WEAVING 1

Rebecca Collins

Advisor - Scot Laughton

Sheridan College - Industrial Design Capstone Project
Fall 2020
WEAVING 2

Terminology

Weaving is technique that involves two distinct elements that are interlaced at right Weaving is an activity rooting back to the beginning of our cultural history. It was often
angles to form a larger system. The longitudinal elements are called the warp and the used as a solution to a specific need, such as containers for carrying things or mats and
lateral ones are the weft. [1] carpets to provide warmth.

Weaving covers a broad range of textile production methods, however common among Depending on the material used, weaving can produce two kinds of systems: structurally
them is the principle of interlacing material to generate friction-based junctions. This stable forms such as baskets or non-structural forms (i.e. mats, rugs, and textiles).
gives robustness to the resulting object through structural redundancy and gives the
ability to produce lightweight objects with properties that offer advantages beyond its
constituent materials. [2]

Bamboo basket with vine handle by Hayakawa Shokosai III Woman weaving a large carpet by hand.
(1918). PHOTO: BRITANNICA
PHOTO: HAYAKAWA CATALOG 2011
Example of a plain weave, demonstrating the warp and
weft components. [3]

[1] Kadolph, Sara J., ed. (2007). Textiles (10th ed.). Saddle River, New Jersey: Prentice-Hall.
[2] Ayres, Phil & Martin, Alison & Zwierzycki, Mateusz. (2018). Beyond the basket case: A principled approach to the modelling of kagome weave patterns for the fabrication of interlaced lattice structures using straight strips.
[3] Venter, Martin. (2015). A Methodology for Numerical Prototyping of Inflatable Dunnage Bags.
WEAVING 3

Weaving Techniques Plain Weave [5]

There are many different weaving patterns used to create woven fabrics. The most The plain weave is the simplest and most common type of textile weave. It is strong
common techniques used are: [4] and durable and mainly used for fashion and furnishing fabrics. The warp and weft are
aligned so that they form a criss-cross pattern (also called a checkerboard pattern).
• PLAIN WEAVE Each weft thread crosses the warp threads by going over one, then under the next, and
• TWILL WEAVE so on. The next weft thread goes under the warp threads that its neighbor went over,
• SATIN WEAVE and vice versa. Some common examples of plain weave are chiffon, taffeta, canvas,
• BASKET WEAVE and tweed.
• JACQUARD WEAVE
• DOBBY WEAVE Plain weaves do not ravel easily but they tend to wrinkle and have less absorbency
• LENO WEAVE than other weaves. Variations of the plain weave include the rib weave and the basket
weave.

Examples of the three basic weaves: plain, twill, and satin. Warp and weft pattern of a plain weave. Plain weave canvas fabric.
PHOTO: FILMEDIA PHOTO: INTERNATIONAL JOURNAL OF SCIENCES [6] PHOTO: BRITANNICA

[4] U.K., James Smith. “7 Weave Patterns to Know - Twill, Basketweave, Satin, and More.” Heddels, 21 Dec. 2017, www.heddels.com/2017/12/7-weave-patterns-to-know-twill-basketweave-satin-and-more/.
[5] The Editors of Encyclopaedia Britannica. “Plain Weave.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 17 Dec. 2010, www.britannica.com/technology/plain-weave.
[6] International Journal of Sciences: Basic and Applied Research (IJSBAR) (2020) Volume 50, No 2, pp 9-19
WEAVING TECHNIQUES 4

Twill Weave [4] Satin Weave [4]

The twill weave is one of the most widely used weaves in textile production. This The satin weave is another common weave which is achieved by “floating” the warp
weave is formed by passing the weft element under and over multiple warp elements in or weft element over four or more of the opposite element. The floating element is then
an alternating sequence. The resulting pattern creates a diagonal rib or ridge at a 45° passed under one of the opposite element before repeating the process again.
angle.
The resulting weave creates a super smooth fabric that has a soft touch and drapes in
The main feature of this weave is the pronounced diagonal lines that run along the width an excellent manner. The long distances between the interlocking of elements is what
of the fabric. Twill weave is durable, heavier, wrinkle and soil resistant, and is more helps create a smooth, lustrous sheen on the face of the fabric. Fabrics that are made
flexible than plain weave. with this weave include brocade, silk, crepe-satin, satin, and velvet.

The most common applications of the twill weave is tweed, gabardine, denim, and
flannel.

Warp and weft pattern of a 2/2 twill weave. Twill weave on denim. Warp and weft pattern of a satin weave. Satin textile.
PHOTO: INTERNATIONAL JOURNAL OF SCIENCES [6] PHOTO: BRITANNICA PHOTO: INTERNATIONAL JOURNAL OF SCIENCES [6] PHOTO: PURESILKS

[4] U.K., James Smith. “7 Weave Patterns to Know - Twill, Basketweave, Satin, and More.” Heddels, 21 Dec. 2017, www.heddels.com/2017/12/7-weave-patterns-to-know-twill-basketweave-satin-and-more/.
[6] International Journal of Sciences: Basic and Applied Research (IJSBAR) (2020) Volume 50, No 2, pp 9-19
WEAVING TECHNIQUES 5

Basket Weave [4] Jacquard Weave [7]

The basket weave is a variation of the plain weave, where the plain weave pattern is The jacquard weave is characterized by its complex patterns and woven-in designs.
followed but two or more elements are combined and woven as one. The number that It is produced with a special attachment on looms which uses a vast series of hole-
is used is even and consistent throughout the fabric. The basket weave is stronger and punched cards to determine which elements are raised during the weaving process.
more flexible but less stable than the plain weave. This method allows for the endless complexity that can be woven into the fabric.

This weave creates a more textured fabric that emphasizes the checkerboard pattern Fabrics with the jacquard weave are costly because of the time and skill involved in
of the plain weave. Monkscloth and oxford cloth are both examples of fabric that use making them. It can be seen in brocade, damask, and brocatelle.
this weave.

Warp and weft pattern of a basket weave. Oxford cloth depicting the checkerboard pattern of the basket Hole-punched cards used to control warp threads on loom. Example of jacquard weave in damask fabric.
PHOTO: HEDDELS [4] weave. PHOTO: BELINDA ROSE PHOTO: FABRIC WHOLESALE
PHOTO: HEDDELS [4]

[4] U.K., James Smith. “7 Weave Patterns to Know - Twill, Basketweave, Satin, and More.” Heddels, 21 Dec. 2017, www.heddels.com/2017/12/7-weave-patterns-to-know-twill-basketweave-satin-and-more/.
[7] The Editors of Encyclopaedia Britannica. “Weaving.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 14 Apr. 2014, www.britannica.com/technology/weaving.
WEAVING TECHNIQUES 6

Dobby Weave [4] Leno Weave [4]

The dobby weave is a simpler version of the jacquard weave. It requires a special The leno weave (also called gauze or cross weave) is also produced with a special
loom attachment in order to create the desired patterns, however the dobby weave is loom attachment. It is made by twisting two warp elements around the weft element.
characterized by small, repetitive geometric patterns. The “Dobby” uses the pegs to This method allows for a more open weave but can still be woven tightly for shirting or
control when the warp threads are lifted which allows for intricate patterns and designs. loosely to resemble netting or mesh. It gives the appearance of a lightweight, lacelike
fabric, while still being structural.

Loom with dobby attachment. Pegs are placed at specific Oxford cloth depicting the checkboard pattern of the basket Warp and weft pattern of a leno weave. Example of leno weave in waxed cotton.
instances to lift the warp threads at specfic instances. weave. PHOTO: HEDDELS PHOTO: MAHARAM
PHOTO: GEORGE WEIL PHOTO: HEDDELS [4]

[4] U.K., James Smith. “7 Weave Patterns to Know - Twill, Basketweave, Satin, and More.” Heddels, 21 Dec. 2017, www.heddels.com/2017/12/7-weave-patterns-to-know-twill-basketweave-satin-and-more/.
BASKET MAKING 7

Basket Making Origin [8]

Basket making (or basketry) is a process of weaving or sewing flexible materials into a
three-dimensional object including baskets, mats, mesh bags, and furniture.

It is one of the oldest crafts and is used in different cultures across the globe, for both
spiritual rituals and functional purposes. The process of interweaving twigs, seeds, or
leaves for baskets and mat making it one of the most universal craftworks, ranking
among the most ancient industries. There are few examples of these early baskets that
still exist because baskets are traditionally made of biodegradable materials.

Baskets are made from pliable materials - anything that will bend and form a shape.
Traditionally this range of materials have been things found in nature: pine, straw, rattan, An artisan in Cameroon weaving a wicker basket. Ethiopian coil basket.
PHOTO: YMEA PHOTO: THE SPRUCE
willow, oak, stems, vines, wisteria, animal hair, hide, grasses, and thread.

As explorers travelled to other parts of the world they traded goods. The goods were
contained in baskets and so the recipient of these goods would apply these new
techniques of basket making with materials from their own land. This is how many of
the Asian techniques can be found in European baskets, and how European techniques
were then carried over to the Americas. [9]

There has been an increasing number of weavers moving away from the traditional
materials. While they are still using the traditional techniques of basket making, weavers
have been experimenting with manufactured materials, such as metals, plastics, and
Basket making using indigenous techniques. An artisan in Bhutan weaving a bamboo basket.
paper. PHOTO: THE ECOLOGY CENTER PHOTO: DRUKTRAILS

[8] Kaiser, Virginia. “Tradition and Beyond.” Craft Arts International, no. 76, July 2009, pp. 106–107.
[9] V. I. Reed & Cane Inc., Basket Weaving Supplies. “History of Basket Weaving.” V. I. Reed & Cane Inc., Basket Weaving Supplies, 2001, basketweaving.com/shopsite_sc/store/html/history-of-basket-weaving.html.
BASKET MAKING 8

Basket Making Origin [10]

Authorities on the subject state that there has never been a tribe in any part of the world Basket making has been called the “mother of pottery” due to the evidence from early
that has not used some method of making baskets, and that the weaves we use today ceramic art that shows pieces of clay that had been moulded around basket structures.
all have their origin in baskets made by our ancestors. Potters were using these basket moulds to create forms long before the invention of the
wheel.

Native American jar, Ana- Basket-like pottery, Egypt,

sazi, 1300. 1550-1295 BC.
PHOTO: PET LAMP PHOTO: PET LAMP

Baskets found in Tutankhamun’s Neo-Assyrian, Iraq, 668-665 BC. Ancient Egyptian painting, 1400 BC.
tomb. PHOTO: PET LAMP PHOTO: PET LAMP
PHOTO: PET LAMP

The use of natural materials in basket making makes it hard to accurately date the age
of the craft. Much of the history of basket making is lost since we could not properly
preserve these baskets. Radiocarbon dating tests done on baskets found in Faiyum,
Egypt have shown to be between 10,000 - 12,000 years old. The earliest dates for
Cord marked pottery remain. Cord marked vessel, Japan, 5000 BC.
baskets are older than any yet established by archeologists for pottery. PHOTO: PET LAMP PHOTO: PET LAMP

[10] “Basketry.” PET Lamp, petlamp.org/basketry/.

BASKET MAKING 9

Basket Making Today [10]

The forms, techniques and materials used are still continued in basket making around
the world today. A thorough training period of twelve months is necessary to become
proficient in a technique, and at least three years to train the eye for shaping and the
hand for regular and even weaving. Speed, neatness, and accuracy comes with time
and perseverance.
Japanese artisan weaving with bamboo. Colombian artisan weaving with Paja Tetera.
PHOTO: PET LAMP PHOTO: PET LAMP
Traditionally, basket makers gather and prepare their own materials. However, the
increasing number of new basket makers, coupled with the scarcity of native woods,
has meant that larger quantities of supplies must be imported to replace many of the
natural materials that were once used.

There are generally four types of basketry. Coiled basketry tends to use grasses and
rushes. Plaiting uses materials that are wide and ribbon-like, such as palms or yucca.
Twining uses materials from roots and tree bark. Wicker and Splint baskets use reed, Chilean artisan weaving with wicker. Ethiopian artisan weaving with palm leaves.
PHOTO: PET LAMP PHOTO: PET LAMP
cane, willow, oak and ash.

Although many other crafts have become mechanized, no one has yet invented a
machine that can make baskets, they are all still handmade. The earliest and most
basic tecniques that our ancestors used to make baskets are still alive and regularly
used today.

While the tradition of basketry carries on there has been a revival of interest among
artisans and craftspeople, which has led to new explorations and forms of expression.
Four types of basketry.
PHOTO: PET LAMP Just as weavers make pictures with tapestry, basket makers now use basketry techniques
to create sculpture.
[10] “Basketry.” PET Lamp, petlamp.org/basketry/.
BASKET TYPES 10

Plaited Baskets [10]

Plaited baskets involve a simple weave where identical elements are woven together,
one over the other. The three main categories of plaiting basketry are: plain, twill, and
hexagonal. Plain and twill have diagonal variations where instead of being parallel or
perpendicular to the edge, it is oblique. Plain and twill are the most common to the
textile weaving processes than any other basketry technique.

Plaiting basketry are most commonly woven with wider and ribbon-like materials like
rush, palms, grasses and split rattan. They can be an open or closed weave, depending
on how tightly the elements are woven. A closed plain weave allows for compactness
and adds strength to the baskets.

This technique has many uses: fish traps, fans, snow shoes, hats, hair ornaments, and
Example of plaited basket.
chair seats as well as baskets. Plaits have grown in complexity and variety since it was PHOTO: PET LAMP
first used. Old patterns survive by being passed from generation to generation. Plaited
baskets and mats are made all over the world but particularly in hot and humid climates.

Plain (left), twill (middle) and hexagonal (right) plaiting techniques. Hexagonal (kagome) weave used for rooster cages in Vietnam. Twill plaited basket sifter by the Native American Hopi tribe.
PHOTO: BRITANNICA PHOTO: MOLLY FELDE PHOTO: WORTH POINT

[10] “Basketry.” PET Lamp, petlamp.org/basketry/.

BASKET TYPES 11

Coiled Baskets [11]

The distinctive feature of coiled baskets is it’s made of a single element that is wound
in a continuous spiral around itself. The foundation is laid and the spiral is built up until
the desired height and form of the basket is achieved. Each coil is kept in place by
thread which is stitched at a designated interval.

Spiral coiling is the most commonly used for a coil basket. If the element is solid, made
up of a single whole stem, the thread must squeeze the two coils together binding
the one layer to the layer preceding it. This gives a diagonal or twilled effect. With an
element that is made up of 2-3 strands, the thread catches in each stitch from a strand
of the preceding coil.

Native American coil basket.

Grass is most commonly used for the inner coil and the thread is usually a stronger PHOTO: RUBY LANE

grass or stripped down tree fibers. Native Americans in the Southwestern US states
have perfected coiling with grass. Typically the thread that they use will cover the grass
completely.[9]

Coil baskets made with sweetgrass is done in West Africa, and the techniques came to
America with African slaves. Sweetgrass baskets are still woven in eastern US coastal
states, and pine needle baskets are common in Florida and Northwestern US states.

Examples of types of coiled basketry. Coiled basket being woven.

PHOTO: BRITANNICA PHOTO: PET LAMP

[9] V. I. Reed & Cane Inc., Basket Weaving Supplies. “History of Basket Weaving.” V. I. Reed & Cane Inc., Basket Weaving Supplies, 2001, basketweaving.com/shopsite_sc/store/html/history-of-basket-weaving.html.
[11] Erdly, Catherine. “History”. Basket Weaving. Archived from the original on 2007-09-28.
BASKET TYPES 12

Twining Baskets [11]

Twining is a technique where two or Basket making techniques can be used in combination to fulfill a specific purpose. In the
more of the flexible weaving elements pictures on the right, these two baskets are used to sift grain and flour. They both use
cross each other as they weave around a twined openwork base to allow for sifting, however the sides are made using coiling.
the stiffer radial spokes. With three This allows for a strong container and a means of holding the sides while sifting. The left
weaving elements the weft becomes basket was made in Italy and the right basket made by the Oromo people in Ethiopia. [13]
more like a braid.

In an openwork twine the results

look more like a mesh, whereas in a
closedwork twine the warps (spokes) are
often fully concealed by the wefts.

Example of twined base using 3 weavers.

PHOTO: THE AMERICAN EDUCATOR [12]

Closedwork twining is mostly found in three areas of the world: Central Africa, Australia,
and western North America. Here there are a number of variations including twilled and
braiding twining, and zigzag and honeycomb twining. Openwork twining is found almost
universally because of its perfect solution to the problem of maintaining rigid elements
(spokes) with even spacing. A common use for openwork twining is fish traps and
hurdles (portable panels used to enclose land or livestock). This type is most commonly
found in European and African basketry, but also found sporadically in North and South Examples of baskets using a combination of techniques. Twined mesh base with coiled sides.
PHOTO: TIM JOHNSON
American, and Eastern Asia.

[11] Erdly, Catherine. “History”. Basket Weaving. Archived from the original on 2007-09-28.
[12] Ellsworth D. Foster ed. The American Educator (vol. 1) (Chicago, IL: Ralph Durham Company, 1921)
[13] Johnson, Tim. Twining in World Traditions and Flexible Basketry Structures with Tim Johnson, 3 Mar. 2017, weavingbythesea.blogspot.com/2017/03/twining-in-world-traditions-and.html.
BASKET TYPES 13

Wicker Baskets [11]

In wicker baskets the warp (often called the “stake”) is rigid and the smaller and more
flexible weft (or “strand”) passes over and under the stakes consecutively. In order to
weave around continuously an odd number of stakes needs to be used so that the
second row will form from the reverse of the first row.

Wicker is traditionally made of plant materials, willow, rattan, reed, bamboo, however
synthetic fibers are now also used. Wickerwork is light yet sturdy so it is suitable for
items that are moved often, such as patio furniture.

Lloyd Loom chair wicker fabric being assembled to chair Lloyd Loom weave depicting metal wire core.
frame. PHOTO: LEE J CURTIS
PHOTO: LEE J CURTIS

The Lloyd Loom was patented in 1917 by Marshall B. Lloyd, who twisted kraft paper
around a metal wire and used these paper threads on a loom to create the traditional
(TOP) Example of a wicker base with thicker willow rods as Lloyd Loom fabric. Lloyd Loom chairs quickly became very popular in the US in the
the “stakes” and thinning willow rods as the “weavers”.
PHOTO: JONATHAN RIDGEON
1920s, and this furniture could be found in hotels, restaurants, and tea rooms all over
the country. [14]
(LEFT) Nantucket baskets made from tightly woven rattan and
cherry.
PHOTO: FOUR WINDS CRAFT GUILD

[11] Erdly, Catherine. “History”. Basket Weaving. Archived from the original on 2007-09-28.
[14] Curtis, Lee J (1997). Lloyd Loom woven fibre furniture (2nd ed.). London: Salamander Books.
BASKETRY AROUND THE WORLD 14

INDIGENOUS AMERICA Eperara Siapidara [10]

The Eperara Siapidara are an indigenous The basket weaving done in this community, like many communities, is primarily
community from the Cauca region of associated with women. Girls are introduced to weaving at a young age and make
Columbia. They carry a deep knowledge baskets their whole life. These artisans are always working on their weaving. For income
of their environment and a rich handicrafts an Eperara artisan will sell their woven baskets to cover basic necesseties, however a
tradition. They gather weaving materials lot of young women cease to weave once they are employed in cities.
from their journeys through jungles and
forests, including tetera and chocolatillo. Although the women are the main source of their basket making, the men also weave.
They weave baskets that are used to Using palm fibers and other natural fibers the men typically weave the roofs of houses
transport food, as well as clothes and and palm mats to make up the walls of the house.
other domestic objects. Some baskets
are made for ceremonial use, for offering The traditional designs by the Eperara
food to ancestral gods and to harvest Paja Tetera plant is the primary weaving fibers used with the artisan are very natural. Patterns that they
Eperara Siapidara.
and preserve medicinal plants. PHOTO: PET LAMP
often use are the monkey, spider, fish,
shrimp, anaconda, and butterfly among
many others. As in many indigenous
tribes, weaving for the Eperara is very
connected with mathematical operations,
natural science, geometry, social
sciences and space dimensions which
makes each basket a piece enriched
with their cultural knowledge.

Woven light fixtures made of plastic bottles. Traditional plaited patterns depicting the monkey, frog, fish,
PHOTO: GOODEEWORLD and anaconda (clockwise from top left).
PHOTO: PET LAMP
[10] “Basketry.” PET Lamp, petlamp.org/basketry/.
BASKETRY AROUND THE WORLD 15

INDIGENOUS AMERICA Eperara Siapidara [10]

When a girl is close to the age of five an Eperara Siapidara adult woman will test
baskets with her. As they finish this first piece of basketry they will cut the tips of the
paja tetera off into the basket. The older woman will then take the basket and place it
on the little girl’s head as a hat. When they remove the basket from her head and some
pieces of the fiber remain in the little girl’s hair they believe that she will become very
knowledgable in basket making. However if the pieces of fiber fall and they don’t remain
in her hair they believe she won’t have the memory or sensitivity for it, even if they were
to constantly teach her.

Over the past several years there have been diminishing access to natural fibers. Much
of their forest has been lost due to bad management of the timber harvest. Also much of
the indigenous community has been displaced from their land by the guerrilla war. For Eperara artisan weaving plastic bottle with dyed paja tetera plant fibers in traditional plaited weave. Their basket making techniques
are used to create these lampshades.
the artisans this lack of resources has allowed for new opportunities. PHOTO: PET LAMP

Partnering with PET Lamp, many artisans have pivoted to applying their traditional
plaited weaving techniques and patterns to plastic bottles. The paja tetera fibers are
dyed and woven into the plastic bottle strips to create basket based lampshades in a
variety of shapes. This resilient community are redefining trash as treasure and are
embracing an optimistic future for themselves while helping to better our planet.

Young girl wearing woven lampshade. Fibers being woven around plastic bottle.
PHOTO: PET LAMP PHOTO: PET LAMP

[10] “Basketry.” PET Lamp, petlamp.org/basketry/.

BASKETRY AROUND THE WORLD 16

ASIA East Asia [15]

Basket making exists all over Asia, from weaving with palm leaves in South Asia to Bamboo is adaptable to a variety of
the indigenous basketry from Southeast Asian tribes. The emphasis on basketry is weaving techniques, however its highest
very strong in East Asian countries, particularly Japan, Taiwan, China and Korea. The form of aesthetic expression is arguably
abundance of bamboo in these countries make it a prime material for making baskets, the traditional Japanese flower basket
and it has been done for centuries. In Japan, bamboo weaving is registered as a (hanakago). It is deeply engrained
traditional Japanese craft, with a range of fine and decorative arts. with Japanese culture through the
time-honoured art of flower arranging
The most common basket types in East Asia are plaited baskets, especially hexagonal, (ikebana) and the tea ceremony.
because of the flat nature of the bamboo strips. Taiwan has a close relationship with
bamboo, with a lot of their furniture and tools (fishing gear, hunting tools, etc) made from At first Japanese tea ceremonies would
it. By the time Taiwan was invaded by Japan at the end of the 19th century the existing use imported Chinese bamboo baskets
bamboo culture was deepened by the Japanese bamboo culture. The resulting culture Sozen Flower Basket by Shono Shounsai.
until they designed their own baskets.
has made Taiwan famous for its unique bamboo weaving. PHOTO: SHONO CATALOG The ikebana baskets were inspired by
indigenous farming and fishing baskets,
characterized by a looser weave, wide
slats of bamboo, and the use of rattan,
vines, and tree roots.[16]

Hanakago exhibition.
Boy in China carrying bamboo basket on back (1945). Kagome hexagonal plaiting weave pattern.
PHOTO: MEG NANNA
PHOTO: WILLIAM DIBBLE

[15] Balfet, Hélène J. “Origins and Centres of Development.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 20 May 2019, www.britannica.com/art/basketry/Origins-and-centres-of-development.
[16] “Weaving Beauty - Japanese Bamboo Baskets - L’Asie Exotique”. www.lasieexotique.com.
BASKETRY AROUND THE WORLD 17

ASIA East Asia [17]

Machete is used to cut bamboo into slats. Heating bamboo slats to be able to bend to form the frame. Thinner strips are woven to form the base of the basket. Side frame is attached to the basket body.
PHOTO: HONG-MING WEI PHOTO: HONG-MING WEI PHOTO: HONG-MING WEI PHOTO: HONG-MING WEI

Tianshe Village in the Chiayi county of Taiwan is home to one of the few remaining factories that still make bamboo baskets. Formerly known as “Bamboo Basket Village” for the
popularity of basket making, the village has seen a decline in factories since the rise of the plastic industry, increase in labour cost, and the scarcity of bamboo.

[17] Wei, Hong-Ming. “Making Bamboo Baskets.” Digital Taiwan - Culture & Nature, 2010, culture.teldap.tw/culture/index.php?option=com_content&view=article&id=1233:making-bamboo-baskets&catid=156:lives-and-cultures.
BASKETRY AROUND THE WORLD 18

ASIA Southeast Asia [18]

Indigenous communities across There is a lot of variety in the basket sizes and shapes, however there is a general
Southeast Asia are well known for distinction between rigid and soft baskets. Rigid baskets are often strengthened at the
their incredble basketry. The Palaw’an four corners and have a base, which gives stability to the basket. These are mainly
community in the Philippines use used for transporting agricultural crops. The soft and more flexible baskets are used for
basketry and textile weaving to provide transporting heavy loads and personal belongings because of their ability to expand.[19]
the only cash income for necessities like
soap, cooking oil, and school clothes.
Throughout Southeast Asia, rice is generally accredited
Miniature version of a tingkep (covered basket) that showcas-
es the plaited weaving typically used by the Palaw’an. These with personality status and orginates from a human
The Palaw’an community doesn’t baskets are typically used for rice storage, a hunter’s burden
basket, and as spirit houses during animist rituals. sacrifice. Basket designs are believed to please the
get much exposure to other styles of PHOTO: JILL STANTON
“lifeforce” of rice if they are carefully reproduced and
basketry. As Jill Stanton found during
well-executed. Certain norms must be followed before
her visit, the artisans were all eager to
introducing novices to the weaving of “prohibited”
learn from her as inspiration for their
patterns since specific motifs are believed to cause
own work. This cross-cultural exchange
sickness and even death.
is also seen with the basket weavers in
villages outside Bangued City on Luzon.
There is a big social significance of basketry among this
The striking plaiting techniques used
region of Asia. It is a common belief that the first woven
in Japanese basketry can be found in
basket is an important step towards adulthood.[20]
their woven hats and plates. This can
be attributed to Japanese volunteers
Tambok basket weave starts on a
that visited this region in the 1970’s and cross and differs from the more popu-
lar diagonally woven baskets.
shared their weaving techniques. [18] PHOTO: DARIO NOVELLINO
Tingguan basket and hat with Japanese wheel weave (rinko)
technique.
PHOTO: JILL STANTON

[18] Stanton, Jill. “Contemporary Filipino Basketry Helps Subsistence Farmers Survive - Positively Filipino: Online Magazine for Filipinos in the Diaspora.” Positively Filipino | Online Magazine for Filipinos in the Diaspora, Positively Filipino | Online
Magazine for Filipinos in the Diaspora, 12 Sept. 2018, www.positivelyfilipino.com/magazine/contemporary-filipino-basketry-helps-subsistence-farmers-survive.
[19] Novellino, Dario. (2019). Weaving traditions from Island Southeast Asia: Historical context and ethnobotanical knowledge.
[20] Novellino, Dario, and Z. Füsun Ertug. “Baskets of the World” The Social Significance of Plaited Crafts, 2006, pp. 619–688.
BASKETRY AROUND THE WORLD 19

ASIA Southeast Asia [20]

Miniature basket also used as a talisman container. Coiling weave. Agricultural and foraging basket. Twill plaited weave. A bay’ung - soft basket used to carry personal belongings (comb, mirror, betel
PHOTO: DARIO NOVELLINO PHOTO: DARIO NOVELLINO chewing ingredients, amulets, medicinal plants, small knife, etc.). Checkerboard plaited
weave.
PHOTO: DARIO NOVELLINO

[20] Novellino, Dario, and Z. Füsun Ertug. “Baskets of the World” The Social Significance of Plaited Crafts, 2006, pp. 619–688.
BASKETRY AROUND THE WORLD 20

POLYNESIA New Zealand [21]

Basket making is a traditional practice across the Pacific Islands of Polynesia, especially In Tonga the designs typically focus on
from New Zealand and Australia’s Indigenous people. Natural materials are used such a genealogic metaphor called manulua
as pandanus, coconut fibre, hibiscus fibre, and New Zealand flax. In addition to creating (manu = bird, lua = two). This design
baskets for fishing, carrying goods, and personal storage, Polynesian baskets are is formed by three or four triangles that
containers of metaphor. meet at their points. The motif represents
two birds flying together which is a
In Māori tradition three baskets of metaphor for a high-ranking official
knowledge were collected by the god whose parentage is equally high on both
Tāne and contained all the sacred sides.
knowledge that was taught to the priests.
The first basket, kete aronui, contained These baskets were made from kaka,
the myths of creation; the second, kete threads found from the top of a coconut
tuauri, contained knowledge about Example of black and white designs. palm. These threads are dyed black
PHOTO: ADRIENNE KAEPPLER{21]
rituals, charms, and chants; the third, and woven with the natural coloured
kete tuateu, contained black magic. ones to make these geometric designs.
The manulua were made for chiefly
Māori women embed their mauri (life individuals, who used them to carry
force) into the baskets as they plait personal items.
them, often made from flax or kiekie (a
climbing shrub native to New Zealand). In West Futuna, baskets are metaphors
The basket designs were primarily black for life. Elements used for plaiting are
but today they are woven with colour to Example of Māori women weaving with colour to match cloth- Examples of the manulua baskets whose geometric motif identified as male and female, and
ing of the carrier. represents two birds flying together.
match the clothing of the carrier. PHOTO: ADRIENNE KAEPPLER{21] PHOTO: ADRIENNE KAEPPLER{21] their plaiting is a metaphor for sexual
intercourse.
[21] Adrienne L. Kaeppler. The Pacific Arts of Polynesia and Micronesia. OUP Oxford, 2008.
[22] Kaiser, Virginia. “Woven Forms.” Craft Arts International, no. 67, July 2006, pp. 106–107.
BASKETRY AROUND THE WORLD 21

POLYNESIA Australia [22][23]

The Ngarrindjeri women of southern South Australia have a tradition of coiled basketry, The dilly bag are string bags that are made for food gathering, carrying and storing food,
using the sedge grasses growing near the lakes and mouth of the Murray River. For and personal items and tools. They are usually oval in shape and collapsible for easy
thousands of years their weaving, which uses freshwater rushes from the Coorong storage. The string used to weave the bag is usually grasses or roots twined together.
that have been dried, has been used to create baskets, fishing nets and hunting and The bags are identifiable by the type of stitch used to make them, usually knots with or
gathering utensils. However, the dominant interest in European painting traditions in without loops or twists, which creates a strong but open-weave structure. [24]
Australia have suppressed the interest in textile traditions. With the passing of more and
more elders in the community, contemporary artisans are desperately trying to preserve
this dying craft. The use of natural materials represents a human inter-relationship with
the land.

The indigenous people in Australia have taken over the word “yarning” to indicate the
integration of storytelling into daily life in their communities. Yarning incorporates stories
of the past as well as the telling of the day’s events. The past is linked to the present in
an endless cycle of storytelling that is deeply embedded in indigenous culture.

Different types of dilly bags.

PHOTO: WESTERN AUSTRALIAN MUSEUM

Shrimp scoop by Yvonne Koolmatrie (Ngarrindjeri people). Sister Baskets by Yvonne Koolmatrie (Ngarrindjeri people).
PHOTO: NATIONAL GALLERY OF AUSTRALIA PHOTO: NATIONAL GALLERY OF AUSTRALIA

[22] Lawrence, Kay. “Loss and Reparation: Linking Two Cultures in Australia through Textiles.” Fiberarts, vol. 26, no. 1, Summer 1999, pp. 49–54.
[23] “Two Women Fight to Save Camp Coorong and Help Restore the Ancient Ngarrindjeri Craft.” ABC Premium News.
[24] Kaiser, Virginia. “Woven Forms.” Craft Arts International, no. 67, July 2006, pp. 106–107.
BASKETRY AROUND THE WORLD 22

AFRICA [25]

Basketry continues to be a fundamental part of material heritage on the continent of

Africa. Since ancient times men and women have used basketry techniques to create
basic and ceremonial objects, ranging from sandals to carrying bags to granaries.
Ancient basketry remains have been found more in the arid regions of North Africa,
while the humidity in the more tropical regions of West and Central Africa impedes the
preservation of basketry materials.

The most commonly used materials are locally available weeds, cultivated plants, rushes
and roots. Some items are quickly produced from freshly picked broad leafed plants,
and are intended as a single use item. A more complex basketry item can require days
or months of labour and are intended to last for years. These items include ceremonial
headdresses and dowry baskets.
Lybian basked combining traditional plant-based materials
Men’s prestige headdress of plaited raffia and cowrie shells.
with textile ribbons.
Recently there has been a reduced access to natural materials due to manmade crises PHOTO: MUSEUM OF FINE ARTS BOSTON
PHOTO: DARIO NOVELLINO [25]
such as excessive burning and deforestation, as well as natural crises like drought
and postilence. This has resulted in an increase of non-vegetal materials in African
basketry. The imported synthetic materials (acrylic thread, polyurethane strips, plastic-
coated wires) are increasingly seen as welcomed alternatives to the traditional methods
of collecting, dyeing and preparing of organic fibers.

Ethiopian merchants selling baskets with patterns painted on Ethiopiano artisan weaving a beer sieve.
with chemical dye. PHOTO: DARIO NOVELLINO [25]
PHOTO: DARIO NOVELLINO [25]

[25] Novellino, Dario, and Z. Füsun Ertug. “Baskets of the World” The Social Significance of Plaited Crafts, 2006, pp. 619–688.
BASKETRY AROUND THE WORLD 23

AFRICA Ethiopia [25]

Harar is located in the eastern highlands of Ethiopia. Harari baskets are shaped as
bowls, plates, and lidded containers that have been traditionally part of everyday
activities. Harari baskets are nationally known as the most complex of Ethiopian basketry
traditions. They are used for ceremonial presentations and as dowry gifts.

The skill for weaving these complex baskets is decreasing in recent years, and there
is pressure on elder professional weavers to meet the demand. The Harari basket’s
export is being strictly regulated as the traditional basket becomes more rare.

Dowry basket for storage of incese. Also used for wall decoration. Example of Harari basket used to cover plates of food and for
PHOTO: DARIO NOVELLINO [25] wall decoration.
PHOTO: DARIO NOVELLINO [25]

[25] Novellino, Dario, and Z. Füsun Ertug. “Baskets of the World” The Social Significance of Plaited Crafts, 2006, pp. 619–688.
BASKETRY SUMMARY 24

Basket Types [26] Basket Weaves [26]

PLAIN WEAVE DIAGONAL TWILLED

VIENNA CANE TRIAXIAL WEAVE
(CHECKERED WEAVE) WEAVE

COILED WICKER

TRIAXIAL (MAD)
BASKET WEAVE TWILLED WEAVE “NON-WOVEN” TYPE
WEAVE

PLAITED TWINED

OPENWORK OPENWORK TWINED OPENWORK TWINED

TWINED WEAVE
CHECKERED WEAVE WEAVE WEAVE

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
APPLICATIONS OF BASKETRY 25

Furniture Design [26]

The weaving techniques used to create baskets, mats, bags, and hats have also been Woven furniture follows the same rules
used in furniture design. The most notable breakthrough of basketry techniques in of basketry; thus some of the shapes
furniture was the coffee chair by Thonet in the 19th century. The combination of bent produced are similar in form to that of
wood frame with the rattan wickerwork seat was revolutionary. It required a small amount traditional baskets.
of wood, making it lightweight, and it was able to be mass produced and affordable.
Most woven chairs are characterized
Victorian wicker chairs were popular by a metal/rattan/wood frame, and a
until the beginning of the 20th century structural weave, usually very tight. They
with the emergence of the Lloyd Loom typically have one single part or a small
technology. The tensile wire wrapped amount of parts, and are sculptural.
in heavy Kraft paper produced a wicker
fabric that was attached to bent wood The morphologic typologies in woven
frames. They were then lacquered to chairs can be categorized into the
create strength but also to prevent pieces following:
that would snag on clothing (which was
common in natural wicker furniture). • Closed Spherical Type
The Lambeth Chair made of Lloyd Loom fabric.
The Lloyd Loom chair became popular • Open Basket Type PHOTO: LLOYD LOOM
for outdoor seating due to its lightweight • Flower Basket Type
and ability to withstand the elements. • Classical Roman Type
• Flying Carpet Type
• Tubular Type
• Vienna Wickerwork Type
Thonet Chair No.14, 1881, beechwood and cane.
PHOTO: MOMA

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
APPLICATIONS OF BASKETRY 26

Furniture Design [26] CLOSED SPHERICAL TYPE

Product Name Palla Chair [27] Sushi Daybed [28] Doeloe Lounge Chair [29] Balou Loveseat & Sofa [30]

Materials Rattan Water-hyacinth Rattan Rattan, Nylon, Steel, Abaca

Year 1960 2008 2010 2014

Artisan Giovanni Travasa, Italy Bannavis Andrew Sribyatta, Miami Abie Abdillah, Indonesia Kenneth Cobonpue, Philippines
Morphology of Design, Stylistic Palla means “ball” in Italian. This This “closed” type is tightly woven with This lounge chair was inspired by the The ability to see through this piece
Features, Type of Weave, “closed” type resembles spherical water-hyacinth, an aquatic floating Oplet vehicle. Looking at the chair creates a unique light quality to it,
shapes although the sphere is distorted plant. The volumetric nature of the chair from the front, the arm rests resemble despite its size. Using a twining weave
Construction Details, Material Mix,
to receive a seat. The wicker weave is creates this complex three-pointed the circular headlights of the vehicle. to create the form. Gives the impression
Analogues tightly woven to create structure. Most topography. The sitter sits in the recess The mesh is made up of rattan poles, of sitting on air. Coffee table, ottomoan
likely has a metal frame underneath. of these three points. but it isn’t woven. Analogue to Eureka and armchair are also part of this
Hanging Chair (1958) by Giovanni collection.
Travasa for Bonacina 1889.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[27] “PALLA - Contemporary Armchair by BONACINA1889 Srl: ArchiExpo.” The B2B Marketplace for Architecture and Design, www.archiexpo.com/prod/bonacina1889-srl/product-57152-211362.html.
[28] Designer Pages Data, Inc. “Designer Pages - Sushi Daybed (Water-Hyacinth).” , On Designer Pages, www.designerpages.com/products/26460-Sushi-Daybed.
[29] “Doeloe Lounge Chair and Pretzel Bench by Abie Abdillah.” Design Milk, 13 Sept. 2010, design-milk.com/doeloe-lounge-chair-and-pretzel-bench-by-abie-abdillah/.
[30] “Balou - Loveseat.” Kenneth Cobonpue, kennethcobonpue.com/designs/collections/balou/loveseat/.
APPLICATIONS OF BASKETRY 27

Furniture Design [26] OPEN BASKET TYPE

Product Name Hanging Egg Chair [31] Kani Chair [32] Afra Armchair [33] Nautica Swing Chair [34]

Materials Rattan Rattan, metal Aquatech cord, rope, stainless steel Tinted Rattan

Year 1959 1960 2009 2012

Artisan Nanna & Jorgen Ditzel, Denmark Toshio Yano, Japan Francesco Rota, Italy MUT Design, Spain
Morphology of Design, Stylistic Similar in form to an “open basket”, the Yano is considered a pioneer for This armchair is designed for exterior The open weave of this rattan chair
Features, Type of Weave, sitter is enclosed by the walls of the ergonomic designed furniture. This environments. The removable cover is relies on the decorative effect of the
chair. Made with a wicker weave, where chair is striking for its unique shape made of either rope or Aquatech cord, sinuous rattan poles. Although there
Construction Details, Material Mix,
the stakes are running lengthwise but also surprising comfort. The wicker which allows for a faster drying time. is no weaving in this piece, the rattan
Analogues down the back of the chair. Analogue weave used with rattan creates the Uses a coiled weave for the Aquatech pattern gives an effect of knitted yarm
to Eureka Hanging Chair (1958) by “open basket” style of chair, with the cord, and is sewn together for the rope. and adds to the swaying movement of
Giovanni Travasa for Bonacina 1889. stakes running lengthwise along the the chair. Analogue to the Hanging Egg
chair. Kani means “crab” in Japanese. Chair by Nanna & Jorgen Ditzel.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[31] Sika-Design.com. “Hanging Egg Chair.” Sika, sika-design.com/products/hanging-egg-chair-2.
[32] Yamakawa Rattan, yamakawa-rattan.com/.
[33] “AFRA - Armchairs from Paola Lenti: Architonic.” Products We Keep You Informed with Our News, www.architonic.com/en/product/paola-lenti-afra/1074231.
[34] “Nautica Swing Chair.” Expormim, 29 May 2020, www.expormim.com/products/nautica-indoor-swing-chair-3/.
APPLICATIONS OF BASKETRY 28

Furniture Design [26] FLOWER BASKET TYPE

Product Name E10 Rattan Chair [35] Margherita Chair [36] Primavera Armchair [37] Pavo Real Armchair [38]

Materials Rattan Rattan Rattan Cane

Year 1949 1950 1967 2011

Artisan Egon Eiermann, Germany Franco Albini, Italy Franco Albini & Franca Heig, Italy Patricia Urquiola, Spain
Morphology of Design, Stylistic Inspired by observation of the Created before the Primavera Armchair, Reminiscent of the Peacock Chair Inspired from traditional Southeast
Features, Type of Weave, craftsmanship of the weavers, Albini designed this to “suspend” things by Hans Wegner because of the fan- Asian furniture. The indoor version is
this design developed from an and people. Similarly with Primavera, shaped basket. However, this armchair made with cane, the outdoor version is
Construction Details, Material Mix,
understanding of the construction this chair has a strong reference to the looks exactly like a Japanese flower made with plastic strips and aluminum
Analogues process and capabilities of the material. Japanese flower basket. The exposed basket used for ikebana. The structure tubing. The morphology is making use
Uses a wicker weave, the stakes are warp elements create the back rest, is formed by the weft diagonally holding of plaiting weaving and the diagonal
fanning out from the base of the seat to with the weft elementsonly being up the two large rattan hoops. The patterning of flower baskets. Small
form the backrest and sides of the chair. used where the sitter would rest their points of intersection are fixed by nails. intervention of the flat backrest at the
neck. The warps are attached to the Analogue to E10 Rattan Chair by top versus the rounded back.
framework through lashing. Eiermann.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[35] “E 10 Rattan Lounge Chair: Architonic.” Products We Keep You Informed with Our News, www.architonic.com/en/product/richard-lampert-e-10-rattan-lounge-chair/1003959.
[36] “Margherita Chair by Albini: Dream and Rest.” Italian Ways, 16 July 2014, www.italianways.com/margherita-chair-by-albini-dream-and-rest/.
[37] “PRIMAVERA ARMCHAIR – 1967.” Studio Albini Associati, www.studioalbiniassociati.com/portfolio/poltrona-primavera-1967/?lang=en.
[38] Purquiola. “Pavo Real: Patricia Urquiola.” Patriciaurquiolastudio, patriciaurquiola.com/product/pavo-real-outdoor.
APPLICATIONS OF BASKETRY 29

Furniture Design [26] CLASSICAL ROMAN TYPE

Product Name Poplar Armchair [39] Foglia Chair [40] Canasta [41] Ami Chair [42]

Materials Paper-wrapped high tensile wire Rattan, metal frame Polyethylene, aluminum frame Expanded PU, stainless steel frame

Year 1922 1968 2007 2008

Designer Marshall Burns Lloyd, UK Giovanni Travasa, Italy Patricia Urquiola Francesco Rota, Italy
Morphology of Design, Stylistic The morphology of this chair is The wicker weave is structural and This collection of furniture is inspired Comes in an indoor and outdoor ver-
Features, Type of Weave, reminiscent of the ancient Roman tight, forming the back rest and legs of by the Vienna cane weave. By “blowing sion. Outdoor version uses Aquatech
woven chair: the rounded back, horse- the chair. The stakes run lengthwise up” this weave and using the thicker cord, and the indoor uses cold injected
Construction Details, Material Mix,
shoe shaped seat, and the woven sides down the back, similar to the “Open (30mm) plastic strips Urquiola creates expanded polyurethane. The use of a
Analogues that stretch under the seat to form Basket” types. However the high back an exciting interpretation of an iconic wider, softer material to weave creates
a skirt. The traditional wicker weave brings it into the “Classical Roman” weave. Canasta in Spanish means an exciting texture and visual interest.
combined with this revolutionary new type. The fan-shaped back gives the “basket”. Cusions are added to soften the bumps
material was very popular. sitter “protection” above their head. of the weave.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[39] Curtis, Lee J. Lloyd Loom Woven Fiber Furniture. Salamander Books, 2000.
[40] “Foglia.” Bonacina1889, www.bonacina1889.it/en-us/collections/iconic-contemporanei/foglia.
[41] “Sofa Canasta -B&B Italia Outdoor - Design of Patricia Urquiola.” B&B Italia, 6 Feb. 2020, www.bebitalia.com/en/sofa-canasta.
[42] “Ami Indoor: Armchair & Designer Furniture: Architonic.” Products We Keep You Informed with Our News, www.architonic.com/en/product/paola-lenti-ami-indoor-armchair/1439651.
APPLICATIONS OF BASKETRY 30

Furniture Design [26] FLYING CARPET TYPE

Product Name Lounge Chair, Model P3 [43] 809 Chaise Lounge [44] S Chair [45] Manta Chair [46]

Materials Rattan, steel frame Rattan, steel frame Marsh straw, metal frame Polyethylene cord, metal frame

Year 1960 1966 1991 1998

Artisan Tito Agnoli, Italy Mario Bonacina, Italy Tom Dixon, Italy D’Urbino & Lomazzi, Italy
Morphology of Design, Stylistic This lounge chair exploits an idea of The morphology of this chair is driven The original version of this chair is This chair takes advantage of the
Features, Type of Weave, seating furniture as a single frame bent by the metal structural frame covered upholdstered with marsh straw, woven properties of the wicker weave to cover
in space to provide a backrest and seat, in the woven rattan wicker weave. by hand. Alternative versions are woven complex surfaces. Similar to the other
Construction Details, Material Mix,
that originated in Bauhaus cantilever Analogue to the Lounge Chair by Tito with rattan or a leather/fabric cover. The “flying carpet” types, this chair involves
Analogues chairrs. Was popular in the 60’s-70’s Agnoli. one-piece morphology of the backrest a single form for the backrest and seat,
there were many variations of this form and seat contrasting with the metal however the contours in this chair are
with more and less complex surfaces. circular base creates an interesting and more complex. Use of PE cord allows it
iconic image. to be used outdoor.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[43] “Tito Agnoli Online Shop: Buy Furniture/Lighting/Design at PAMONO.” Pamono.ca, www.pamono.ca/designers/tito-agnoli.
[44] Bonacina, Mario. “809 Chaise Longue by MarioBonacina.”, Christie’s London, www.artnet.com/artists/mario-bonacina/809-chaise-longue-kCZzjKk7k5EPqTRT8OGeDw2.
[45] “S-CHAIR.” Cappellini, www.cappellini.com/en/s-chair.
[46] “Manta.” Bonacina1889, www.bonacina1889.it/en-us/collections/outdoor/manta.
APPLICATIONS OF BASKETRY 31

Furniture Design [26] TUBULAR TYPE

Product Name Su Su Su Chair [47] Wicker Lounge Chair [48] Moebius Double Armchair [49] Snug Chair [50]

Materials Rattan, cane, steel Rattan, aluminum, steel Rattan, water hyacinth Rattan, steel frame

Year 1966 1990 2010 2011

Artisan Kazuhiko Tomita, Italy Marc Newson, Australia Gaetan van de Wyer, Belgium Dennis Abalos, Australia
Morphology of Design, Stylistic This open-tubular chair ends in three The versatility of the rattan as a Manually bent rattan and woven with Inspired by the shape and aesthetic
Features, Type of Weave, large openings which references a weaving material and also the nature of water hyacinth. The weave takes of a beanbag chair. Fuses traditional
smiling complexion. Although it is a the wicker weave is shown in this chair. advantage of rattan’s ability to bend weaving techniques with contemporary
Construction Details, Material Mix,
tight weave it gives a soft look. It gives The chair makes points of contact in and results in this complex surface. furniture design. The position of the
Analogues the visual idea of a springy surface that two places (three with the back leg) and The continuous “strip” that forms the openings reference the Wicker Lounge
recedes under the weight of the sitter. gives the impression of a free-flowing moebius shape allows for two sitters to Chair by Marc Newson. Built from the
Also looks similar to a T-shirt, where object in space. Similar to the “flying use the armchair. framework and woven by hand from the
the armrests are the sleeves of the carpet” type with the backrest and seat frame.
garment. forming from one continuous piece.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[47] “SuSuSu Chair.” DESIGNkeus, Een Blog over De Persoonlijke DESIGNkeus Van Jan Willem Henssen, www.designkeus.nl/2009/10/sususu-chair.html.
[48] Ltd, Marc Newson. “Wicker Chair and Lounge: Marc Newson.” Wicker Chair and Lounge | Marc Newson Ltd, marc-newson.com/wicker-lounge-and-chair/.
[49] “Gaetan Van De Wyer: Moebius.” Designboom, 9 June 2010, www.designboom.com/design/gaetan-van-de-wyer-moebius/.
[50] “Snug Chair.” Abalos, abalos.com.au/pieces/snug-chair/.
APPLICATIONS OF BASKETRY 32

Furniture Design [26] VIENNA WICKERWORK TYPE

Product Name Cesca Chair [51] Cane Lounger [52] Wiener Chair [53] Frames Dining Chair [54]

Materials Cane, steel tube frame Rattan, cane Lacquered wood, vienna cane Tinted rattan, cane

Year 1928 2014 2016 2019

Artisan Marcel Breuer, Germany WORN, Australia Gabriella Asztalos, Spain Jaime Hayon, Spain
Morphology of Design, Stylistic Inspired by the tubular steel construc- The sides and back of this chair are This interpretation of the traditional The seat and backrest use the vienna
Features, Type of Weave, tion of his bicycle, Breuer envisioned formed through the use of the traditional vienna cane by Asztalos is inspired by cane and the legs are made in rattan.
a framework that could be elastic but vienna cane. Analogue to the Lounge the refined world she comes from and The intersection of these two curves
Construction Details, Material Mix,
resilient. The vienna cane held by Chair by Jan Bocan. The parts of this her experience as a classical ballerina. creates an interesting profile. Part of a
Analogues tension in the frame allows for a visual chair providing structure are the rattan The elegant backrest extends the systemic collection of work - chairs with
and physical lightness. The simplicity tubes that form the framework of the vienna cane in one smooth gesture and without armrests, etc.
of form in this cantilever chair was an chair. down to the ground as the third point of
international sensation. contact.

[26] Raycheva, Regina, and Dessislava Angelova. “Woven furniture design: in search of form and texture.” Pro Ligno 13.4 (2017).
[51] “Original Design: The Cesca Chair.” Knoll, 23 Oct. 2019, www.knoll.com/story/shop/original-design-the-cesca-chair.
[52] “The Cane Lounger in Natural.” WORN, wornstore.com.au/products/the-cane-lounger-natural-natural-available-to-order.
[53] Prodeez. “Wiener Chair by Gabriella Asztalos.” Prodeez, Prodeez, 23 Jan. 2020, www.prodeez.com/post/2016/08/26/wiener-chair-by-gabriella-asztalos.
[54] “Frames Dining Chair.” Expormim, 22 June 2020, www.expormim.com/products/frames-dining-chair/.
OPEN FRAMEWORK FURNITURE 33

The following pictures are furniture

pieces that have a similar structure
and appearance to woven furniture,
however they are better classified as
“Open Framework” furniture. While they
both use a primary and second structure
(as in a rigid framework and a skin that
is attached), for the purpose of this
research, I won’t be going in the direction
of these Open Framework pieces.
Lulu Easy Armchair - abaca, nylon, steel. Knotted Chair - rope. Mesh Sofa for Kettal - aluminum, teak.
PHOTO: KENNETH COBONPUE PHOTO: MARCEL WANDERS PHOTO: PATRICIA URQUIOLA

Some of the pieces chosen here use a

knitting or knotting technique to create a
surface. Some of the pieces are creating
a mesh framework which provides
support. In the case of the Lulu Chair,
there is a primary metal framework, and a
secondary element wrapped around the
metal. However they aren’t employing
the use of weaving techniques which is
where the rest of this document will be Plectere Acoustic Panel - knitted industrial felt. Carbon Chair by Bertjan Pot - carbon fiber. Yin & Yang - rattan, stainless steel, steel
focused on. PHOTO: PETRA VONK PHOTO: MOOOI PHOTO: KENNETH COBONPUE
BASKETRY OBSERVATIONS 34

Humans have shown to have creative impulses from the earliest time. They implemented Furniture designers have been looking to basketry as inspiration for decades. Thin-
technologies that utilized the materials they were weaving with in environments where stranded open weaves (like the Vienna wickerwork examples) work well under tension.
resources were often lean. In present day, all baskets are still made by hand. No machine It provides elastic, comfortable cushioning, free air movement, and requires a minimal
has yet been designed that can replicate the skill required to weave a basket. use of materials. However the more rigid the strand is the less need there is for tension
or framing to support the weave. This can be seen in the Palla Chair, which was woven
Basketry is predominantly found in areas with rattan and formed a closed spherical-like shape with a small recess in it for the
that had access to an abundance of sitter.
natural resources that would be useful for
weaving. Not only do basketry materials
need to be processed into long strips
but most of the natural materials used
are from plants that have a fast growth
rate, so supply can be replenished very
quickly. Materials that are used in plaited
or wicker weaving are usually highly
elastic and flexible, (such as rattan
and bamboo) whereas materials that
are seen in a coil weave (grasses and
rushes) don’t need that high flexibility.

Basketry techniques continue to be inspiration for many This “Bamboo Steel Table” by Nendo has adapted the traditional triaxial weave into a contemporary furniture piece. Handwoven with
artisans. These sculptural pieces by Dorothy McGuinness steel strips the strength of the object is reinforced not only with the overlapping of the triaxial weave but also in their material choice.
are using the twill weave, with watercolour paper painted with The legs are sliced into strips that form the tabletop surface.
acrylic. PHOTO: MASAYUKI HAYASHI
PHOTO: DOROTHY MCGUINNESS
STRUCTURAL MORPHOLOGY IN BASKETRY 35

Kagome Weave [55]

Kagome (also known as triaxial or hexagonal weave) is a type of plaited weave that is Single Curvature [55]
defined as the interlacing of three or more distinct elements at 60° angles to each other.
This three-directional weave, which in many ways is conceptually closer to a braid, is a Single curvature of the triaxial lattice is easily achieved by bending the plane. There are
semi-regular mesh of triangles and hexagons, with a 3-6-3-6 tiling pattern. two possibilities for how it can be bent: along the center points of opposing edges in the
hexagon or across opposing vertices of the hexagon. In the first scenario, the weavers
Kagome is a Japanese word where will act as arches and will be perpendicular to the axis. In the second scenario, the
“kago” means basket and “me” means weavers will act as beams and run parallel to the axis. The amount of curvature that the
eyes. This is referring to the effect that lattice can do is dependent on the mechanical properties of the material used.
the open hexagonal holes has in a woven
kagome basket. The kagome weave
represents a method for producing
complex curved geometries with a single
mesh structure. As seen in baskets that
use this weave, there is no need for joinery
or the fabrication of nodes. Compared to
biaxial weaves, the self-bracing capacity,
greater shear resistance, efficient use
of material, resilience through friction-
based junctions, and robustness through
structure redundancy make triaxially
Planar triaxial weave with paper. woven structures an attractive method Example of how single curvature occurs in triaxial lattice. It will follow any line of hexagonal symmetry: across opposite edge centers
PHOTO: AYRES, ZWIERZYCKI, MARTIN [55] (left) or across opposite vertices (right).
to investigate morphology. PHOTO: AYRES, ZWIERZYCKI, MARTIN [55]

[55] Ayres, Phil & Martin, Alison & Zwierzycki, Mateusz. (2018). Beyond the basket case: A principled approach to the modelling of kagome weave patterns for the fabrication of interlaced lattice structures using straight strips.
STRUCTURAL MORPHOLOGY IN BASKETRY 36

Kagome Weave [55]

Double Curvature [55]

Double curvature in a triaxial lattice can be accomplished

by breaking up the topological symmetry. By introducing
singularites (or “lattice disclinations”) into this mesh in
specific placements, the morphology of the object can
be controlled. These are the mechanisms that introduce
in-plane strains and result in out-of-plane deformation.

The use of a pentagon in a hexagonal mesh will introduce

a positive convex curvature to create the familiar basket
shape (or fullerene shell); a heptagon will introduce
concave curvature. In mathematical terms, adding extra
weavers will result in hyperbolic functions (saddles)
while subtracting the number of weavers produces
closed shapes.

Through strategic placements of disclinations the

triaxial lattice can be controlled, informed by hands-on
exploration, and allows for specific and infinite design
possibilties.
Physically woven examples where a hexagonal unit has been replaced Physically woven examples where a hexagonal unit has been replaced
by a pentagon, quadrilateral, and a triangle (top to bottom). The more by a heptagon, octagon, and nonagon (top to bottom). The more weavers
weavers that are removed the more pronounced the out-of-plane that are added the more pronounced the curvature is.
deformation becomes. PHOTO: AYRES, ZWIERZYCKI, MARTIN [55]
PHOTO: AYRES, ZWIERZYCKI, MARTIN [55]
[55] Ayres, Phil & Martin, Alison & Zwierzycki, Mateusz. (2018). Beyond the basket case: A principled approach to the modelling of kagome weave patterns for the fabrication of interlaced lattice structures using straight strips.
STRUCTURAL MORPHOLOGY IN BASKETRY 37

Definitions

Topology [56]

Topology is the study of properties of shapes, particularly ones that are preserved after
a shape is twisted, stretched or deformed. These changes are known as “continuous
deformation” which roughly means “stretching, but not tearing or merging”. For example,
a circle may be stretching into an ellipse or something more complex like the outline
of a hand print. Two objects that can be stretched into the same shape are described
as homeomorphic. Under this classification, everyday objects can be stretched from a
sphere or some variety of a torus.

The topology of a basket can be dictated by the geometries used in the mesh pattern.
A woven basket is a perfect example of a form in equilibrium, since there’s no need for
glue or binding.

A mug and a donut are equivalent in topology because they can be continuously The mobius strip is an example of a non-
deformed from one to the other. orientable surface. Most objects when subjected to continuous deformation can be reduced to a few basic topological shapes.
PHOTO: AKIRA FURUSAKI [57] PHOTO: XICHEN SHENG [58] PHOTO: ROBERT COOLMAN [56]

[56] Coolman, Robert. “What Is Topology?” LiveScience, Purch, 23 June 2015, www.livescience.com/51307-topology.html.
[57] “Quantum Matter Theory Research Team.” Center for Emergent Matter Science, cems.riken.jp/en/laboratory/qmtrt.
[58] Sheng, Xichen. “1963.” Medium, Medium, 18 Mar. 2017, medium.com/designscience/1963-88a359d2f68b.
STRUCTURAL MORPHOLOGY IN BASKETRY 38

Definitions

Minimal Surface [59]

Minimal surface is defined as a surface that locally minimizes its area for a given This property of minimizing surface tension and area combined with their extreme stability
boundary. A physical example of this is often represented by dipping a wire frame in as physical objects offer advantages in many structures. Architects and designers are
soap solution. The minimal surface is formed from a soap film whose boundary is the fascinated with the possibilities that these forms can create. In his book “Finding Form”
wire frame. Frei Otto, one of the most emblematic architects and engineers from the 20th century,
discussed the application of optimal form in architecture:

“Natural structures are optimized, having maximum strength for minimum materials.”

Natural forces tend to form stable structures like the soap film examples, where the film
is pulled tight by the force of surface tension (lowest ratio of surface area to volume).
The soap films finds a stable equilibrium where it has the least area of any nearby
A helicoid minimal surface formed by a soap film on a helical A catenoid formed by a soap film. The curvature connecting the surface with the same boundary. [61]
wire frame. loops is the same shape assumed by a hanging chain. Both
PHOTO: TED KINSMAN [60] have the lowest possible potential energy.
PHOTO: COLDING, MINICOZZI [61]
Physically hand woven models can serve as a
modelling tool for exploring possible shapes that
could not be represented by sketching. Basketry
has been suggested as a way to visualize complex
geometry in the comic book about topology “Le
Topologicon” by astrophysicist Jean-Pierre Petit in
1979. For visualization purposes a woven surface
Surface tension pulls the bubble towards the shape that gives the minimum surface energy Hand woven paper model. offers us the ability to see through the layers, much Hand woven genus 3 model. Genus represents
PHOTO: DAVID STEIN, GUINNES WORLD RECORD PHOTO: ALISON MARTIN number of holes in an object.
like the soap film examples. [62] PHOTO: ALISON MARTIN [62]

[59] Perez, Joaquin. “A New Golden Age of Minimal Surfaces.” Notices of the AMS, vol. 64, no. 4, Apr. 2017.
[60] Klarreich, Erica. “Math Duo Maps the Infinite Terrain of Minimal Surfaces.” Quanta Magazine, www.quantamagazine.org/math-duo-maps-the-infinite-terrain-of-minimal-surfaces-20190312/.
[61] Colding, Tobias, and William Minicozzi II. In Search of Stable Geometric Structures, 8 July 2019.
[62] Martin, Alison G. A Basketmaker’s Approach To Structural Morphology, 20 Aug. 2015.
STRUCTURAL MORPHOLOGY IN BASKETRY 39

Kagome Weave

Closed Structures

Spheres can be created with the triaxial weave by strategically placing the pentagons. A torus (donut) form can be created by strategic placements of pentagons and A computer generated illustration depicting where the hexagons, pentagons, and
The smallest sphere is made of only pentagons, no hexagons. The next size up is set heptagons. The pentagons are placed on the outer edge of the ring, because the shape heptagons are placed in these triaxially woven forms. Note that similar to the torus
up so each pentagon is surrounded by hexagons on all sides. Something to note is as needs to be closed off so positive curvature is required. Whereas the inner part of the shape, the heptagons are used where the negative curvature is needed, and pentagons
the spheres get bigger, it becomes more faceted and less round. This is because of the ring needs negative curvature, and so the heptagons are placed there in order to create are placed where positive curvature is needed.
geodesic (shortest distance between two points) lines in the sphere. When the sphere the hole.
is smaller the lines are closer together and so it appears more round. As it gets bigger PHOTO: AYRES, MARTIN, ZWIERZYCKI [63]
the geodesic lines also get bigger, resulting in a more faceted looking sphere. PHOTO: ALISON MARTIN

PHOTO: STACY SPEYER

[63] Ayres, Phil & Martin, Alison & Zwierzycki, Mateusz. (2018). Beyond the basket case: A principled approach to the modelling of kagome weave patterns for the fabrication of interlaced lattice structures using straight strips.
STRUCTURAL MORPHOLOGY IN BASKETRY 40

Kagome Weave

Open Structures

SADDLE
POINT

In order to make the transition from flat surface to a tube the specific placements of heptagons are used. Heptagons are never placed A minimal surface structure is represented with triaxially woven A saddle surface refers to the saddle point, which is the point
directly beside each other. By spacing them out inbetween hexagons in a circular loop, the flat surface will negatively curve to form the straight strips. The holes are generated through the use of on a surface that is simultaneously the highest point and lowest
tube shape. heptagons to create negative curvature. point. For the curve coming from the top of the structure, the
saddle point is at the lowest point on that curve. At the same
PHOTO: AYRES, MARTIN, ZWIERZYCKI [63] PHOTO: ALISON MARTIN [64] time, on the curve coming from the bottom of the structure, the
saddle point is at the highest point on that curve.

PHOTO: ALISON MARTIN

[63] Ayres, Phil & Martin, Alison & Zwierzycki, Mateusz. (2018). Beyond the basket case: A principled approach to the modelling of kagome weave patterns for the fabrication of interlaced lattice structures using straight strips.
[64] Martin, Alison G. A Basketmaker’s Approach To Structural Morphology, 20 Aug. 2015.
STRUCTURAL MORPHOLOGY IN BASKETRY 41

Combinations

Triaxial weave can be used in combination with other basketry The horizontal strands used in the triaxial weave can be doubled A series of “resting pods” designed by Bertjan Pot for Nike’s exhibition in Milan 2016. Triaxially woven sphere transitioning
weaves, as depicted above. It naturally transitions into a plain up or woven like a wicker weave to create thickness and rigidity. The outer tube was woven with a plain plaited weave around inner tubes from different to a biaxial weave. Woven with plastic
plaited weave by doubling up on the longitudinal strands. vehicles. The seat part is woven with a triaxial weave, and seamlessly transitions into shipping straps.
PHOTO: SURABHI HEBBAR [65] the outer tube weave. The triaxial adds rigidity to the seated part that will hold the
PHOTO: SURABHI HEBBAR [65]
sitter. PHOTO: REBECCA COLLINS

PHOTO: DESIGN BOOM [66]

[65] Hebbar, Surabhi. “Exploring Basket Weaving Techniques for Space Making Elements Through Computational Tools .” 2015.
[66] “Bertjan Pot for NIKE at Milan Design Week 2016.” Designboom, 25 Apr. 2016, www.designboom.com/design/bertjan-pot-nike-the-nature-of-motion-milan-design-week-04-12-2016/.
KAGOME POLYHEDRONS 42

Mad Weave [67]

Mad weave (also called anyam gila) is a type of basketry that orginated in Indonesia. American craftspeople have developed methods to simplify this technique. Instead of
The weaving elements run in 3 directions, each 60° to each other. Technically it is a twill weaving the structure in one process by plaiting the strands (which creates a very
weave since any particular element goes over 3 then under 3. tight weave) there are techniques where the elements can be fed through an existing
structure.
In the diagram on the right, the weaving
elements in one direction (blue) will go Richard Ahrens has developed a method
under 1 green element, and over two for creating the mad weave which starts
green elements. The weaving pattern is with the common open triaxial weave
cyclically related, so this same “under and then filling in those open hexagons.
1-over 2” relationship is seen in each The mad weave construction can be
direction. The resulting structure has a simplified into three interlaced open
p6 symmetry, with small holes occuring triaxial weaves. This method makes Mad weave is shown on the left. Interesting to note when the

at the centers of six-fold and three-fold it easier to weave with stiff materials red elements are removed, the remaining blue and green
elements form a diagonal twill weave.

symmetry. compared to the traditional method. PHOTO: PAUL GAILIUNAS [67]

Example of the bottom of a mad weave basket. Each colour

represents one of the three directions.
PHOTO: PAUL GAILIUNAS [67]

Construction Methods

Traditionally this technique was made with pandanus leaf. The basket would start with
six strands around one of the six-fold centers, and then the outside would be built up in
three directions using a plaiting technique. This weaving technique is highly sophisticated
and there is not much literature on it. Due to the complexity of the directions of each
strand, it is not widely used, but it produces very intriguing designs.
Richard Ahrens’ method of creating a mad weave: filling an open triaxial weave first with the black strips and then the white strips.
PHOTO: PAUL GAILIUNAS [68]
[67] Gailiunas, Paul. Mad weave, Journal of Mathematics and the Arts, 11:1, 40-58, 2017. DOI: 10.1080/17513472.2016.1273037
[68] Gailiunas, Paul. A Mad Weave Tetrahedron, 2011.
KAGOME POLYHEDRONS 43

Mad Weave

Colour Patterns [69]

Using the Richard Ahrens method, several colour patterns can be produced. The
two genus forms below generate a star pattern. This highlights how Ahrens wove the
structure: the pink/white strips are the base triaxial structure, and the black strips are
woven in to fill in the hexagonal holes. The patterns to the right depict some of the many
colour options, sometimes with rotational symmetry and sometimes not. These colour
patterns offer exciting opportunities that are not possible in a biaxial plaited weave
which are commonly used around the world.

Cycle in each direction starts with the same colour. Cycle in each direction starts with a different colour.
PHOTO: PAUL GAILIUNAS [69] PHOTO: PAUL GAILIUNAS [69]

Two structures made by Richard Ahrens using the fill-in mad weave method. The genus 1 shape (left) has 12 pentagonal points and 24
heptagonal points. The genus 2 shape (right) has 6 pentagonal and 6 heptagonal points.
PHOTO: RICHARD AHRENS [70]

Cycles in only two directions starts with the same colour. Alternating colours in each direction.
PHOTO: PAUL GAILIUNAS [69] PHOTO: PAUL GAILIUNAS [69]

[69] Gailiunas, Paul. “Patterns for Skew Mad Weave Polyhedra.” (2013).
[70] Ahrens, Richard. Bridges 2006 Exhibit - Richard Ahrens, www.bridgesmathart.org/art-exhibits/bridges06/ahrens.html.
KAGOME POLYHEDRONS 44

Mad Weave [68]

Triangles and hexagons are the most natural polygons that can be formed with the mad
weave, however 60° rectangles and rhombi are also possible. Creating polyhedrons
using Richard Ahren’s method is the most convenient. Producing corners in the mad
weave is done by reducing the number of strands around a point. However, when
corners are made the strands change direction, and the colour sequence is often not
preserved. To avoid this a corner must be made at a point of six-fold symmetry so that
the colour pattern can be preserved.
Patterned polyhedra with minimum number of strands: octahedron, tetrahedron, icosahedron, tetrahedron, and octahedron (left to right).
PHOTO: PAUL GAILIUNAS [69]

Example of woven tetrahedron where the colour pattern is still Example of a basket where the colour pattern is still preserved Mad weave deconstructed. Specific removal of strands leaves Mad weave deconstructed. Removal of two strips in a specific
preserved around the corner. at the corner. Requires duplication of colour. an integrated structure. pattern leaves an open hexagon hole and creates an interesting
PHOTO: PAUL GAILIUNAS [68] PHOTO: ELSE MARIE PHOTO: PAUL GAILIUNAS [68] pattern.
PHOTO: PAUL GAILIUNAS [68]

[68] Gailiunas, Paul. A Mad Weave Tetrahedron, 2011.

[69] Gailiunas, Paul. “Patterns for Skew Mad Weave Polyhedra.” (2013).
[70] Ahrens, Richard. Bridges 2006 Exhibit - Richard Ahrens, www.bridgesmathart.org/art-exhibits/bridges06/ahrens.html.
CONTEMPORARY WEAVING 45

Norie Hatakeyama, 2002. Plaited paper fiber strips. Bertjan Pot, 2016. Rope and laces. David Fraser, 2015. Ply-split braiding with paper ribbon cord. Chris Kabel, 2020. Polypropylene straps, LED strip, slinky.

The triaxial weave can be seen all around the object, however These tubes were designed as resting pods during Nike’s The shade of this light does not use the triaxial weave, The use of the slinky as one of the woven elements in the
the use of pentagons and heptagons aren’t driving the shape of exhibition at Milan. The tubes were wrapped with a plain plaited however it is important to note how the ply-split braiding triaxial weave is a clever way of integrating rigidity into the form.
it. This is possibly due to the use of paper fibers and how it was weave, and as it gets to the top, the weave naturally flows out technique that Fraser uses to create a change in opacity. By It also takes on the shape of the extended slinky which is a
stacked to form the layers of strips, the morphology of this is into a triaxial weave. The use of the triaxial is used for greater changing the size of the holes, he is choosing where to let circular tube shape. An LED strip is woven instead of one of the
different from how Alison Martin creates her structures. rigidity. The taut triaxial surface creates more tension (much light pass through and where to block it. It is easy to picture white straps which illuminates the inside of the tube making the
like the Vienna wickerwork weaves which required a frame) for how this can be accomplished with a triaxial weave. whole form appear like it’s glowing. Because of the back of the
PHOTO: TOM GROTTA sitter to sit on. LED strip being a different colour, from afar the viewer is able to
see the comparison of how one strip travels around the object.
PHOTO: BERTJAN POT PHOTO: DAVID FRASER
PHOTO: CHRIS KABEL
CONTEMPORARY WEAVING 46

Dienke Dekker, 2015. Paper, gouache. Studio Nito, 2016. Wrapped yarn, resin. Phil Ayres, 2020. Rope. Nathalie Miebach, 2020. Watercolour paper, acrylic paint.

The use of colour in this piece was really intriguing. The These series of chairs and coffee tables are made with yarn The triaxial weave is being used as a substrate to allow A series of woven pieces that correspond to weather data
background strips show a gradient from saturated with colour, and resin. They developed a manufacturing process that mycellium growth in pursuit of a sustainable building material. during Covid-19 pandemic. The weaving is built up line after
to faded, to saturated again. The tube structure in the middle produces these three-dimensional textiles that are durable The woven elements would stay in place as a framework and line building a matrix of that is strong as well as beautiful. The
looks like it’s made from strips that are coloured in a strip and structural enough to be used as furniture, while also add reinforcement to the structure. It’s also acting as a mould paper is painted with acrylic paint to increase the flexibility of
pattern. Could be interesting to have the colours line up with maintaining its textile feel. The resin-reinforced yarn is woven for the mycellium. Since the morphology is easy to control the paper in order to achieve the motions necessary to weave
each other once woven. Also the triaxial tube starts out with a around a surface, adding more layers to create stability while through the triaxial weave, there are opportunities for complex these patterns.
more closed framework, creating a visually dense area. As you also creating opportunity to use colours. Reinforcing strands shapes in architecture.
go down the tube the structure opens up into a more opened prior to weaving is an interesting way to create rigidity without PHOTO: NATHALIE MIEBACH
framework. This change in density can be applied to other needing to use a primary structure (like a metal framework) to PHOTO: FUNGAR/CITA
material properties like opacity, elasticity, rigidity, etc. keep the fabric taut.

PHOTO: DIENKE DEKKER PHOTO: STUDIO NITO

OBSERVATIONS OF TRIAXIAL WEAVE 47

Material Properties

STRENGTH ELASTICITY FLEXABILITY STIFFNESS DENSITY

The triaxial weave has been used as a As seen in the resting pods by Bertjan Adding a finish to the strips that are This is an example of how the Change in density can be controlled
framework in many applications (such Pot, thin stranded open weaves work being woven can increase the flexability interwoven bends create stiffness in by the choice of material, but also by
as Shigeru Ban’s Centre Pompidou- well under tension. The higher a fabric is of the strips. In the example of Nathalie the overall surface. The strips of sheet the weave. A tightly woven section will
Metz). One exciting development is its held in tension, the higher the elasticity Miebach’s work, she paints her paper metal are woven in a triaxial weave, have a more closed framework and
use in mycellium growth in an exciting will be. The use of a frame makes this with acrylic paint not only for the use but bent at 90°, creating this illusion of create more opacity. However, a looser
pursuit for a new sustainable building tension easier to do, but as in the pods of colour but because the paint adds a a 3-dimensional cube. The hexagonal weave will have a more open framework
material. Phil Ayres experience with example, it is also possible to achieve layer to the paper that makes it easier holes that are usually visible are closed and lead to transparency. A more open
triaxial weaving created an opportunity the necessary tension without the use of to bend without creasing.[73] off because of the right angle bends. framework can also affect the fragility of
for this traditional craft to be applied in a frame. Open framework weaves adds This overall structure stiffens the surface the structure. [75]
an area that would not have typically to elasticity whereas closed framework against bending, similar to corrugated
used it. This demonstrates how the adds to rigidity. There is less need for sheet metal. [74]
triaxial weave adds strength as structural a primary frame structure when the
reinforcement. [71] strands are more rigid. [72]

[71] “Why Fungi Could Be the Future of Environmentally Sustainable Building Materials | CBC Radio.” CBCnews, CBC/Radio Canada, 28 Aug. 2020, www.cbc.ca/radio/spark/why-fungi-could-be-the-future-of-environmentally-sustainable-building-
materials-1.5479660.
[72] “Bertjan Pot for NIKE at Milan Design Week 2016.” Designboom, 25 Apr. 2016, www.designboom.com/design/bertjan-pot-nike-the-nature-of-motion-milan-design-week-04-12-2016/.
[73] Miebach, Nathalie. “Weather During Quarantine.” Nathalie Miebach: Sculpture, 2020, nathaliemiebach.com/quarantine04.html.
[74] Mallos, James. Corner-Cube Weaving: a Woven Surface Truss, Nov. 2011, weaveanything.blogspot.com/2011/11/woven-surface-truss.html.
[75]“SWEEP GUSHING LIGHT 03-04.” SWEEP GUSHING LIGHT 03-04 - W&Q, Aug. 2016, cargocollective.com/wandq/SWEEP-GUSHING-LIGHT-03-04.
OBSERVATIONS OF TRIAXIAL WEAVE 48

Construction

FORM STRUCTURE FRAMEWORK MATERIAL MAGNIFIED

The form can be dictated through At certain sizes in a triaxially woven Woven furniture can be categorized The strips that are used to weave can Designers in the past that have used
the use of disclinations as seen with sphere, the strands will create a into ones that use a primary and be reinforced with a suppplementary weaving to create furniture have mainly
Alison Martin’s experiments. The start perfect loop, and overlap. This creates secondary structure, and ones that material to create more rigidity. An looked at the form first. However with the
and end of the strands that contribute an interesting opportunity for it to be don’t. The primary structure is often a example of this would be to take out the Canasta collection by Patricia Urquiola
to the pentagons and heptagons are represented by other materials, such metal or rattan framework that provides core of a paracord and replace it with a she saw the weave first. By taking a
an interesting opportunity to explore. as a ring, or other objects that can be strength and dictates the form. The metal wire. This creates a solution that is commonly used Vienne weave that
Different coloured strips could be used to represented by a loop. This can also secondary structure can be seen as greater than the sum of its parts: a soft, contextually is used in cane furniture
represent the disclinations that make up be seen in a traditional triaxial basket. a “skin” or fabric that is applied to the tactile appearance of the cord with the and zooming in on the weave she’s
the form. Form can also be determined For a base with a hexagon shape, the primary structure (like the Lloyd Loom strength and rigidity of the wire. Another taking the opportunity to appreciate
by weaving on top of another object. strands that are added on will weave chairs). The furniture that don’t rely option could be to wet felt on top of and celebrate the weave. This is also
If the material has enough elasticity horizonally and loop back on itself. While on that usually use a tighter weave or stainless steel wire to create strips that seen in the Plectere example with the
the material doesn’t need the use of a hexagon base creates slightly slanted more rigid material to give it strength can be woven with. This also gives an industrial felt acoustic panels, however
pentagons and heptagons to dictate the sides, a triangular base will create even and allow it to create form. These forms opportunity to choose colours for specific it was a knitting technique instead of a
form. Like many conical hats found in more slanted sides. The smallest base, act more like a basket, where each strands that may tell a story about how weave. Both examples do a good job
Asia, these all use the triaxial weave but a single point, will create the steepest strand contributes equally to the overall the object is formed. of celebrating the intricacies of a highly
you can only see hexagons across the angle, depending on how many strips strength. The structural properites are detailed process. [79]
entire mesh. are used. [76] evenly distributed throughout the form.
[77]

[76] Graham, Andrea. “Hexagonal Weave.” Flextiles, 15 Apr. 2019, flextiles.wordpress.com/tag/hexagonal-weave/.

[77] Curtis, Lee J (1997). Lloyd Loom woven fibre furniture (2nd ed.). London: Salamander Books.
[78] “Sofa Canasta -B&B Italia Outdoor - Design of Patricia Urquiola.” B&B Italia, 6 Feb. 2020, www.bebitalia.com/en/sofa-canasta.