyesight, and although lead the viewers gaze into the centre of the textile,
the negative space around the piece contributes to the overall expression.
The negative space becoming an important factor. Even by just altering these
boundaries, as seen in fig 101., the eye is drawn to the overall shape and then
the detailing within. The shape much more enticing than the texture.

The intention was to create a piece in which the viewer could loose themselves
within the texture form of the textiles. A piece in which the visitor was surround-
ed by a continuous texture, extending into their peripherals. This was to be
achieved without the twisting or deformation of the textile as a whole. To have
one textural surface as the focal point. The visitor experiences that texture just as
it is. No warping, no twisting, no distractions. They can engage with the surface
texture, feel the resistance of the folds.

47 Fig 102. The folded template of the Cocoon

 Fig 103 & 104. Small scale sample of the tessellating folding pattern with shape exploration.

Using the same module as previously, the piece could bend, warp and deform
itself through the interaction of the viewer. The viewer would be in control of the
shape if desired. The scale of the piece would also allow the viewer to enjoy the
space as a whole

Modules of tessellation and form, the natural sound absorbency would create a
peaceful environment, encapsulating only what immediately surrounds the view-
er. A sense of calm within this space adds to the engagement and interaction.

How would the viewer now perceive this space compared to the previous sam-
ple of Longitude? How would the energy surrounding the textile change?
Working with a similar colour scheme to Longitude, this piece would be light
visually to allow for shadow play within the tessellation to take place. The focus
just on the texture and the forms of the folds rather than the colour work within.
Fig 105. Potential colour choices for Latitude. Ranging from deep weight-
ed colours that would absorb light to more refreshing tones. Visualising
these on a large scale, and with experience from knitting Longitude, it
soon became apparent an uplifting colour choice was needed to work with
the vast horizontal scale intended.

48
 Fig 106. The steaming process begins. The piece shrinks from 3mx3m by
50%

A decision was made to use a more neutral peach to recognise similarities with
the previous Into The Pink in which much more saturated tones were used. The
peach tone also creating a sense of calm. It is a light, weightless colour com-
pared to that of the dense sample, or the patterned colour choices of Longitude.
The piece, once hand sewn together, became a full 3m x 3m piece of material.
With a 50% shrinkage rate, the final dimensions become large, yet not over-
bearing. Shrinking and implementing the folds of the fabric by hand became a
lengthy process completed over a couple of days.

The weight of the final fabric would have a dramatic effect on the folding ability
of the material. Gravity enforced, the folds may not be as clean and clear as
the sample. The textural quality will still be present alongside the fold skeleton,
however it has to be realised the expression may be somewhat different to the
sample.
Fig 107. The contrast between the soft fabric and the rigid steamed tessella-
49 tions.
Visual Haptics and Interaction:

Already strong in haptics and tactility, the piece would be positioned in a format
to allow the viewer to experience the piece as a whole with no distractions. It
would be curved to maximise a sense of submersion within the fabric and the
folds.

The ability to alter the curvature of Cocoon will enhance the ability to alter the
engagement of the visitor. Fully moveable, the piece would be able to totally
submerge the viewer within the textiles. It becomes a cocoon. It is also fully ex-
tendible to a flat surface, now more representing a wall of texture. The flexibility
of the textiles becomes fully immersible as the viewer arranges the curtain how
they wish. How they feel comfortable.

As a double sided piece, Cocoon can be viewed from all perspectives allowing
a deep exploration into the structure of the material. The warping of the folds
through the curve of the display exposes the skeleton of the folding structure
deep into the crevasses.

The ability to alter the positioning of the material whilst being explored allows
Fig 108 & 109. The folds and immersion of the fabric is explored by Kara.
the viewer to alter their experience. They are not conformed to the set final
position of the piece.

50
Result.

With a final dimension of 1.45cm in length and 1.75cm in width, Cocoon com-
bines a delicate colour choice with a strong tessellations of folding patterns. It
can encompass the viewer into a wall of texture. Shadow play within the surface
texture defines the folds within the full piece.

Displayed hung, the wall of knit can be altered in curvature to the visitors desire.
It becomes a curtain. The visitor can decide just how enclosed they wish to be
within.

When positioned on the flat, the material’s ability to move and to fold can be
discovered with more free directions. It is not limited to a simple curve on the
latitude, but can form new folds and undulate (fig 112). This exploration of the
fabric is much more enticing to touch, however this does not fully consume the
visitor. The visitor can see beyond the material boundaries and the surrounding
areas. The room, other people, scenes from daily life now come into the play
and could potentially affect the engagement. Therefore, it is this reason the
piece has been set to be displayed in the vertical.

51
 Fig 111 & 112. Close up images of the surface structure

52
 Fig 113 - 124 . Movement from the two original flippable toys. How interaction through simply the application of pressure can alter the form.

7.1.3 The Flippables

Origins.

The idea of creating a piece that was easily flipped came from the development of The Coffee Filter (fig 113 - 118) in which folds within the fabric created an exact copy of the fold
when reversed. The piece had strength within this structure which allowed for the form to self-support. The tension in the negative areas of the fold were sufficient enough to outweigh
the weight of the fabric.

It was interesting to watch the piece as pressure was applied to the central point forcing the piece out of the determined shape, flattening it back to a two-dimensional material, then
reaching a point where the tension in the folds overtook the pressure point from above, flipping the piece into the reverses position.

Attempted with a couple of alternative folding skeletons, it appeared the most successful and most playful position was the original folding format.

The interaction from this piece was intriguing, and allowed an exploration into smaller module pieces that could be played with similarly to toys. The focus was now on the movement
of the piece, and the enjoyment from the interaction, rather than viewing the piece as a textile, or a knitted object.

53
Fig 125. Paper folding of the herringbone pleat.

Fig 126 & 127. The Red Piece from Folded Knit shows the potential and influence human interaction can have on
the form and shape of knit fabrics with a developed knit skeleton. This form was used as the base.

Taken from the development of the herringbone structure through Folded

Knit, this amalgamation of pieces within the strict fold category allow for visitor
engagement with very much a focus on play and enjoyment. Individual folded
pieces were to be constructed with a variety of fold lines that allow the viewer to
experience each piece as a separate textile form

Reflecting on The Red Piece within Folded Knit, it was interesting to see how the
piece reacted when sections were brought into a spherical position. How could
the hand manipulate the folds into new three-dimensional pieces?

54
Development:

To begin, a simple folding module was repeated through a long length of paper
which was brought into a circle. Compressing the folds within that length, the
piece took a new form. These folds were then experimented with to include
more complex folding strategies.

The scale of the pieces also determined how easily the pieces folded. The larger Direction of repeat
the height, the bigger the circumference needed to be to allow for the piece to
be turned inside out.
Fig 128 - 130. Developing paper folds for flippable pieces be-
Here the basic principles of Pi were used to formulate the diameter and circum- fore transferring the folds into M1+ Stoll programming.
Shown are the basic fold skeletons used.
ference where needed and unknown.

First tested on the 12 gauge Stoll machine, the ratio of the structural thermo-
plastic yarn was increased to help add stability and structure to the length.
Added structure ensured the folding patterns were strong and did not fall out of
place whilst the toy was being played with. Physically, the piece was able to flip
and stay within the determined shape without loosing structure.

The overall effect was very intriguing. Once put together, the piece would easily
flip and turn itself inside out with a little hand persuasion. It flipped repeated-
ly with little effort. This new movement within the piece that was very easily
achieved created much interest from visitors and viewers bringing an obvious joy
when they interacted with the toy.

Following on from this, the following pieces began to play with scale and the
folding potential. Increasing the fold lines to more complex structures, and
increasing the scale to test if there became a point in which the piece could no Fig 131 - 132. Extending the height of the module would
prove difficult for the module to flip correctly.
longer flip.

55
Fig 133 - 140. Showing the progression of folding and flipping the knitted piece. The structure of the folds and multiple shapes the piece and be places into can easily be seen.

56
 Visual Hapticality and Visitor Engagement:

It was natural to see a strong interaction with the pieces, and this
acted with a dominoes affect. Once one viewer had witnesses the
folding and playing potential within the basic flippables, it was
obvious there was somewhat of a need to experience these first
hand.

The further development of these flippables into further pieces

has resulted in more of a visually aesthectial structure rather than
a working flippable . Yes all pieces ‘flip’, however the ease of the Fig 141 & 142. Mid-turn the piece takes on a different character to the piece in motion.
first flip sample has not been recreated. There has been a focus
on the visual draw of the pieces and the ability to play with the
constriction and expansion of the folds.

Fig 143 - 148. Allowing natural human interaction with the piece and al- Fig 149 - 157. Continued natural exploration of the second flippable piece with a visitor who had yet to inter-
lowing an organic exploration into the folding and flipping potential of act and engage with the piece. The process of movement was not advised and left solely to the visitor.
57
the piece.
 Fig 158. A developed paper fold that is to be translated into a
knitted form. Creating more complex folding patterns will allow
for more intriguing and interesting knit patterns that challenge the
traditional perceptions of knit of clothing and interior textiles.

The progression of the simple folds within the repeated forms then naturally
lead to the development of more complex shapes and forms, and the inclusion
of colour and colour placement within the pieces.

Originally programming the forms to be duo-sided in colour (see fig 141), the
development in use of the ADF Stoll knitting machine allowed opened up more
intricate colouring options. This meant a method of plating and altering the
Fig 159 - 160. Fold skeletons used within the programming of the textiles.
sequence of yarn feeders, pattern could be included into the knitted forms (fig
161).

After the simple shapes shown above were programmed and tested, with
alteration to lengths within each folding section, the fold patterns become more
complex, such as the folding skeleton below.

58

The Original Sample
Constructed on the 330TC
Stoll machine using 2x28/2
yarns and 2xthermoplastic
yarns. The shrinkage rate
was high resulting in an
almost terry towelling
surface texture. The folds
are bulky but still work and
fold as the fold skeleton
requires them to.
Refinement would be
good to achieve, however
this is a good base to
knit materials in which
self-supporting qualities
are needed.
59
Sample 1: ADF Stoll
Machine
Transferring the program-
ming over to the ADF ma-
chine, plating was played
with to allow for colour
placement in sections of
the fold rather than using
a two-sided textile.
Holes were created due to
incorrect stitch sizing.
Lycra was tried instead of
thermoplastic to under-
stand the folding potential
of a softer, yet elastic yarn.
The piece was too soft to
hold structure and shape.
Fig 161. Test samples of the folding potential using the ADF Stoll machine.
Sample 2: ADF Stoll
machine.
Replacing the Lycra for
the thermoplastic yarn as
has been previously used
meant for a strong and
sharp result. The folds
within the material needed
little persuasion once
steamed.
The form was easy to han-
dle and felt strong.
This showed potential for
the developed recipe of
yarns.
In total 4 x 30/1 of cotton
and 1 x comfil.
Sample 3: ADF Stoll
Machine
Testing a new thermo-
plastic yarn that had a
lower shrinkage rate than
the comfil thermoplastic,
this yarn needed a higher
melting point for a longer
time than the comfil
thermoplastic. The results
proved less structural than
the comfil, however the re-
quired temperatures were
most likely not met.
As less shrinkage means
sharper folds, this could
be a development for the
future.
Sample 4: ADF
Stoll Machine
Lycra was once again tried
and tested with the in-
crease in cotton. The fold
lines are strong and crisp,
although the self-support-
ing element was not as
evident as the thermoplas-
tic useage.
A colour test was also
carried out to test highly
contrasting yarns. Result-
ing in a subtle melange
of colours rather than the
strict colour blocking that
can be achieved with the
330TC Stoll machine.
During the development of the flippable pieces, a workshop was devised
to test the various presentation methods of these pieces and interaction
could be encouraged.

Generally, as adults, we need permission to touch or play with something

that does not belong to us. We understand respect and feel guilt if a
piece is damaged or broken when in our hands. Therefore, we are not so
likely to explore new textiles or art pieces without a form of permission.

Through the following three experiments, it was put to test this theory.
Within the school, three basic set ups were constructed. The first in which
the knitted pieces were laid in the middle of the floor. The second, the
pieces atop plinths, mimicking that of an exhibition, and the third, the
pieces were purposefully hung in the direct line of sight in a restricted
width corridor.

The images were to portray the amount of visitor interaction around the
pieces and not the individual engagement, hence the cameras distant
position.

Experiment 1:
First was to understand if any contact would be made with the pieces
when put into an unusual position. Would the passers by even consider
the pieces, or would they view them as a dropped item? Would they care
for them in any way, moving them to a safer place so not to be trodden
on. Or would they take initiative and play with the pieces as if they were
scattered toys, exploring their potential.

Experiment 1: Results
The passers by generally did not take much notice of the pieces on the
ground, and only regarded them so they were not stepped on. It was
only when encouraged by myself to do so were pieces interacted with.
This solidified ideas that the pieces will need some form of professional
presentation method, and some form of permission to engage with them.

60
Fig 162 - 173 .Images from Experiment 1.
Experiment 2:
Now placed on plinths the pieces were much more within eye
line, and at a comfortable position to engage. The viewers did
not have to bend to the ground to pick them up. Visible signs
were now also put in place to give the permission of interac-
tion. Two words were used; ‘Touch” and ‘Play’. Purposefully
only using simple instructions, the interaction still was meant to
feel natural and organic.

Experiment 2 - Results:
On camera, this proved to have had the best results. Passers
by were intrigued and encouraged by the interaction of others
to step up and engage with the pieces. This began to develop
thoughts into the overall presentation of the pieces. Some form
of endorsement into the interaction would be needed.

61
Fig 174 - 185. Images from Experiment 2
Experiment 2:
Hung down a corridor, and in direct eye sight of passers-by,
these pieces were now entering the personal space of the pub-
lic. Interaction was forced, even if no physical interaction was
observed. If the passer-by did not want to physically touch the
piece, they still had to walk around it, engaging with it in a

Experiment 2 - Results:
These pieces were displayed for the longest amount of time as
they were originally set up in the afternoon when the space was
becoming emptier. With the camera not present, I was told of a
vast amount of interaction from others. The pieces were swung,
bounced and enjoyed on many occasions yet unfortunately not
captured.
The captured moments show less interaction, but it is still inter-
esting to view how interaction happens even when not physical.

62

Fig 186 - 197. Images from Experiment 3.

 Results.

63
 No. 1

64
 An incorporation of brighter colours brought a fresh approach to this flip.
Focusing on the inward folding modules, inspiration for this fold pattern was taken
from The Red Length from Folded Knit (2019) in which the herringbone fold was re-
versed upon itself to create a repetitive symmetrical folding pattern.
Whilst being turned inside out, the organic forms that are created are most intriguing.
Leaving behind such structure to twist and spiral into new softer formations.

65
 No. 2

66
Larger in width, this does not ‘flip’ so naturally, but once flipped the natural folding
ability is retained. Subtle colours enhance the forming and folding of the piece and
add a delicate quality.

Pleasure in constricting and expanding the folds through the piece is found, and
enjoying the ‘pop’ as the folds are implemented once again after being pulled out
of place.

Intrigue as the ‘inside out’ shape differs from the original creating a new form and
expression within the knitted piece.

67
 No. 3

68
 Smaller than the other flippables, this piece has the ability to be to-
tally turned inside out through the compression of the folds. It flips.
A light pressure on the central point and the flip, of it’s own accord,
will turn and change.
Light subtle colours with the most contrast of hue, shadow play is
enhanced through the placement.
The set folds are more angular, and with this flip turning relatively
easily, the geometry of the flip stays as a constant.

69
 No. 4

70
 Returning to a simple folding module to make a larger flip. Based from a mod-
ule created within the sampling, this piece is to twist and turn easily. The height
becoming a restriction in the ease of turning, the piece takes on organic forms in
the process. Spiralling into a tower before being re-positioned into the predeter-
mined folds.

71
No. 5

72
 The largest result of them all, this does not naturally flip, but once turned inside out, the
folds are still naturally placed and strong.
The movement within this piece centred around the expansion and contraction of the her-
ringbone folds allowing for the piece to open out horizontally, adding width in chosen
places.
Shadow play through colour placement help add dimensionality and tactility.

73
74
7.1.4 No.6 No So Straight Forward
No.7 Circular

Origins:

Falling into the same category and bouncing off the fundamentals of The Flip-
pables, No 6. No So Straight Forward and No 7. Circular use the same principles
however begin to explore scale, and exploring the potential to expand.
Working over a much larger surface area, the two pieces now work with a deli-
cate balance between weight and strength of the material to self-support and
become a structural textile.
The inclusion of two participants to flip the textiles would be an interesting de-
velopment. Now, not only can the viewer explore the textiles as a moving piece,
but experience the folding

The development process for these two pieces was worked on simultaneously
and together. Therefore it feels natural to describe the working process of these
pieces simultaneously.

Materiality and Machine Exploration:

The continuous development of folding textiles on the 12 gauge Stoll machine

has allowed for the confidence to program a folding skeleton and be confident
the folds will be successful. Smaller samples are constantly produced to view and
experience the movement within the piece, and once satisfied the programming
Fig 231. Revisiting the simple structure of the initial samples of the small folding pieces. This
scaled up to the appropriate size and placed into the machine. basic shape will be used but scale tested to create a piece that is both reversible, flippable
and allows interaction from multiple visitors simultaneously.

For the increase in interaction, similarly to the smaller original trial pieces of the
Flippables, a duo-tone is to be used. This intrigues the viewer, and encourages
them to explore both sides. As the piece twists and turns, the other colour is
revealed. With the viewer now captivated in the changing of colour through the
twist, the exploration of the textiles continues, engaging and amusing the visitor.

75
 Fig 329 - 235. Hand manipulation of a sample piece. A small scale version of one of the folds to be up-scaled.

Slightly larger pieces of material were knitted which were kept as a length to allow further understanding of the folding and form making capability. By this point of the exploration,
the understanding of the material and how it reacts with physical exploration was well enough established to know the textiles would hold up to play and interaction. It was not know,
however, how the pieces would execute on such an up-scaled version. This questioning of how the material would serve under the weight, and whether the material would self-support
in the same form creating ways as before was unknown.
76

Fig 236. The fold skeleton for Untitled 1
It was calculated that to use the full width of the 12 gauge knitting machine, the
small scale sample would have to be scaled by a ratio of 5. Therefore resulting in
a width of fabric of 75cm after it had been steamed and the comfil thermoplas-
tic activated and shrunk.
Now the final length of each repeat was known, the rules of Pi could be used to
determine the diameter needed for the piece to easily flip. Once these were cal-
culated, the circumference worked out, and then finally the amount of repeated
needed.
77
Calculations:
Final full width of knitted piece = 75cm
The full knit is then joined into a circle by hand through the final length. This
means the following:
75cm = Approximate diameter of the circle that will be made as seen in fig .
(For the piece to flip with ease, the width needs to not cross the centre point of
the joined circle of knit, hence becoming an approximate diameter. See fig 237.)
Now the diameter is known, the circumference
is needed to be formulated.
c=πd
If d = 75cm, c = 3.141 x 75
c = 282.6 cm
This would result in a circumference of 283cm
(if we round up to the nearest cm)
Therefore, to find the number of repeats needed, the circumference is divided
by the length of each repeat which amounted to 40 repeats needed for the
piece to turn.
Due to the size, and the time it would take to knit, the amount of repeats was re-
duced to 36. Loosing the remaining 4 repeats would not have made a significant
different to the overall play of the piece.
Fig 238. The steaming of the knitted Fig 239. Here, the new density of the Fig 240. The soft natural folds of Untitled 2 Fig 241. Scale is shown from the original test piece to the now up-scaled knit.
fabric activates the comfil thermoplastic fabric is revealed. Now the plastic has before the piece was steamed. Linear soft
yarn, shrinking and stabilising the ma- reached it’s final state, the knit becomes regular folds.
terial. structural and supportive.

After each piece knitted (between 4 and 6 hours each) the long length of material
needed to be steam and the folds set into place. Already feeling the weight of the
material, this process was also lengthy and challenging.
However through this process, the true characteristics of the pieces, and the form
ability became apparent. As the piece shrunk to size, the folds naturally took
shape. Constricting the piece into position on the limited size steam bed por-
trayed the intricate folds and compressed the fabric into it’s smallest form.

78
Visual Haptics and Interaction

These two pieces seemed to take on very similar characters, they could be seen
as the unidentical twins of the collection. Both very much from the same genetics,
created at identical timings, yet with very different characters and aesthetics. The
ability to move and fold them in similar methods allowed for the transition of ide-
as between the two. If one were to move the piece in this trajectory, would it have
the same effect on the other piece? The transition of movement between the two
showcased the similarities and also the differences of the two folding pieces.

Visually intriguing with both double sided, and the use of contrasting colours be-
tween the two sides, the scales of each piece seemed to be the most intriguing
element. Size creating an enticing value to explore.

No.6 was deemed much more interesting if set in a length rather and joined into a
circle. The length enabled the material to twist. The full size of the piece could be
appreciated. Due to the weight and size of the material, it would not self-support
in a similar approach to the smaller sample, so the focus was shifted.

No.7 had the ability to work in the round. As a middle ground size the piece had
less weight and less form to support. Standing at right angles, the folds extend
into the vertical, defying gravity and the standard connotations of textiles.
Tested before it was placed into a circle, it moved and shaped similarly to that of
No.6. Portraying the folds implemented into the structure within the length, the
piece could organically curve and undulate, yet still abide to the rigid and strict
folds that are the genetics of the material.

79 Fig 242 - 244 Matilda explores the form and shape possibilities with Untitled 1.
80
 Fig 246 & 257. Stills of the progression of folds and movements achieved by two people on No.6

81
Results.

The idea to create a piece that needed two visitors to engage and play with the
textile was realised through No.6. Here the pushed the limited of the strength of
the material to self-support, yet still structure and form was integrated into the
piece.

The double sided quality allowed for an exploration on both sides of the tex-
tile, allowing the visitors to explore the form and folding potential on both sides.
Working on the floor, the piece was not restricted to a certain size, therefore al-
lowed for the full extension of the material in which ever directed intended. Be
this to stretch the piece flat, fold and curve the knit into a more dimension or
simple concertina the material up into the predetermined folds.

Much more organic in form from the weight of the material despite the structural
folds. This piece shows the limitations of scale for the knitted material.

82
83 Fig 260 & 261. Different positions No.6 can be placed into through hand exploration.
Fig 262 - 273. Stop motion images of No.7 being explored as a length.

84
 Smaller in size allowed for the strength of the material to hold the weight. Essen-
tially a larger version of The Flippables, No.7 can be manipulated into a variety of
forms to help the understanding and folding methods of the piece.

Similar to the rest of The Flippables, once the fold skeleton is understood, the vis-
itor can explore the development of form. Turning the textile in on itself, standing
and supporting itself and also

Presented on a table or plinth, this piece is reachable without the visitor having to
go out of the way. The basic folding skeleton and bold colours entice the viewer
through the simplicity. With complex and intricate folds within the textiles, the
viewer may become overwhelmed and not interact with the piece as intended.
With No.7, however, the simplicity of form, folds and colour become much more
encouraging to the viewer to explore than a piece that may be complicated in
composition.

85
Fig 277 - 279. Close up images of No.7 and the folding skeleton.

86
7.2 An Amalgamation of // A Combination of
// A Blend of Folds

Unifying both folds into one, the amalgamation of folds is the joining of the two
previously discussed fold categories. Creating a textile that has both the sharp
skeleton of folds, and an organic accumulation of fabric.

A combination of structure yet an allowance of soft textures that contrast the

stricter qualities and together add a chaotic balance to the folding potentials of
the textiles.

The boundaries of each category should never be stringent. As strict folds be-
come organic through physical transitional of the folds, the soft folds do incor-
porate much more structural and geometrical shapes within the foundations, it is
purely within this category the strict and the supple are purposely placed within
the same design.

A textural combination of folding methods that unifies the two developed cate-
gories will allow for the two groupings to begin to blend together. Focusing on
the visual aesthetics, a contrast in texture, colour and movement through out the Fig 280 & 281. The category that combines both the strict folding, and the soft folding cat-
egories into one piece.
pieces will combine leading to a fusion of shape, texture and tactility.

87
7.2.1 Ongoing

Origin:

Whilst in development of the soft folds with use of the industrial machines, the
construction of the ripples proved difficult to produce on a large scale, yet a
smaller scale for use as a subtle texture, although time consuming, worked well.

With mind to have a piece that had a focus on texture yet married into it the
strict folds had been a constant mental development. To incorporate a piece in
which the fingers could explore different textures within the same piece, whilst
investigating the folding potential and form making would allow the exploration
of not just shape formation, but tactility and visual aesthetics.

The most basic idea to explore was to produce a length of folding knit to then
integrate ripples onto the surface. Producing a tessellated piece with integrated
ripples would not only be a programming challenge I had not practiced, but also
a very time consuming piece to knit.

Working with the full width of the piece for the ripples would decrease the time
of construction and would also mean an easier piece to create.
Origins:

88
Fig 282 - 290. Paper folding ideas shown with the line drawn folding pattern, and the development of ripple placement. Fig . portrayed a simpler folding process which would allow for more incorporation of
texture through ripples. Fig . added more detail through the main folding length in a pattern which would be more unusual and interesting to explore. The ripples on the extended surfaces creating textures
and adding depth where the fabric would be more prominent. Fig . became a compromise between fig . and fig .

89

Fig 291 & 292. M1 Stoll programming of the combination folds for .... The ripples produced
through the colour arrangements, and the plain folding knit programmed as a usual folding
piece.
Fig 293 & 294. First sample knitted as a trial piece. The sample could easily stand upright as
the width knitted kept a relatively low centre of balance.
90
Materiality and Machine Exploration
Combining both the strict folds and the much more softer folds would be both
time consuming if constructed on the domestic machines, therefore a decision
to create the combination on the industrial machines was easy to make.
Implementing strength and support within the fabric would require the comfil
yarn previously used throughout the strict category, yet through the soft folding
areas, it was decided to allow for the structure to become integrated through
just the material itself.
The 12 gauge Stoll machine was decided to be best for the construction of the
material due to its ability to create a relatively dense material to help hold the
structure and intended self-supporting quality of the material, but also for it’s
ability to create precise textural ripples with enough relief to entice the viewer to
explore through touch.
The production of the first sample was relatively straight forward with the pro-
gramming and knitting of the piece being successful first time over. Shrinkage
had not been considered whilst programming therefore the folds within the
piece were much shorter than anticipated.
The piece would still fold and self-support in a vertical position which would
allow for a deeper exploration of the positioning of folds and the form the piece
could take. If constructed within a long length, the piece could wrap and wind
itself around a form to take shape within the air, then return to the ground where
it would not only lie in a horizontal position, in or out of fold formation, but also
take to a vertical upright position.
Fig 295. The test piece, after taking some hours to knit, was
able to stand upright, however the length of the test piece
was compromised now due to the increase in width. The
standing ability was also slightly compromised by the width
and the increase of weight. The piece began to look a little
out of proportion.
91
Fig 296. After deliberation, the test piece was cut in half. This
was to not only extend the length of the piece, but to also
decrease the vertical weight to allow the piece to stand easier.
Fig 297. The outcome of the test piece once cut in half.
This could portray a huge difference in the textile’s abil-
ity to self-support, and also an elongation of the length.
Further development of the piece will ensure a narrower
width is knitted.
Visual Haptics and Interaction

Possessing both soft folds and much stricter folds within the structure of the
fabric, this length has acquired a great sense of tactility. Contrasts between not
only the colour choice, but also surface texture.

Created in a length, the integrated structure also allows for the piece to self-sup-
port and stand vertically (fig .). The folding potential of the piece is not only on
the flat, but also in the vertical. What was the upper surface texture, now faces at
a 90* angle, and the edging of the knit now becomes the top. Winding it’s way,
whilst supporting the dense knit.

Interaction through the ability to choose how to fold this piece gives great
potential. Folding and placing the piece into the precise folding structure, into a
uniform pattern, or folding in a much more organic nature to explore the fabrics
textural surface. It can even be draped over a form, to fold in the most softest of
fold and work with gravity to turn and twist.
Fig 298. Ongoing folded away into it’s most com- Fig 299. Kara explores the supporting nature of On-
pact form of a length. going
The corrugated texture of the surface entice the viewer closer to inspect the
structure of the fabric. Through the lens it almost creates a moiré effect. In which
the horizontal lines become distorted. This effect can only be seen digitally
therefore giving it interesting qualities the other textiles within this collection
posses.

92
Fig 300 - 311. Stop motion images showing the progression of folding potential Onging holds. From a flat form folded away to supporting it’s own weight. This piece is one that has the most potential for folding methods.

93
Results:

The strength in this piece is the vast length. It is Ongoing. Having spent the
most time being knitted (at 17 hours in total), the piece has accumulated approx-
imately 14m worth of fabric. The ability to now play and fold this vast length has
given many possibilities to the forms and structures it can take on.

From creating a vertical structure through the slight width, to a vertical structure
draped over an existing form, the transitions in the piece are endless.

Playing with Ongoing, the most exciting structures to place the piece into are
those that then allow for the piece to collapse naturally. It portrays that all forms
and structures can be altered and changed, sometime unintentionally, through
slight movements or interruptions from a visitor. If this piece were to be exhibit-
ed solely on its side snaking through the space, and it was disturbed and fell, the
textile would just progress onto a formation. Then, the next visitor could re-form
the length into the next position. The process is ongoing.

The resulting expression being one of unlimited folding possibilities, both strict
and soft.

94
7.2.2 The Combination Flip

The combination of both soft and strict folding methods in a length soon
sparked thought into the creation of a flippable piece. The blend of the fold
categories blurred the lines of strict and soft, and now the development of the
combination into more complex forms allow for an intricate and very much inter-
active exploration of the piece.

The ability to turn the piece inside out, to constrict and to expand, to play with
the form whilst exploring multiple surface textures alongside the intake of visual
contrasts was a playground for the senses. Difference in haptics through the
textures

Materiality and Machine Exploration:

Having previously developed the fine ripple texture on the 12 gauge Stoll
machine, the natural transition of that technique into a flippable piece made the
development relatively simple.

The use of natural fibres through the ripples would promote more tactility within
the knit, and contrast that of the strict supporting length in which the ripples
are based. Complimentary colours yet within harmony create depth. The low
levels of the blue hue add intensity whilst the lighter colours of the ripples draw
attention to the textures.

A very similar process to that of the length has been used to construct the ripple
also. However in this sample, the placement of the ripples had to be pro-
grammed with more thought. Different colour arrangements 4 for each rippled
area were used, along side a separate colour arrangement for the general fold
skeleton within the material.
Fig 314 & 315. M1 Stoll programming of the Big Ripple Flip.
4 The term colour arrangement given to the process of programming on the M1
Stoll machines. This process assigns certain colour blocks specific stitch functions, allowing
fora large area to be programmed with the same binding compared to individually pro-
gramming that area of knitting.

95
The first sample constructed naturally gave a very strong impression. Visually
geometric with tactile surfaces contrasting that of the relatively smooth backing
of the knit enticed the viewer to play and experience each fold. Knitted on a
much smaller scale, and with only a few repeats to test the ability of it to fold,
the shape became organic in nature, almost resembling a sea creature.

Flipping and testing the movement of the piece, the progression of forms came
very naturally to the piece. The open folds (due to being only 5 repeats of the
fold pattern compared to 12 or 14 of the other flippables) meant the compres-
sion within the folds was relatively loose. It would easily fall out of shape. By
process of incorporating more folded sections into the piece, the increase in
fabric and density would then integrate more inner pressure, ensuring the textile
stayed within the determined geometric shape.
The shrinking plastic used through the backing of the piece helps add stabili-
sation, and were it knitted without, the piece would not perform as it currently
does. It would fall as a standard piece of material. This was observed once off
the knitting machine.

Fig 316 - 318. The variations of expressions the sample

96 can give. Here, all sides are portrayed to show the differ-
ent colour variation and tactility within the same piece.
Visual Haptics and Visitor Engagement

Naturally alluring through the textural surfaces, this piece attracted attention
even when just the original sample. It has another element of texture a well as
the ability to turn and flip into new forms and reveal new textures.

The only developments from the sample to the final piece were a slight up-
scale on the width knitted, and an increase of repeats. The technique, already
programmed and tested was known to work successfully, so there was no other
need for this to be altered. A very slight decrease in courses over the ripples en-
sures a much more uniform ripple as it was noticed some deformation of the knit
occurred through the very slightly larger ripples within the sample. This did not
effect the visuals of tactility of the piece, only allowing for an easier construction.

The overall appearance of The Combination Flip is that which is much softer
that the general group of flippables. The folds are more curvaceous rather than
strict and this brings an organic nature to the piece. Although the strict folds are
very much apparent, through not only the internal folding skeleton, but also the
rippled folding texture. This piece then becomes soft on the eye. Only when the
person interacts with the piece is the stability within the fabric noticed. It does
Fig 319 & 320, Exploration by hand around the Large Ripple.
not seem this is much observed just through sight. The piece is taken for what it
is, a standard piece of knitted material.

97
Fig 321 - 332. Stills from the stop motion portraying the movement of the Big Ripple Flip. The numerous shape and positions the piece can be positioned into all give a totally different expression.

98
Result

The scale of this piece is what makes it more intriguing to interact with. Larger
than the other Flippables, the piece tests the limit of the fabric weight, and what
is able to self-support.

Due to the ability to change and alter the appearance, there are many character-
istics and personalities to explore. Not only the standard ‘sitting’ position, but all
the forms it can take as it transitions.

Played with originally on the ground, this gives the visitor the most space availa-
ble to stretch the piece out to its largest size, and to the contract and compress
the folds. The piece can be easily moved and manipulated, and to have a con-
stricting area to experiment within, the piece could become limited.

The textile could also be positioned upon a plinth, similar to that of the other
flippables. It allows a connection to be made between the two, blending the cat-
egories. Positioned at a slightly lower height, it would visually ground the piece Fig 333 & 334 . Close up details of the ripples and folding abilities of the piece. Not
compared to raising it up towards eye level similar to that of the other group of only portraying the general folding, but also the folding within the fabric textile of the
soft folds methods
The Flippables. This would be more a play on the visual weight of the piece. The
lower it is to the ground, the heavier the piece would come across.

99
100
 Fig 336 & 337 . Close up details of the ripples and folding abilities of the piece.

101
7.2.3 Hand Ripples

Origins:

Achieving an interesting surface texture and folding piece within Ongoing on

the industrial machine, thoughts began to turn to the textural elements incor-
porated through the small ripples in combination with the more strict folds of
structure. Developments on the domestic machines portrays an allowance of
exaggerated size within the ripples, compared to the much more limited size
constructed through the industrial machines. Questions began to arise of how
oversized texture could be incorporated within the knit, yet still retaining an
element of the strict, calculated folds.

The addition of the strict folding category alongside these oversized soft ripples,
similar to Ongoing, would then begin to blend the categories and use of ma-
chines together. No longer would one category be more suitable for a certain
machine, but this process would now open up opportunities to delve into the
creativity of each machine, and work to their strengths to gain the most effective
haptic quality to encourage this physical interaction.

102
Materiality and Machine Exploration

Exploration within materials now leads down the path of integrating a strict
structure within the piece. With intention for the main length to be constructed
Felted area - Full rib Ripple area - single bed Felted area - Full rib
out of a felting wool, the structure will naturally lie within the density of the mate-
Folding area - Folding area -
rial that is created post knitting. To replicate, and reflect the folding properties of Single bed, unfelted Single bed, unfelted
Ongoing, both areas of strength and texture is needed to be incorporated. The
use of the yarns within these areas would be paramount to the final expression Fig 338. A digital sketch to explain the inclusion of the strict folds into the knit-
of the piece. Not only would the textile have soft folds as a textural element, the ted length with the use of a full rib and single bed knitted areas. This structure
would help encourage folding areas into the knit.
piece also would consist of strict folding methods that allowed for the material
to be constricted into a predetermined form (fig 338.).

If these elements mentioned above were not applied to this hand knitted piece,
it could be argued the length would fall more into the category of soft folds
rather than that of the combination. However, this is where it is reminded that
the boundaries of the folding categories are loose and flexible. Where one piece
may be considered as a strict fold, the same textile could be argued as soft due Fig 339. A digital sketch to express the variation of
colour that is intended through the ripples.
to the organic forms it produces whilst in movement.

As much structure as possible will be integrated into the construction of the fab-
ric with intention to fold, yet if the organic process of felting takes this structure
away, the initial structure has not been lost, just now fades into the background
as a different expression.

Whilst precise folds will be placed into the textile through the transfer onto a
single needle bed over a few coursed, the folds have the potential to become
lost within the felting of the fabric. Previous felting samples have done just this.
The folds are no longer as poignant as the felting structure takes hold of the
Fig 340. The end result through the ripple section if the Fig 341. Felted test piece demonstrating the
material. backing of the ripple were to be constructed from wool and shrinkage of material that then causes the piece
felted. As the felt reduced in size, tension is increased. The to fold and curve.
ripples no longer lying on the flat, but take the form of the
curvature from the felt.
103
 Fig 342. Digital sketch to test areas of plain felted material in conjunction with the ripples. How would the addition of space in the middle of the ripples affect the overall expression?
Would this also allow for the ripples to stand if no supporting material or supporting ripples were placed in the central areas.

Fig 343. Simplicity may allow for better dimensionality as the ripples support themselves. This digital sketch being only one-sided, the focus

Fig 344. Similar to above, the dense area of ripples allow for support and a

Fig 345. Felted test piece demonstrating the shrinkage of material that then causes the piece to fold and curve.

104
The material choice will play it’s part within the final expression. The use of
felted wool through the main length will contrast that of the scaled ripples. The
decision to use a cotton blend within the ripples will ensure they stay clean and
precise.

Once again, digital sketches ( fig 342 - 345) have been created to attempt to
understand the overall visual nature of the length. With each sample taking
upwards of a few hours to create, and prior knowledge and understanding of the
knit techniques already gained, an educated judgement can be made.

Visual Haptics and Interaction

Strong visuals within the material through colour work and fabric density in the
ripple areas encourage the viewer to explore. A combination of textures through
the felted wool and the densely knitted ripples entices the hand to explore the
variety of textures.

Contrasting Ongoing, in which the piece held structure through the main sec-
tions, here, the main structure was much looser in

Witnessing the interaction, the piece no longer was viewed as a structural tex-
tiles. Interaction was based more through the view that as this piece acted much
more like a stereotypical fabric, in which is it malleable and soft, the textile was
explored with the integrated folds as an after thought. The focus became much
more directed into the ripples and textures compared to the folding abilities.

This thought, however, lead to some interesting explorations of the textile. The
piece was placed into positions that were not originally related to the designed
structure. No longer was the piece seen as a long length to be folded away in a
specific method, but more a textural piece of material where the tactile surfaces
can be emphasised through arrangement of the piece. The draw to the textiles
was very much focused through the rippled areas.

105
It was also felt this piece was able to be placed into an unlimited amount of
positions. No long constricted to the intricate predetermined folds, and not
limited through the vast amount of fabric within the textiles, this piece could be
experimented with by being placed into all contexts imaginable.

Form and shape were played with alongside a simple exploration of the folds
them selves. Different expressions created by emphasising the different expres-
sions within the textiles itself.

The integration of the gradient of colour within the ripples directs the eye. The
density and weight of this area is also a draw, therefore making these sections
irresistible to the eye. The exaggerated dimensionality also becomes intriguing.
The hand naturally follows the eye to explore.

Results

Originally personally thought to be a piece that sat somewhere outside the ma-
jority of the collection, it has only been through reflection and exploration of the
knitted textile that this piece began to grow it’s own individual character.

The extended period of time spent at the machine knitting the length naturally
meant the mind was numbed a little to see the potential, but after a period of
rest away from the piece, it becomes much more apparent how the piece slots
into the collection, yet also holds it’s own as a singularity.

Detail within the repetition of folds at regular intervals create a dense amount of
materials that intrigues the viewer to delve in and explore the textures and folds.
The felted areas create a contrast of textures to the repetitive ripples, and with
a contrast of colour, also, the eye naturally picks up the highlight areas of the
textiles, ensuring the focus is still the texture and dimensionality of the knit.

Fig 347. Detailing image of the rippled area. The density and amount of material visible from the side when the
ripples are laid horizontal.
Fig 348. Standing on edge, the length folds into soft undulations of textiles. Rigid folds
106
 Fig 349 - 360. Stop motion images of interaction with `Hand Ripples

107
 Similar to Ongoing, constructed as a length of textiles, this allowed for numer-
ous explorations of form and structure within the presentation. The decision can
be left to the visitor in what format they would want the piece to be presented.
Hung from a frame to explore the weight and the full length, draped over a table
or plinth to explore a range of positions, or purely left to be presented upon a
table in a range of positions.

Interestingly with Hand Ripples despite the rigid folds being incorporated into
the structure of the knit, they are no longer the focus. It could be argued the
rigid folds are now transitioned into the ripples. Originally the soft, weighted
folding element of the piece, they have been replaced with the function of the
strict and rigid folds. The category boundaries warp and bend.

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7.3 Soft // Weighted Folds

Investigating the more organic and natural fold of a material. Not constricted to
the precise fold as seen with the strict fold, the soft fold more embraces the fold
of the fabric as it free forms. The most basic example being the fold of a material
back over itself.

Allowing an exploration through the build up of fabric and the amount of fabric
that is created, the soft folds add volume and weight within the materials. The
materials become voluminous despite no extra material being added. No longer
set into angular points, such as the Strict Folds, this composition in material form
can be related to easier. The fold of a jumper is the same process. This fold is
experienced on a much more regular basis. For example; bed linen left for the
day in the natural state undulates into soft folds, a towel discarded on the floor
piles up into form through as it folds back upon itself. The soft fold of the fabric
can be contemplated as comforting, homely, potentially warm.

Incorporating control into these folds within a geometric pattern will allow the
eye to comfortably explore the weight of the fabric. The visual haptics allow an
informed judgement of the touch and feel. The density of the material formed is
from educated guesses, but all revealed once the viewer delves into the undu-
Fig 363 - 366. Soft folded paper. Beginning from a straight piece, the paper is folded back onto
lations of the textile. The fabric acts as we would naturally expect it to, folding itself but not creased. The paper creates a gentle form. The build up of these forms add volume
back upon itself, yet now placed into preconceived structures to give form. and shape. The once delicate fold now expanding a simple piece of material into one that hold
a substantial yet gentle formation.

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7.3.1 The Weight Of It All

Origins:

Integration of the industrial machines through the Soft Fold category proved
more of a challenge with limited results, however allowed for a further explo-
ration of the domestic machines. It allowed time to push the techniques and
creativity of the domestic machines to produce a dense material.
The original domestic machine sample was used to further ideas and through
processes. The ability to control much more the size of the ripples allowed for
much more dimensional fabrics to be constructed.

It was not possible, however, to create duo-sided materials. For this the ribber
attachment would need to be used meaning the limited space between needle
beds would pose some complications to the size of the ripple.

This further exploration of the domestic knitting machines brought back into the
exploration the original methods of knitting.

Materiality and Machine Exploration:

With the use of the domestic knitting machines, a wider variety of yarns and
materials were able to be explored with to find the most intriguing expressions.
Working to such a fine line of ‘craftiness’ from the domestic machines, many
trials were taken.
To keep balance with the former pieces, however, it was thought to keep a
similar haptical expression within the knit piece. To allow the knitting to become
tactically loud, yet without overriding the visual aesthetics. Yes tactility and visual Fig 367. Hand knitted rippled sample with slight shape forming by hand.
aesthetics work at a very similar rate and influence each other, but they still need
to become harmonious, without one becoming dominant.

110
 Since the use of the industrial machine, creating the same sophisticated results yet through much more basic machines proved a challenge. Basic ideas were explored thoroughly how-
ever this element deemed much more challenging that working with the industrial machines. Not only was it technique that needed a focus, the yarn choice and colour choice within
the yarns had very much strong impressions. Much more textural yarns could be used, however it was then discovered this would not always produce successful results.
After many explorations, some displayed below, a return to simplicity was made. Less, much more often than not, means more.

Fig 368. Partial knit, and creating
ripples were used with this sample.
Working with a base of 100% yarn
which was easy to felt, this provided
a stable base for much more organic
ripples.
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Fig 369. Also partial knit, and creating Fig 370. Colour and yarn develop- Fig 371. Colour and yarn develop- Fig 372. Colour and yarn develop-
ripples were used with this sample. ment. Play with similar colours and ment on the domestic machine. At- ment. Similar to fig ., the use of both
Stability provided by the felted ripples yarns to see the effects used on the tempting a gradient through the col- synthetic and natural yarns created
allows for the sample to self-support. domestic machines ours that could be transitioned into a some felted areas and other standard
The down fall being the initial yarn and bigger piece. knit areas. The contrast in material
colour choice. This made the sample density is intriguing.
seem craft like and less sophisticated
than the previous samples.
The potential for shape to be includ-
ed through the ripples could be de-
veloped on to create more sophisti-
cated pieces.
 Fig 376 - 378. Once felted, the piece took on a new expression. Ten-
Fig 373 - 375. The hand knitted piece in it’s natural state once off the ma-
sion through the back of the knit after felting curved the piece into a
chine. The ripples being relatively soft in expression with a much light-
cylindrical form that naturally separated out the ripples. By hand, the
er fabric appearance. The surface texture of the knit structure comes
ripples were then twisted and shaped to help physical exploration. A
through and dominates the tactility of the material.
new density had been formed bringing a new visual weight to the piece.

112
Working with ripples on the domestic machines, sample pieces were tested to
accumulation of length within the ripples and to begin to visualise the overall
expression.
Due to the vast amount of time it takes to produce each sample, development
was slow and time consuming. Decisions were to be made for final knits when
the final expression of the piece was not necessarily known. A digital sketch was
draw using a photograph of the sample to give a basic understanding of the
final expression of the piece.

This still would only provide a basic reference as the size of the piece on the
Fig 379. A digital sketch of the planned final domestic knitted piece.
machine would be determined by the overall length of time it would take to knit
the piece, as this was the main restriction.

Up-scaling of the piece quadrupled the sample size. With ripples now up to 150
courses in length and using the full 200 needles on the bed, the size was around
the maximum it could be.

An increase of width was by 4 stitches over each ripple, and each ripple length
had an increase of 6 courses. Calculated by hand, each ripple through the one
row had a different width and length to the last ripple knitted, therefore a con-
stant concentration was needed.

Documentation of my knitting position was taken as quick number references to

the ripple that was currently in construction.
Fig 380. The slow progression of the piece on the do-
As each ripple could be relatively small in size, the carriage did not necessarily mestic knitting machine.
pass the row counter, therefore each course knitted was mentally counted.
Fig 381 The build up of layers within
Hour count was lost around the 20 hour mark. the piece accumulate into form and
density.
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Visual Aesthetics and Visitor Engagement:

The amount of material that has been placed within this knitted piece is the main
draw and attraction. The height being upwards of 14cm gives a great dimension.
The largest piece knitted, the viewer in intrigued by the folds.

Visual and physical weight also come to light. Familiar materials to that of an old
blanket or hand knitted winter sweater, this piece brings a sense of comfort. The
visual weight conjuring up memories of a heavy wool blanket, draped over the
body encapsulating, the physical weight bringing warmth. The bulkiness of the
piece adding to these dimensions. This piece almost begins to feel nostalgic.

Exploration seems gentle. A slight touch to leaf through the folds, like that of
an old book. Despite the heaviness, this piece brings about a careful nature. It
seems to be treated like that of an old friend.

Form becomes misleading also, with the weight of the fabric spraying out the
folds and leaves of the piece, the viewer forgets this piece is knitted in a strict Fig 385. The final knitted piece before felting along-
side the sample to size a size comparison.
rectangle shape. The new organic yet geometric form overrides the original
shape through the weight of the material.

114
Result:

Folds layer and build to create a dense materiality that does not seem similar to
the norm for knitted fabric. Without closer inspection, the material looks unfamil-
iar and unknown. It feels more carved or cut and layered than it does a fabric.

Visually, the form within the piece creates the depth. Through images, the viewer
wants to explore the material and space under the folds. How does it feel to lift?
How does each ripple separate?

Considering this knitted piece is essentially knitted as a rectangle, the weight

of the outer folds, once relaxed, expand the outer perimeter of the piece into a
formed geometric shape. No longer is the piece conforming to a standard four
sided piece, it has taken form to the relaxed rippled as they spread out on the
vertical axis.

This expansion of shape and form within the piece was unexpected yet has
added form dimensionality and has allowed for the piece to gain more character
and presence within the collection of knitted pieces.

115
 Fig 388 - 399. Stills from the stop motion filing portraying the falling of the folds due to gravity. The stills give a sense of the weight and size of each ripple.

116
7.3.2 A Multitude Of Knit

Origins:

Throughout the construction process for The Weight Of It All, the gut feeling
the ripples needed a second piece to support and allow a deeper exploration of
the folds was continuous. To help support the different folding techniques, and
to also help the inclusion of the domestic machines in what seems a somewhat
industrial machine focused field.
Thought of colour combinations and an inclusion of shaping the textile devel-
oped through the endless knitting of courses and partial rows.

Ideas were considered mentally through the time spent on the domestic ma-
chine, and then played with digitally. The time these knits take to develop on the
machines by hands means another method of idea sampling needs to be used.
Here (fig 401.) is a digital representation of the thoughts for the follow up piece
to the large hand knitted piece.

Material and Machine Exploration:

Due to the method of construction being well developed and refined from the
last piece knitted, the development process was relatively straight forward.
Material choice was altered to suite the desired expression for the piece, along-
side a subtle colour change which would help entice exploration of the textiles.
To include another texture into the knit piece would alter the final expression of
the felted yarn. Including a yarn which would not felt so much, such as cotton,
would keep a sense of air and lightness in the textile.
Fig 400. Knitted on the domestic knitting machine, this
piece played with shape within the knit itself. Rather cre- Fig 401. A digital sketch of the ideas for the
ating shape as a three-dimensional shape, the knit has second hand knitted rippled piece in which
been increased and decreased to add a horizontal form the shape of the fabric would be manipulated
into the sample. as well as the textural ripples.
Integrating a melange of colours, and a variation of ripple
size, the sample demonstrates the variations that can be
created by hand on the domestic machines.
This sample, to this scale in ripples, would not have been
possible on the industrial machines.

Bringing up an old test of material (fig 400.) that was conducted at the beginning
of the research project, decisions on materiality and the ratio of different fibres
were made in order to allow for a changing fabric density throughout the knitted
textile piece.

117
 A blend of 2 x 2/28s ‘sports’ wool (100%) and 1 x 2/28 cotton yarn, plain full needle rib knit-
ted and felted in a normal 60* cycle.
Half felted, the structure was dense, yet the stitch structure is still visible.

3 x 28/2 ‘sport’ wool %100, knitted into ripples and felted at 60* in a normal cycle.
Ripples felted as planned similarly to that of Mountains.

A blend of 1 x 2/28s ‘sports’ wool (100%) and 2 x 2/28 cotton yarn, full needle rib knitted.
More cotton meant for less felting, however a slight density from the binding of yarn fibres
was visible. Less dense than the first trial with a more typical knit fabric structure.

3 x 2/28 ‘sports’ wool (100%) yarn ends. Felted at 60* as planned similarly to the ripple effect.
The material structure became stronger and less flexible than the standard knit structure
seen previously. This allows stability within the textile.

Through the last three different pink shades, three different yarns of different amounts of
cotton were trialled. As some were mixed the results of potential felting would be unknown
until removed from the washing machine.

It appeared what was thought to be an acrylic wool blend was purely acrylic.

What was also thought to have some acrylic in as a mix was 100% cotton.

These results, although varying from what the yarn was originally believed to be, allowed a
consideration to be left for future use within a combination of textures and yarn types within
one piece of textiles.

Fig 402 Sample text of yarns through the Dubied knitting machine

118
 Fig 403. Portraying the progression of the second hand knitted piece. Similarly to the first, this took around
24 hours to knit in one piece. The shaping of the piece is visible on the bottom edge and through the sides.
As fig 402. suggest above, the piece would change in form on the horizontal and
also height in the dimensionality. The ability to shape the textiles whilst on the
machine was a technique that had yet to be used.

Previously, all shape that had been included within the knitting was done within
the surface texture and folding ability. Through the contraction of the textiles,
the outer perimeter would not necessarily stay to the rectangular form it was
originally knitted in.

119
Visual Haptics and Visitor Engagement.

In a similar method to The Weight Of It All, the focus is very much through the
visual and physical weight of the piece. The delicate colours lift the piece, giving
it the impression of weightlessness, however when then explored physically it is
understood how the dense material is. Only through this physical exploration is
this realised.

The colour arrangement aids the visual haptics by drawing the eye through the
outer yellow sections to the inner richer pinks of the centre.

Despite now being felted, the surface texture seems visually smooth. Our prior
experience of felt allows us to understand the general sensations we can experi-
ence. Potential emotional connotations can be conjured. Through the visibility of
the piece, and previous experiences, we can gather information of how this will
feel once touched.

The density and weight of the material is then physically understood with
exploration through touch. The surface of the textiles working in harmony with
the preconceived judgements. What the viewer does not expect though, is the
folding ability of the piece. One the piece is picked up, it naturally folds and
creases down the areas of negative material, the invisible skeleton of the textiles.
Here the interaction is most poignant. The viewer can now begin to relate the
heaviness and weight with the folding, and explore the individual ripples. All
senses becoming used within the one piece.
Fig 404 - 406. Through touch, new forms are discovered.
The weight of the piece is felt, and the movement of
ripples experienced.
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Result:

Resting on a singular dimensional form, the texture of the ripples, and vertical
height of the knit becomes much more apparent. Dense qualities from the
build up of layers of material create a physical heaviness, yet the delicate colour
choice allow for a much more delicate expression.

The undulations of ripples accumulate into dense sections, and through the
felting process, turn the strict linear structured into soft forms. Once played with,
and taken out of the typical original form, the piece twists and warps into bul-
bous shapes. The ripples splitting each section into multiple pieces allowing for
movement and the progression of folds through the relatively small piece.

If placed on a plinth, the piece will become elevated. Now not restricted to the
singular plane of the ground, the piece has the potential to warp and bend over
the side (fig 407.). Here, the piece can take on another dimension. The ripples
become much more explored and open up the potential for exploration deeper
into the fabric.

Considering Hand Ripples is on a relatively small scare, the overall impact is

much bigger than the size. Just through the amount of material built up through-
out, it has substance.

121
Fig 408 - 419. Stills from the stop motion filing portraying the falling of the folds due to gravity. The colour change help add dimension and depth to the ripples with a natural draw of the eye to the deeper central pinks.

122
Positioned upon a plinth, delicately overspilling over the side, the ripples are separated allowing for the eye to naturally see into the core of the fabric. The fabric is no longer on a flat
surface, taking form of it’s support, it had fluidity and takes the shape of the angular support beneath. The geometry within the structure now stretched out of proportion, the calculat-
ed knitted forms now out of shape. Displayed upon a form, the piece is raised up towards eye level. The viewer can take in the delicate colour and shape change, and interact with the
soft folds to delve further into the foundations of the textiles.

123
124
7.3.3 Mountains:

Origins:

Investigating developments on the hand knitting machines as another method

to creating a folding material, the fold was taken literally by folding the knit fab-
ric back on itself and then placed back onto the needle bed.
Originally developed on the Silver Reed knitting machines, this technique allows
the knitter to have full control over the placement of the folds at each particular
moment alongside visually determining how large each fold and ripple should
be.

Transferred onto the ‘V’ bed machines, now, rather than placing the material in
construction back onto the needle bed, there was the opportunity to work with
each individual needle bed singularly to increase the amount of fabrics on each
bed respectively.

The increasing and decreasing of size of ripple, and the pattern they were
placed into could like back to the geometry seen within the strict folds. Forming, Fig 423. The original ripple sample created on the Silver Reed domestic knitting
now soft points, within the surface of the fabric, the visual aesthetic of the mate- machine.

rial entices further exploration through touch to examine the fabric construction,
tactility and movement.
125
Fig 424 - 427 . Hand interaction with the domestic knit ripple sample to show the folding potential. Although less supportive in form, the self-supporting of each ripple created the three-dimensional tactility.
Visually the piece becomes very intriguing.

Materiality and Machine Exploration

There are two methods to the construction of this surface decoration depending
on the use of either one needle bed or two. Larger ripples over a precise areas
are much more easily created when using the single bed. The knitting falls di-
rectly in front of the knitter, thus making it easier to bring back onto the machine
to create the ripple. The size of the ripple is determined by the number of rows
knitted. The knitter is able to fully control the

The double-bed technique requires a different method. The knit is worked on

only one needle bed, whilst the other lays on hold. The resulting fabric is then
knitted in-between the two needle beds. To ensure the knit stays in place on
the needles, weight is used to help bring the constructing fabric down, however
when only using one needle bed on a double bed machine, sufficient weight
cannot be applied easily as the stitches in use. This easily results in the fabric
‘popping’ off the needles, or the stitches being unable to form and building up
on the needles.
Fig 428. Technique tests on the V bed Dubied machines. Testing the amount of rows able to knit
for each ripple (maximum 12), the use of each needle bed at each particular point, and
Despite being a relatively simple technique to gain the third dimension, the placement of ripples
is limited to the whole width of the material. The largest ripple achieved in the top right sample,
the space between the ripples had to be incorporated to allow for the ripple to form. These
techniques did not create the dense material for depth and exploration that was being looked for.

126
 Fig 432. Developed further on a finer 12 gauge
machine, this was the one working sample that
Fig 429. Using the comfil thermoplastic yarn along with
was produced with the ripples being repeated in
a polyamide to create the haptic surface. Due to the
close proximity. From this, it was learnt that the
thermoplastic, these ripples were strict and structures.
ripples currently work best on the larger gauge
Engagement within the ripples was not possible,
machine.

Fig 430. The first sample from the 822 Stoll
multi-gauge knitting machine using wool and
polyamide. The polyamide provided some
shrinkage to help enforce the ripples. Just
through the central areas, the height in the
ripples was good.
Fig 431. Repeating the folding areas through
sections of the material rather than centrally,
this allowed for more exploration into the ma-
chines abilities to produce ripples over a larger
area. Not yet self-supporting, the material rep-
resents a typical loose flowing fabric.

Materiality and Machine Exploration.

From the examples shown above, the variety in expression and results from varying the gauge of the machine and the yarn used is vast. This required a general fine tuning of the
choice of machine to be used alongside the yarns chosen. Due to the ability to create slightly larger ripples, the 822 multi-gauge machine was considered most appropriate. Using a
needle structure that replicated a 10 gauge machine, a considerable amount of yarn is able to us run through the yarn feeders without causing problems. It was also with this machine
the largest ripples were produced.
The finer 12 gauge machine would be considered when finer textural details were to be incorporated, rather than structural forms.

127
Discarded Result

As seen above (fig 433 - 434.) the ripple technique was used as a length through
the industrial machines . 100% wool for the outer areas was felted to add stability
to the surround. Felt was also an inclusion of another surface texture to explore
both visually and physically. The strict frame of knit has become warped and
soft, loosing its shape to the uncontrolled felting process. Linear ripples provide Continued Result.
uniform structure to the otherwise organic hanging. Rippled on both sides of the
piece allow for a full 360* exploration of the textile. Sectioning the ripple similarly to the domestic sample, negative areas run
Although interesting to view and touch, the combination of the felted frame and through the length allowing for the piece to fold. The folds within the ripples
ripple is not to be continued. It is felt there are more interesting techniques that then allow for the piece to self-support, create a bridge like structure.
allow for interaction that can be developed. This piece would be more suited for Despite the geometric nature of the folding pattern, the piece becomes soft and
sound insulation than an interactive art piece. organic.

128
Fig 437. The process of repeating the module was
trailed in paper before transferring the pattern into
the M1 Stoll programming. It was not possible to rec-
reate the outer curve seen on the individual sample Fig 438 & 439. Once knitted, the repeated module was able to form and support itself, as did the singular
through the middle section, although a compromise module previously knitted. This piece is to then be scaled up to work with a large proportion of the machine
was made. The idea to repeat the module rather than bed. It is not to be scaled up to the full machine bed due to time limitations, with each small sample piece
just have a singular module was to create a mountain- taking around 2 hours to knit, the full sized piece is estimated to take 6 - 8 hours of knitting time.
ous effect. To allow exploration over a full surface, and
for different areas to be supported rather than one
‘bridge’ effect.

Felted after knitted, (fig 441.) the piece becomes less strict on the eye, the familiar sight of
felt preforming the judgements of tactility. Denser material allows for a much more support-
ive quality to the made.

Fig 440. The M1+ Stoll programming process.

129
 Fig 442 - 449. Before the knit piece was felted, exploration into interaction and engagement was carried out. As the knit piece acted similarly to that of a standard piece of fabric
with little structure, the fold line and ripples were easily manipulated into any shape the viewer desired. Once the piece was felted, the programmed structure would become
much more evident, yes narrowing the possibilities of shape and form, but also encouraging the self-supporting nature of the programmed form.
130
Visual Aesthetic and Interaction:

The ripples within the knitted piece were intriguing to the eye. Although station-
ary, the surface tactility proved enticing to explore. The decision to leave out any
other supporting yarn within the structure meant the supportive nature came
directly from the construction of the material. The build up of fabric upon itself
creating essentially tubes.

Interaction with the piece was playful. The fold skeleton acting as a guide for the
participant yet was not restricting in exploration.

The felting of the material added more structure and density with the fabric
allowing for an enhancement within the self-supporting qualities. The ripples
still being very much present, the visual haptics of the textile still showcase the
folding structure and folding techniques used in construction. The felting of the
piece also helped add a sense of comfort with the touch. A new sensation other
than just movement was experienced. “Felted wool ... has innate properties
such as resilience, versatility, and roughness but still creates soothing and warm
feelings” (Jeon, 2015 pg.138)

131
Results

Soft undulations of dense felted wool material reflect the category. Geometry
from the negative space between the folds add linear detailing. The shrinkage
rte due to felting reduced the overall size, now making it approximately a third
of the original knitted size, now allowing for one person to easily reach all cor-
ners to interact and form the piece. The dense blue adds a visual weight to the
material. Working with the physical weight, the piece becomes heavy, thick.

Looking side on at the piece, the vertical ripples defying gravity through the
strength of the material itself. The textile is strong. A mountainous landscape of
soft comforting textures. The viewer can make prejudged understandings of how
this material will move. Despite having unnatural shapes and forms, the material
is somewhat familiar.

Presented on a plinth at just under waist-height, the viewer can easily access
the folding of the textiles. It moves with easy at a comfortable height. Through
interaction, the viewer can begin to relate to familiar wool blankets.

132
 Fig 454 - 465. Images from the time laps of interaction and forming potential.

133
134
9. Overview of Results

All pieces within this collection are dedicated to the promotion and encourage-
ment of interaction within the art pieces. Formulated as art, their intention is of
little other purpose. Arguments of the development into sound insulating pieces
are fully acknowledged, however may then distract from the initial purpose
of this research project - the creation of art to interactive with and to explore
through the physical senses simultaneously as the sight.

The formulation of the three categories does not have to be followed. The
individual pieces can be categorised within different methods. For example;
machines utilised for the construction, the overall visual expression compared
to the folding ability, and even simply the materials used. The categories stated
within Dynamic Folding Knits have been the categories that were initially decid-
ed upon in terms of the methods of folding.

Transitioning from one category to the other with ease was a focus within the
development of Dynamic Folding Knits. To allow for the natural understanding
of each different category, yet not to define each category too rigorously. To do
the latter, to unify the pieces into one collection, much more stringent method
and boarders of the categories would need to be decided upon. Free boarders
between the too encourage a more organic development.

Interpretation of the folds it left purely down to the visitor. How they perceive
each texture and folding ability is different to another persons experience. This
has been done with intention. Displaying each piece without instruction allows
more freedom to the exploration.

Some pieces have a better dialogue of how the folds should be used than others
(such as the strict folded category), but if the viewer wishes to ignore these, that
is also the correct interaction. There is no wrong way.

135
 Fig .467 - 477. Overview of results. As the eye follows the pieces from the left to the right, the categories are
not so defined, but are a gentle transition of expression of folding and supporting textiles. From strict and
rigid to the weighted and soft. Despite these contrasts of categories, similarities can be seen throughout
through geometry, repetition and the tactility of the material created.

136
10. Discussion and Conclusions:
A question posed at the beginning of this research was the relationship between
the human and how this human interacts with a piece of textiles through the
design and the intended function of the textile. Focusing on the fundamental
sense of touch, the research began to explore how textiles are interacted with,
if at all, and how this could be encouraged through knitted forms that constrict
and expand through folding structures.
Textiles in general are constructed for a purpose. Whether this may be for cloth-
ing or interiors or for sound insulation with a work environment. The textiles pro-
duced within this research project are somewhat subjective with their purpose.
Their designs are easily manipulated to suit their purpose. Some were construct-
ed to help climate control through sound absorption, others created could be
modified into lighting pieces, and other could just be a textile to explore and
have as just that, a textile. The focus to the design exclusively becoming the
interaction, and the draw to interact with the textile piece.
The running theme throughout being that the textiles are physically interacted
with. The tactility and form of the textiles then becoming the focal point, and the
major draw of the visitor to explore the pieces through touch for the purpose of
exploring and understanding.
The design and creation of these pieces within Dynamic Folding Knits gives an
allowance to the viewer to test the forms and shapes within each piece, and to
test the appropriate boundaries of how a piece of textiles should be interacted
with. Their main function is to entertain the visitor. To allow the visitor to explore
the tactility and surface texture, and the folding potentials for the same positive
effects of play. They are played with.
As Norman states, “[w]hen there is understanding it can lead to a feeling of con-
trol, of mastery, and of satisfaction or even pride” (2013, pg10) and this sense of
‘mastery’ could be viewed from the participants interacting with the knit pieces.
Once the understanding of the folding potential was realised, the participant
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felt much more comfortable in exploring further. They had control of the textiles
piece, and had control of the folds they were manipulating. This understanding
was voiced on more than one occasion whilst observing participants with some
of the flippable knit objects.
The term ‘ Visual Haptics’
This was a term that was used throughout the initial research process and then
forward into the developing process. Visual haptics is the surface quality of the
material, and the relationship it has with the eye.
Most often, a piece is explored by eye first, and then through touch if the possi-
ble, therefore the eye makes the first judgement of a material or piece of art. It
has to be visually stimulating. It has to capture the thought and imagination of
the passer by and make them question “what is that and what does it do?”
This became a key point within the development of the materials used.
The term ASMR (autonomous sensory meridian response) was brought up in
conversation with friends and participants, and although this was not a focus
within the research, it showed the knit pieces gave a strong sense of satisfac-
tion and visual pleasure when the pieces were observed folding and moving, or
experienced first hand. Especially visual within ‘The Flippables’, the structural
qualities within the knit gave the precise folding techniques that would have
encouraged this response to ASMR. Not only were the knit pieces relaxing to
fold and to experience, but also conjuring emotive responses. “[O]ur perception
of emotion is drawn from how our bodies experience or interact with the world”
(Jeon, 2015. pg134).
Machine Exploration
During the project, there was much focus on the development and use of the
industrial machines, with less time spent on development of fabric from the
domestic machines. In retrospect, to have equalled out the time spent on both
machines may have varied the results. Despite both machines producing such
different qualities, the material development from the domestic machines gave
a much heavier expression that those from the industrial, and these results
produced folding methods and resultant forms with a totally different folding
potential, and interaction process.
Colour
Colour was integrated to help enhance the haptics of the textiles, and increase
the draw to touch the materials. At no point throughout the project were more
than two colours used within a piece. It was decided upon that the simplicity of
the colour arrangement within in piece would then highlight the complexity or
intricate natural of the folds.
Colour within knit can be introduced in many different ways, through intarsia,
Jacquard techniques, or other hand manipulations methods. With use of the
industrial machines, a good dozen colours can be placed into the piece through
intarsia, within the domestic machines, this amount is essentially limited to the
number of needles used as each stitch could be a different colour. If this breadth
were incorporated into the knitted methods used within Dynamic Folding Knits,
the surface texture and folding techniques would become lost, and no longer
the focus.
By limitation of only two colours within each knitted piece, the eye can be drawn
to the texture of each colour, and begin to understand the structure of the piece.
Within Into the Pink and The Flippables, the colour work emphasised the struc-
ture, creating more visual dimension to the textile.
Monotone colouring used within Cocoon and The Weight Of It All allowed a
focus purely on the structure and surface texture of the textiles.
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The play with a gradient of colour within Hand Ripples and A Multitude of Knit
meant the eye could be drawn to certain areas of the knitted piece, bringing
the focus to specific areas. Within A Multitude of Knit this was focused to the
different knitted and rippled areas allowing for exploration over the whole piece.
Not only were different sections of knit created in different colours to increase
intrigue, but also a very slight gradient to help entice the view to begin with.
Through Hand Ripples, the gradients was placed directly into the area with the
most texture, through the ripples. As the colour gradients with the size of the
ripple, the eye is drawn through the texture, also then enticing the viewer to
engage with the textiles.
Interaction
This became a natural exploration of the textiles and the forming potential once
the viewers understood permission was not needed to touch the materials. Inter-
estingly, through the experiments made with The Flippables, no matter how the
pieces were presented, the public still needed some form of conformation that
they were allowed to touch and play with the textiles. Initially it was thought the
human would be too intrigued by the pieces to not touch them, but this appears
that we have been taught too well to respect art and design to only touch pieces
once permission has been granted.
The strong haptics of the pieces very much made for the enticement to touch.
Many expressed their wants to touch the pieces when viewed through a screen
which just confirms the original idea that a strong haptic material entices physi-
cal exploration. By then allowing the visitor to explore the pieces through touch,
the visitor can then play and explore the pieces, allowing the mind to wander.
As mentioned previously, once the viewer began to understand the folding
skeleton of the piece, the interaction became more fluid and investigatory. No
longer was the viewer attempting to understand the folds, the process had now
moved on to exploring their potential.
Potential Further Research:

The development of textiles that just have exploration as their function is still
progressing. Multi sensory rooms that calm and sooth the mind have been long
in use for those with special needs, yet personally it feels these rooms would
benefit all. The ability to explore within the textures, sounds and visuals, the
senses are engaged and relaxation happens. The creation of textiles that could
mimic that of a sensory room but on a much smaller scale, similar to that of
Dynamic Folding Knits, may help alleviate stress symptoms and create a similar
calming sensation. Witnessed through the developed research within Dynamic
Folding Knits, the participants found the knits absorbing and often mentioned
effects similar to ASMR.

The use of natural materials to construct the tactile knit pieces not only empha-
sise the tactility and help introduce support and strength (especially where the
felting of wool has been used), it also helps keep the project sustainable. How-
ever it is the inclusion of a plastic based yarn that makes the research fall short.
The inclusion of much more sustainable and biodegradable solution would be
preferred, for example a bio-polymer.

Focusing further, this research could begin to delve into the depths of human
interaction with textiles and why an essence of play is so important for people of
all ages. It is of such importance throughout childhood, and although the format
of play changes and morphs into new methods, it seems play becomes less
fundamental in adulthood with the pressure of society and work. These textiles
created in Dynamic Knitted Forms have shown to have the ability to do just that,
to allow free interaction and to allow the mind to explore with the only reason to
relax and interact.

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