Are the aspects/features of architecture influential in textile design?

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Abstract The aim of this dissertation is to explore how the aspects and features of architecture influence textile design. The dissertation investigates the features in architecture that inspire textile design and how this is translated into a textile fabric. Through the influences of all art forms and our surroundings, textile designers are able to take inspiration from a variety of outlets. Architecture is a common source of inspiration due to its variety of colours, forms, shapes, scale, texture, pattern and construction.

This can be translated and interpreted in variety of interesting ways into a textile fabric. Due to the similarities between the design process and construction approach, textiles and architecture share a bond in which stem from the primary purpose to provide shelter and protection.

A literature review establishes the affects of architectural influence on textile design and the merging boundaries of all art forms and the ways in which they are able to constantly inspire one another. By conducting a survey, individual textile designer’s inspirations from architecture are recognized and analysed. Finally, an ethnographic study of my own knitted textile design process and architectural influence is studied.

By the unification of art, textile design is able to draw inspiration from architecture through construction methods, design elements, design process and the use of materials.

Table of Contents Abstract 1.

Introduction 2.

Art Forms 2.1 Bauhaus 2.2 Bauhaus Art Form Comparisons 2.3 Art Form Strains 3.

Knitted Textiles 3.1 Architectural Knits 3.2 Construction Elements 4. Technology and Innovation 4.1 Knitting Technology 4.2 3D Printed Textiles 5. Materials 6. Ethnographic Study 6.1 Brutalism and Deconstructivism 6.2 Contrasting Elements 6.3 Pattern 6.4 Texture 7. Survey 8. Conclusion

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Both disciplines and art forms convey an expression of one’s individual, cultural and social identity, reflecting the users requirements and concerns. The synergetic relationship between architecture and textile design is historic, echoing aspects of design and influences from one another (Aav, 2003). This connection between disciplines appears particularity instinctive, with their principal purpose to provide shelter and protection.

Despite sharing these common functions, they are also inherently dissimilar. By its very own nature, textiles are constantly evolving with trends within its fashion, art or interior context being ‘in fashion’ or ‘of the moment’, whereas architecture conventionally displays more of a permanent presence with solid, durable structures designed to withstand a stature of longevity (Hodge and Mears, 2006).

Through these characteristic differences, they are able to define design aspects that can be translated into the other discipline, constantly

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challenging and questioning our understanding of them. The connection between textiles and architecture is becoming ever more intriguing, with advances in technology constantly pushing the boundaries of innovation through materials and computer software. These developments are allowing textiles to become exceedingly architectonic, adopting methods, textures, forms, scale, construction elements and pattern. To be influenced by ones surroundings is only natural and can be translated into design through a lateral sense. This merge in discipline influence is not only confined to textile design and architecture- it encapsulates all creative disciplines. The arts are able to interfere, interact and influence each other, constantly revolutionising and evolving new methods, technologies and innovations.

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The boundaries of the varied art disciplines are ever merging by exchanges occurring with methods, techniques, materials and technology. Their attraction and captivation with one another seem to pivot around the desire to create beauty and to see life transformed into art.

All art forms are reliant on each other as a source of imagery, identity and influence. Artists are also heavily influenced, in general, by the world that surrounds them: the economic state, moral issues, religion, culture, social changes, etc (Elhaik, 2013). The surroundings in which we live in will naturally influence the way in which you think, thus creating a common ground for all artistic approaches (Dunn, 2014). By looking towards other artists and the motivation for their work can, in turn, inspire many other artists, creating an art movement of a specific ambition or common philosophy (Flavorwire, 2012).

Architectures influence on the arts is of an environmental nature with architecture almost constantly surrounding and encasing our everyday lives, providing shelter. Architectures influence on the arts can be translated through pattern, scale, shape, texture, form, quality, methods and materials.

These qualities can be translated into the many varying art disciplines due to the similarities in the design process. Petty (1997) illustrates that there are six working stages of the process: inspiration, clarification, distillation, perspiration, evaluation, and incubation. As creatives and artists, you naturally follow the creative design process, regardless of your creative specialism, resulting in transition of influence and inspiration. Due to this similar design process, this can interweave disciplines together in their method and practice, as well as their final outcome.

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Bauhaus is a perfect example of these merging art disciplines. Walter Gropius, an architect, founded the Bauhaus School in 1919 and operated until 1933 (Artnet.com, 2014). The “house of building” (English translation) (Whitford, 1984) was established with the intent of creating a “total” work of art by which all arts would be brought together (Abuzeedo Design Inspiration, 2013).

The Bauhaus style developed into one of the most influential movements in modern design and modernist architecture, with a great influence on following developments in many art and design disciplines such as art, typography, textile design, architecture, fashion, industrial design and interior design (Abuzeedo Design Inspiration, 2013). Bauhaus’s primary influences were a mixture of Constructivism, Modernism and the English Art and Crafts movement (Hoffman, 2012).

Walter Gropius reignited these movements through the Bauhaus School, aiming to reinforce the concept that ‘design is in service of community, and a belief in the perfection and efficiency of geometry’ (Hoffman, 2012).

Chen and He (2013) illuminates that the crucial design principles enforced by Bauhaus consisted of interlacing new technologies and arts, to obtain cultural individuality, to highlight functionalities and to investigate materials. Going onto state “Bauhaus strives to unite all creative activity within a single whole”.

The school was formed with a vision of what it aimed to achieve and although it changed direction numerous times of its short fourteen-year existence, it primarily followed the main aims that were stated in the Manifesto as well as the ‘Programme of the State Bauhaus in Weimar’ (Whitford, 1984). The first aim of the school was to ‘rescue all the arts from isolation’, creating cooperative projects by which many art and design disciplines would work together collectively, combining various skills together. Bauhaus’s second aim was to raise the importance of the crafts to the level in which the fine arts would appreciate, stating ‘there is no essential difference between the artist and the craftsmen’ (Whitford, 1984).

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This strong sense of unity can be identified when comparing Joost Schmidt’s poster for the 1923 Bauhaus Exhibition in Weimar (Bauhaus-online.de, 2014) and the Bauhaus Archiv designed

by Gropius in 1979 (Naylor, 1968). Due to their different design disciplines, there are obvious differences such as scale, purpose, function, technique and materials. And, despite being created 56 year apart, their relationship is still evident with clear similarities. They both challenge angles and composition with merging contrasting shapes and forms together. For example, the shapes within the Bauhaus Archiv building uses concrete blocks (Forgacs, 1995) in a geometric approach with horizontal and vertical lines, then the roof at the top of the structure then shapes into a quarter circle with a concrete ball placed on top. These shapes are highlighted, as the joins between the concrete blocks are painted black, whereas the blocks themselves are painted white. This contrast of shapes is also evident when comparing Joost Schmidt’s 1923 poster.

The use of juxtaposing colours is able to emphasise the varied individual shapes

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with the use of only three colours: red, white and black. Schmidt strived to explore structure, investigating flexibility in scale and shape, together with use of surface and colour (Designhistory.org, 2014). The use of the iconic typography typically of Bauhaus design strongly relates to all the design aspects and forms, in particular the architecture, with the use of smooth lines and contrasting harsh shapes. It supported the manta, ‘form over function’ (Jett, 2014) with its simplicity and lack of conventional serifs.

The angles and juxtaposition are heavily echoed between the two examples with this distinctive use of contrasting shape composition and scale that the Bauhaus movement endorsed, both sharing the use of contrasting shape and colour, opposing angles and sense of perfection. Although, the Bauhaus Archiv and the 1923 poster share many obvious similarities, its influences also translated into textiles in a very interesting manner.

In 1925 a woven textile workshop opened at the Bauhaus School, operated

by Gunta Stolzl (Whitford, 1984). In 1926 Ruth Hollos- Consemuller produced a woven fabric that comprised of the challenges of shape and composition, a distinctive style of Bauhaus. This demonstrates that the style and influence of the School could be translated into many different products and forms of scale, function and purpose.

This blurred boundary between design disciplines was the original aim of Groupius, with a strong sense of identity the art and design aims could be interpreted and translated between all art forms, making Bauhaus one of the most recognisable and influential art movement.

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Despite this strong bond between the varied art forms and disciplines, there are strains by which create a separation. Strains and challenges can be a result of translation: the contrast and difference in scale, form, pattern, texture and colour of the initial inspiration and the final outcome. The two disciplines are created using different materials, construction methods and restrictions. Although they can take influence and inspiration from one another, the fundamental differences create this tension on their relationship. For example, Deconstructivism is translated in both disciplines of fashion and architecture. Primarily a progress of postmodern architecture in the late 1980’s, it is characterized

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by the style of impulsiveness and skilful disorder, a sense of distortion and dislocation (Historiasztuki. com.pl, 2014). Deconstructive architecture is assembled of dissimilar components to produce a structure. Usually large, bold structures such as the Nunotani building, Japan and VitraHaus, Germany (Historiasztuki.com.pl, 2014; Etherington, 2010), they are comprised of oversized components of industrial materials. When translated into a fashion garment or textile fabric, this meaning of Deconstructivism is interrupted in another form. For example, the warped shapes and lines within Frank Gehry’s architectural statements use buildings 3D elements to they’re upmost advantage using stainless steel with a matte

finish to highlight this on a massive scale such as the Walt Disney Concert Hall in Los Angeles (LA Phil, 2014). Whereas one of the most renowned deconstructive designers, Viktor and Rolf, translates the concept of deconstructivism into their work via ingeniously constructed garments with extravagant shapes created with finely gathered pastel chiffon sections that distort the natural shape of the body (Vogue UK, 2014). Although both disciplines share the ethos and concept of the theme, they are interpreted in through different methods creating this separation between them, straining this direct comparison.

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Construction is the common element between textiles and architecture, the art of building a structure. This art of construction through design, method and making is shared in particular with knitted textiles, with techniques being echoed between the two (Garcia, 2006).

Knitted textiles are created by a series of stitches, that depending on their formation, have the ability to create some bold fabrics with really interesting qualities. These structures can mimic the shapes, lines and form of architecture from which knitted textile designers take inspiration. This inspiration from architecture can be translated through many aspects of design, including shape, form, pattern, construction, materials, innovation and technology, with their relationship constantly evolving and developing.

Architectures influence on knitted textiles is primarily linked through the combination of texture, surface, materials, forms and areas, both naturally using curves, pleats and plain edges (Hunter, 2012). Pierre Balmain (1913-1982) said, ‘dressmaking is the architecture of movement’, and constructions and formations of many designers enclose reference to architectural concepts (Elle, 2014).

Stoll (2013), one of the leading flat bed knitting machine manufactures, launched their Spring/Summer 13’ Trend Collection –Architectural Knits – that centres around architectures influence on knitted textiles.

The collection takes inspiration from the sharp, crisp and clean lines of modern architecture. Stoll has used double jersey techniques that are the basis of their new structures, allowing them to reflect a wide variety of knitting technologies. Stoll uses materials in modernist architecture as influence such as contrasting stones and metals. These materials are translated into the knitwear collection through specific yarn choices by using matte and glossy yarns. The use of linear yarns in the knitwear pieces has enabled Stoll to keep the clean, crisp lines, defining the architectural shapes within the garments (Hunter, 2012).

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The construction elements in both architecture and knitted textiles share the same ethos, with weft knitting building courses of knit stitches upon one another, similar to the assembly of a building with bricks or the specific material being created from the ground upwards. This echoed method of creation means some of the design elements such as texture, shape and texture 3D elements can be translated into knitted fabric in an effective manner. Knitting is a basic sequence of stiches, from this basic formation you are able to explore the hundreds of different knit stiches from which you are able to achieve a wide array of textures, patterns, shapes and forms.

The construction of shapes can be heavily influenced by architecture with similar constraints and possibilities within the building technique. By taking inspiration from the aspects within architecture, alongside using the correct yarn, some interesting 3D shapes can be created that directly relate to architecture. For example, pleats and ribs can mimic the vertical structures of buildings that support the fabric and dictates the way in which the fabric behaves. Issey Miyake is a pioneer of pleated and ribbed fabrics with his ‘Pleats Please’ collections (Miyake and Kitamura, 2012).

The shapes and behaviour of the fabrics encapsulate architectural elements with shaped, bold structures.

First launched in 1993, the ‘Pleats Please’ collections are created using 100% polyester fabrics that are cut and sewn. His innovative method of cutting the fabrics to two and half or three times bigger than needed, then hand-feeding it into a heat press between two sheets of paper results in the garment having permanent pleats (Vam.ac.uk, 2014). This industrial approach and method means that texture and form can both be created simultaneously. Varying architectural lines and shapes can be created using this effective method, such as vertical, horizontal and zigzag pleating (Vam.ac.uk, 2014).

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This technology and innovation within the knitted textile industry is constantly developing and evolving, with exciting progressions that allow textiles to be produced that have more effective textures and more extreme 3D qualities. Computerised machinery and design software has allowed for fabrics and techniques to be possible that were not otherwise on the standard knitting machines.

Knitting technologies were first introduced in the 1970’s with CAD (computer aided design) systems used to produce the design that would then be transferred to CAM machines for the final product to be produced. The implementation of computerised technologies meant that the industry could work together globally, allowing fast communication for companies to send designs quickly, making the process more time effective (Knittingtogeter.org.uk, 2014). From this introduction of knitting technologies, they have been able to advance with constantly developing machinery.

For Pringle of Scotland’s Autumn Winter 2014 collection, they incorporated laser-sintered nylon fabric into garments (Howarth, 2014). With the help and collaboration of Richard Beckett, a material scientist, Pringle of Scotland created a variety of 3D printed fabrics that were hand-woven into the knitted fabrics with small hooks that were either stitched on the top of the wool or the underside. This method created raised 3D surfaces and textures used as cuffs and elements in an Argyll pattern in jumper and sleeveless tops. Richard Beckett, the collaborator said, “ I used an EOS Formiga P100 SLS system due to its ability to build a high definition, one of the few systems that would allow you to build such complex movable parts at this size.”(Howarth, 2014) This method and technique is effective in creating a contrast and juxtaposition between textile thickness and texture, varying the surface quality.

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3D Printing is also gaining popularity with its possibilities still being developed and recognised. Iris van Herpen, a Dutch designer produced two outfits that were created using 3D printing in collaboration with Neri Oxman, a US based designer and Austrian architect Julia Koerner (Chalcraft, 2013).

In collaboration with Stratasys, a 3D print specialist, they were able to include both hard and soft materials by using multimaterial 3D technology. “The ability to vary softness and elasticity inspired us to design a ‘second skin’ for the body acting as armour-in-motion,” Oxman says. ”In this way we were able to design not only the garment’s form but also its motion.”

(Chalcraft, 2014). This method enabled them to create a very structured garment with strong shape and structure that echoed architectural forms.

These architectural forms are a lot more feasible though developing technologies that are able to create fabrics that are not necessarily possible otherwise.

Architecture and textiles relationship can be so familiar that the disciplines merge.

Mamou-mami’s installation, ‘The Magic Garden’ (Dezeen, Millen and Pattern, 2014) ,unites the two disciplines together with architects using shaped light-diffusing polyamide fabric to create the structural form. To create the piece both physical and digital techniques were used to exploit its structural qualities. The design programs used to create the installation were Rhino 3D with its parametric plug-in Grasshopper Kangaroo which allowed the architect design team to create and simulate the 3D object (Biomimetic Architecture, 2013).

This use of textiles on a large scale by architects displays this influence between the disciplines and its varied uses and outcomes.

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Textiles can also take inspiration from architecture in a more direct manner through the use of materials used to construct a textile fabric. The textile must use a suitable material for its final outcome and purpose, meaning materials can be slightly limited. Although, with new innovations and developments, designers are able to use unconventional, industrial materials to their advantage with some interesting effects (Lee, 2007). Drawing inspiration from industrial structures and architecture, materials used have been able to merge between the art forms for a varied end use and purpose. Concrete, a material typically used to build permanent, durable structures has been developed so it can now be used to create fabrics. ‘Concrete Canvas’ (Howard, 2013), a UK based company, has developed a concrete impregnated fabric called concrete cloth. Two layers of fabric form it with cement sandwiched between. It is then bonded together with water and backed with PVC (Dezeen, 2009). The concrete based material can then be shaped into your selected form, for your selected purpose when dampened. Hazel Hewitt (Knitted Concrete, 2011) has also used concrete in a textile context by knitting concrete. By developing the technique Hewitt has been able to not only knit concrete, but also to create a stretchy concrete. “I was researching 3D knitting and attending Rachael Matthews 3D knitting course, learning from someone so enthusiastic and knowledgeable.

I was then able to put the skills learnt during that course to create my own concrete model concepts and ideas. I was busy researching how to use textile and surface techniques with concrete as part of my design and research work during MA Textiles Futures at Central Saint Martins” (Dezeen, 2009). A variety of metal yarns are also used in the textile industry to challenge the boundaries between the disciplines. Usually wrapped in a wool or silk core, the metals can be used for a variety of outcomes: fashion, interior and art. This softens the handle and drape of the fabric making it easier to work with and wear. Although, some use the metal yarns in their bare form to create some interesting shapes and patterns as the steel is able to hold shape well. This mimics its primary use of structure within a building and relates to its original use well (Blog.midnightskyfibers.com, 2014). Through this yarn choice and use of unusual materials, architectural influence is clearly identified. Through this yarn choice and material selection, similar shapes and forms can be achieved to architectural structures, making this relationship closer.

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As a knitwear designer myself, I have been heavily influenced by architecture in my design work and textile creations. As an involuntary response to my environment, I am naturally influenced by the structures that surround me. Through my textile work and design developments for a variety of projects, I have found a particular interest in architecture with its bold forms and innovative structures. Architecture as a whole covers so many textile styles from Moroccan architecture with its lavish, decorative, intricate designs to brutalist architecture with its bold, raw structures. From this wide variety of architectural styles, you are able to find inspiration and an architectural style to suit your concept.

By developing my personal design identity through a variety of projects, I found that I kept looking to architecture as a regular source of inspiration. My particular interest in texture and structure meant that architecture was a natural point of interest with the ability of being able to translate the intriguing design elements from buildings into my knitting fabrics. The elements that particularly interest me are the construction, texture, 3D qualities, pattern, shape, form, juxtaposition and scale. Each of these elements of architecture merge with knitted textiles well, with the transition between the two disciplines forming my personal design process.

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Through varying projects, I have been able to develop my personal design style and identity. I have discovered a particular interest in Brutalist and Deconstructive architecture. Both architectural movements contain all the elements that I am inspired by. Brutalism is one of the 20th centaury’s most provocative architectural movements with its bold, raw and hostile characteristics. The movement is synonymous with its use of concrete in its barest form with Brutalism originating from the French translating into ‘raw concrete’ (Dezeen, 2014). The classic characteristics of Brutalism are coarse, unfinished surfaces, unconventional shapes, heavy-looking materials, massive forms and small windows in relation to the other segments (20 Bedford Way, 2014). These features are similar to deconstructive architecture in a variety of aspects with its unusual shapes, unfinished aesthetic and distorted forms. Deconstructivism though, is primarily characterised by fragmentation: the art of manipulation and distortion (Wikipedia, 2014). These two architectural movements particularly interest me because they both share a similar aesthetic of bold, unconventional shapes that are able to make an impact through their brashness and intelligent design.

I take inspiration from Brutalism and Deconstructivism through their construction and their use of juxtaposition. The contrast between shapes and the way in which they work together and interact can be translated into my textile design process in various ways. This can be through the use of shape and pattern. For example placing shapes of colour together with a textured stitch pattern can echo the shapes and contrast within a brutalist building such as Smithdon School, Hunstnston by Peter and Alison Smithson (Harwood, 2010). The use of smooth surfaces in a geometric pattern against an area of windows really interests me, as there are so many contrasts. Such as surface texture, that can be translated through contrasting yarn choice of smooth/textured, matte/glossy or thin/thick yarns. I also interpret these elements through stitch structure. This could involve using plain knit that is smooth and structurally stable against a textured stitch technique such as stitch transfer that creates 3D qualities and details.

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I really love experimenting with combining two contrasting elements together and making them interact. Shapes within brutalist architecture allow me to explore this interest by gaining ideas and concepts by researching buildings of these movements and seeing how the architects have dealt with shape composition and juxtaposition. For example, I find the National Theatre in London (Mull, 2014) really interesting with its use of juxtaposing shapes: curved and flat surfaces. I use this simple concept of contrasting curved and flat shapes and develop it into various design ideas, such as to use structure to manipulate the fabric shape into sections of flat plain knit then selected areas of curved textured stitches.

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Pattern is a critical part of my design process by taking elements of a building or construction and developing them into a design that can be used in a knitted fabric. I feel it is effective to simplify aspects of the architectural structures to then create a motif or repeat pattern from. For illustration, in my most recent design project, I was particularly inspired

by Habitat 67, Canada (Koren and Hall, 2012). A cluster of stacked modules, the concrete structure uses geometric forms to create a pattern in itself. A series of rectangular shapes with glass window cut outs, the angular shapes sparked my imagination. I isolated the angular geometric shapes and created a motif of four/five shapes that I then repeated.

This was translated into the knitted fabric through the use of Shima knitting machine (computerised technology) in a front and back bed pattern that as a result created an interesting surface texture.

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Texture is very influential in my design process concerning the architectural influence with a wide variety of surfaces and materials used. Building facades particularly interest me with various forms and design features. The Noppenhalle, Zurich and Pradolongo Housing, Madrid both use precast concrete panels to create an effective textured faรงade that results in some intriguing shadows (Koren and Hall, 2012). It is these textured facades that inspire me to develop new knit stitch structures that are able achieve a similar texture with 3D qualities and shapes. Usually from the initial inspiration, I then aim to develop the knit structure to mimic the facade. From this I usually learn new techniques that I exploit and develop. Although the final outcome of the fabric usually takes its primary inspiration from faรงade imagery, it can be developed into a design that does not necessarily translate directly back. I personally find this design process the most productive and effective, as I am able to learn new skills and techniques from one simple inspirational visual. This relates back to the art of construction by breaking down the building to its rawest form to fully understand its methods and creation.

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Through my design process of development, architectural influence can be seen and is a common thread throughout many aspects. Since architecture covers so many elements that are also critical in knitted textile design, I feel the merge of disciplines comes very naturally to me, hence my interest and fascination with architecture.

I conducted a survey to examine how influential fellow textile designers find architecture and in what ways they are influenced. I ensured only textile designers completed the survey, as my topic is specific to textile design and the textile design process. Firstly asked, ‘Do you find the aspects/ features of architecture influential in textile design?’, 85.71% answered yes. This reinforces my argument of the importance of architectural influence in textile design. When asked what styles of architecture were most influential in a personal context of individual style and identity, the responses varied with interesting results. Around half were influenced by modern architecture with its clean linear lines, shape and minimal form. The contrasting half were primarily inspired by historic architecture including Georgian, European, Art Nouveau and varied cultures architecture. I found this particularly interesting when comparing the answers of the varied textile disciplines. The constructed textile designers (knit and weave) took inspiration mainly through line, shape and form. Whereas the printed textile designers answers reflected a much more decorative approach with inspiration being taken from a more feminine style. This is echoed by the aspects of design in architecture they found most influential. The constructed textile designers of knit and weave found the structural and constructional elements most influential with surface texture and the use of materials. The printed textile designers found the patterns within architecture most influential. These answers are expected due to the difference of design process and outcome knitted and woven textiles require an understanding of construction and texture, whereas printed textiles require skills of pattern creation and 2D illustration.

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To conclude, I found that the aspects and features of architecture are influential in textile design with the ability to translate their characteristics through a wide variety of design elements and techniques. The natural connection between disciplines being to provide shelter and protection merge textiles and architecture together in the most basic form. From this fundamental link, the two art forms are intertwined through a variety of aspects, primarily by parallel design and creation process. With both being influenced by changing trends and movements, they have the ability to translate the same initial influence through different ways, thus due to their purpose, scale, use of materials and construction methods. Through this varied approach, they find inspiration in each other’s outcomes and interpretation. Textile design has so many similar elements to an architectural structure that need to be considered: predominantly the construction. Through the construction of architecture, textiles can take inspiration from scale, texture, form, pattern and shape. These aspects are constantly evolving and developing due to new innovation and technologies, enabling a progression in design with new inspirations forming.

Architectural structures surround us in our everyday environments so this influence is only natural to notice and to be influenced by. This response to our surroundings - the art forms that protect us and serve our essential needs of shelter – have a direct impact to our creative senses causing this influence.

By taking inspiration from the architecture that surrounds and protects us, we are able to translate this appreciation into other forms. Architecture and its influence on the specific art discipline of textile design, as well as general art forms, is of great importance and heritage, an inspiration that will resonate through the constantly evolving art forms and creative minds.

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Image 1.

Raquel Zimmermann in vintage Issey Miyake by David Sims for V Magazine.

V Magazine, (2014). Raquel Zimmermann in vintage Issey Miyake by David Sims for V Magazine. [image] Available at: http://www.camilleovertherainbow.com/2014/06/pleats-if-you-please.html [Accessed 2 Dec. 2014].

Image 2.

Frank Gehry Architecture.

Marc Carter, (2012). Frank Gehry architectural facade. [image] Available at: http://www.theenglishgroup.co.uk/ blog/2012/08/15/frank-gehry/ [Accessed 2 Dec. 2014].

Image 3.

Matilda Norberg sculptural knitted garment.

Totally Stockholm, (2014). Matilda Norberg sculptural knitted garment. [image] Available at: http://totallystockholm.se/ more/fashion/matilda-norberg/ [Accessed 2 Dec. 2014].

List of Illustrations

Image 4.

The Process Series II by Matthew Shlian.

Matthew Shlian, (2014). The Process Series II by Matthew Shlian. [image] Available at: http://www.mattshlian.com/ sculpturefram2013.html [Accessed 2 Dec. 2014].

Image 5.

Tom Browne 2014 at KG Details in Fashion Stylabl, (2014). Tom Browne 2014 at KG Details in Fashion. [image] Available at: https://s-media-cache-ak0.pinimg. com/236x/f9/d4/04/f9d404ea5d519bed98e6b93568fce1a4.jpg [Accessed 2 Dec. 2014].

Image 6.

Pleated paper sculpture to be exhibited at Miniartextil, a group show of textile based artworks held at Villa Olmo, Como, Italy.

Sweeney, R. (2012). Pleated paper sculpture. [image] Available at: https://www.flickr.com/photos/richardsweeney/7983554746/in/photostream [Accessed 2 Dec. 2014].

Image 7.

Bauhuas Building.

Design Photo galleries, (2003). Bauhaus School. [image] Available at: http://www.core77.com/gallery/bauhaus-summer-school-2009/35.asp [Accessed 2 Dec. 2014].

Image 8.

Joost Schmidt, Poster for the 1923 Bauhaus Exhibition in Weimar, 1923.

Joost Schmidt, (1923). Poster for the 1923 Bauhaus Exhibition in Weimar, 1923. [image] Available at: http:// bauhaus-online.de/en/atlas/werke/poster-for-the-1923-bauhaus-exhibition-in-weimar [Accessed 2 Dec. 2014].

Image 9.

Ruth Hollos-Consemuller Woven Fabric, Bauhaus, 1926.

HOLLÓS-CONSEMULLER, R. (2011). Ruth Hollós-Consemuller, Bauhaus, 1926. [image] Available at: http://quincampoix.tumblr.com/post/14079496388/stanleyvogel-ruth-hollos-consemuller-bauhaus [Accessed 2 Dec. 2014].

Image 10.

Bauhaus Archiv.

Lamont, R. (2010). Bauhaus Archiv. [image] Available at: https://www.flickr.com/photos/52900898@N02/5206437577/ [Accessed 2 Dec. 2014].

Image 11.

Nunotanin HQ Building.

Eisenman, P. (2011). Nunotanin HQ Building. [image] Available at: http://architecturalmoleskine.blogspot. co.uk/2011/11/peter-eisenman-in-tokyo.html [Accessed 2 Dec. 2014].

Image 12.

VitraHaus, Germany.

ARQA, (2010). VitraHaus, Germany. [image] Available at: http://arqa.com/english/architecture-es/vitrahaus-in-weil-amrhein-germany.html [Accessed 2 Dec. 2014].

Image 13.

Walt Disney Concert Hall.

Highsmith, C. (2010). Walt Disney Concert Hall. [image] Available at: http://upload.wikimedia.org/wikipedia/commons/2/2e/Image-Disney_Concert_Hall_by_Carol_Highsmith_edit.jpg [Accessed 2 Dec. 2014].

Image 14.

Beige Stoll Knitted Dress.

Kroetz, R. (2012). Stoll Knitwear. [image] Available at: http://www.knittingindustry.com/uploads/1811/publication2. pdf [Accessed 2 Dec. 2014].

Image 15.

Blue Stoll Knitted Dress.

Kroetz, R. (2012). Stoll Knitwear. [image] Available at: http://www.knittingindustry.com/uploads/1811/publication2. pdf [Accessed 2 Dec. 2014].

Image 16.

Black and White Stoll Knitted Dress.

Kroetz, R. (2012). Stoll Knitwear. [image] Available at: http://www.knittingindustry.com/uploads/1811/publication2. pdf [Accessed 2 Dec. 2014].

Image 17.

Pringle of Scotland Fabric.

Howarth, D. (2014). Pringle of Scotland Fabric. [image] Available at: http://www.dezeen.com/2014/02/17/3d-printedfabrics-by-richard-beckett-woven-into-pringle-of-scotlands-ready-to-wear-garments/ [Accessed 2 Dec. 2014].

Image 18.

Pringle of Scotland Coat.

Howarth, D. (2014). Pringle of Scotland Coat. [image] Available at: http://www.dezeen.com/2014/02/17/3d-printedfabrics-by-richard-beckett-woven-into-pringle-of-scotlands-ready-to-wear-garments/ [Accessed 2 Dec. 2014].

Image 19.

Iris van Herpen 3D Printed Dress.

Howarth, D. (2013). 3D Printed Dress. [image] Available at: http://www.dezeen.com/2013/01/22/voltage-3d-printedclothes-by-iris-van-herpen-with-neri-oxman-and-julia-koerne/ Iris van Herpen [Accessed 2 Dec. 2014].

Image 20.

Iris van Herpen 3D printed Cape Dress.

Howarth, D. (2013). 3D Printed Cape Dress. [image] Available at: http:// www.dezeen.com/2013/01/22/voltage-3dprinted-clothes-by-iris-van-herpen-with-neri-oxman-and-julia-koerne/ Iris van Herpen [Accessed 2 Dec. 2014].

Image 21.

Concrete Canvas Fabric Hynes, R. (2009). Concrete Canvas Fabric. [image] Available at: http://www.dezeen.com/2009/11/27/concrete-clothby-concrete-canvas/ [Accessed 3 Dec. 2014].

Image 22.

Concrete Canvas Fabric Hynes, R. (2009). Concrete Canvas Fabric. [image] Available at: http://www.dezeen.com/2009/11/27/concrete-clothby-concrete-canvas/ [Accessed 3 Dec. 2014].

Image 23.

Concrete Textured Wall.

April and May, (2013). Concrete Textured Wall. [image] Available at: http://aprilandmaystudio.blogspot.it/2013/08/abeautiful-raw-event-space.html [Accessed 2 Dec. 2014].

Image 24.

Alexander Wang Grey Jumper.

Alexander Wang, (2014). Alexander Wang Grey Jumper. [image] Available at: http://media-cache-ak0.pinimg.com/ originals/fa/f7/d8/faf7d83b215019acd8e8246983db8b09.jpg [Accessed 2 Dec. 2014].

Image 25.

San Vito d’Altivole, Italy.

Chroeer-Heiermann, C. (2012). San Vito d’Altivole, Italy. [image] Available at: https://www.flickr.com/photos/schroeer-heiermann/8248616399/in/photostream/ [Accessed 2 Dec. 2014].

Image 26.

National Theatre, London.

Teresa Furnari, M. (2011). National Theatre, London. [image] Available at: http://www.archilovers.com/projects/52009/ gallery?354239 [Accessed 2 Dec. 2014].

Image 27.

Habitat 67.

Habitat 67. (1967). [image] Available at: https://www.flickr.com/photos/jeffs4653/3955800820/in/photostream/ [Accessed 2 Dec. 2014].

Image 28.

Pradolongo Housing, Madrid.

Bitter, J. (2008). Pradolongo Housing, Madrid. [image] Available at: http://www.architonic.com/aisht/pradolongo-housing-wiel-arets-architects/5100691 [Accessed 2 Dec. 2014].