Making Material Knowledge: Process-led Textile Research as an Active Source for Design Innovation

Abstract

This paper explores the notion of “Textile Thinking” during a cross-disciplinary research case study exploring material boundaries. The Material Boundaries project was designed to consciously experiment beyond the unknown and generate a deeper understanding where ceramic begins and textiles end as well as the transitional space in between them. This led to the development of a collection of new hybrid materials and a series of spatially applied textile design outcomes. The project took risk-taking to the extreme by firing material hybrids in a kiln, often “producing” nothing but traces of textile dust. This paper presents the journey of the reflective mapping process, illustrating the key stages of the research, which led to the discovery of new material properties applying traditional ceramic processes to high tech textiles. The findings identify risk-taking and “unlearning” as essential strategies to invite valuable set-backs as well as happy accidents. Essential key stages of an open – ended process-led textile research are portrayed as:

•	Mapping New Terrain
•	Unlearning and Play
•	Navigating Material Evaluation
•	Selective Design Developments

Informed by the experience of applying ceramic making processes to textile materials the differences and similarities of the two disciplines are discussed. As textiles can consist of a wide range of diverse materials ranging from jute to plastic, fine-tuning of material qualities lies at the core of the design and research development. Here the intrinsic knowledge of the behaviour of different textile components informs the selection of the material. Additionally adaptability and flexibility is a key textile quality whilst ceramics often need to achieve perfect stability – ironically achieved out of elastic clay material.

The findings identify core areas of “textile thinking” and explore its unique creative capital for design research and development as an additional creative impulse for generic design thinking. The authors explore the role of material “playtypes” to complement and inform the development of design prototypes, facilitating a more playful and open-ended material research approach. This paper concludes by suggesting methods and processes to invite more risk taking into textile research and investigates how tacit knowledge about materials can be integrated and communicated within the framework of design research. It defines materials as an active source of information and identifies the intricate knowledge making through hands on textile thinking.

Keywords:

• process-led textile research
• textile thinking
• unlearning
• hybrid materials
• playtypes
• tacit knowledge

Acknowledgements

This paper was conceived while the authors were respectively a Course Director and an Associate Lecturer on BA (Honours) Textile Design at CSM, University of the Arts London.

The Hybrid Materials project was only possible with funding support from CSM as well as the Textile Future Research Centre, University of the Arts London. We would also like to thank Andy Allum, Helena Britt, Natsai Chieza, Peter Close, Carole Collet, Simeon Featherstone and Duncan Hooson in particular for their invaluable enthusiasm, inspiration and support.

Additional information

Notes on contributors

Anne Marr

Anne Marr is currently Course Leader, BA Textile Design at Central Saint Martins College (CSM) and acting Deputy Director of the Textile Future Research Centre, University of the Arts London (UAL). Anne is interested in trans-disciplinary design and has been working collaboratively with architects, artists and designers. Research areas of interest include: socio-responsive textiles, urban fabric, experiential material knowledge, hybrid materials, design education. [email protected]

Rebecca Hoyes

Rebecca Hoyes is a design practitioner and Associate Lecturer on BA Textile Design at Central Saint Martins, University of the Arts, London. Her work combines an interest in both digital production and handcraft techniques and explores the resonance between modernity and tradition. Research interests include: craft and design as a means of collaboration, cultural heritage, digital craft, hybrid materials. [email protected]