Chapter 7: Discussions and conclusion

The research topic was inspired by a number of problems around the Basotho design culture and contemporary architecture; the Basotho traditional textiles and weaving practices are fading and the majority of contemporary buildings have disconnected from the traditional design culture. Furthermore, there is a lack in the presentation of contemporary architecture especially with the current paper and digital medias; therefore, this study aims to investigate opportunities for inventions through older practices.

The selected artefacts in Basotho design culture were translated through materiality and the weaving techniques into sequential construction/performance. The traditional materials are substituted with contemporary ones and different traditional weaving techniques were experimented on these contemporary materials. The intention of modelling experiments was to test the possibility of using traditional techniques on contemporary materials and also to compare their workability to that of traditional materials.

The obtained results indicated that copper, polyethylene, polyvinyl chlorides (PVC) and elastic band had a better workability than the chosen nylon fabric. This observation about the selected nylon fabric does not apply to other nylon products; the results are limited to the chosen materials for the experiments. The elastic band had an advantage because of its elasticity property that allowed movement. The looser the elastic, the more flexible the object becomes. However, for the actual construction the elastic band will not be practical unless it is stronger and durable, specially manufactured for construction.

Pure copper is more malleable than copper alloys; so copper alloys are preferable because of their better strength and as stated by Bittner a yarn should be able to withstand the rubbing effects with different elements in a weaving process during fabric forming and the alloy meet this criterion. This is not to suggest that pure copper cannot withstand the rubbing effect or weaving, that can be further researched.

The selected polymers were also easy to manipulate because of their flexibility. One of the case-studies revealed that PVC coated steel and copper are suitable for the process of weaving. Both copper and steel are malleable materials and PVC also has a waterproof quality to protect these materials from corrosion. The case-study further demonstrated that PVC coated steel and copper wires can be used to weave architectural elements such as railings, room dividers, facades and many other elements.

One of the research questions was if the contemporary materials have a better workability than traditional materials and according to the obtained results contemporary materials do have a better workability because of the better bending effect. Grass has a bending limit especially when it is a bit dry, it becomes brittle. However, not all contemporary materials have good bending effect. For example, one of the obtained results indicated that a solder wire is brittle and cannot withstand rubbing effect with other materials in weaving. The polymers also have a better workability than traditional materials because of their good bending.

This research also explored sequential construction which is an interesting phenomenal in the making of architecture. This section explored the making of architecture through architectural sequences in space/event/movement (SEM) where movement is an active agency in the making and learning of architectural techniques. It analysed and translated game sequences into the process of construction and making of architecture. Rhythm was used to dictate the sequential movement and successfully creating a harmonious performance

In line with the hypothesis, this technique addresses the research questions about incorporating singing and rhythm into the construction culture and using sequential performance in a labour intensive construction. It further addresses the problem statement; the study demonstrates that the Basotho weaving techniques can be done in both small and big scale in a labour intensive project. Therefore this technique or approach to make architecture can be considered to make contemporary buildings that reflect the social context. Moreover, this technique can be used in academic environment as an alternative where drawings and digital technology fail to interpret architectural and construction challenges. The repetition of sequences enhances learning, therefore it could be used as an effective method to educate and learn a craft or skill in the built environment.

These findings are coinciding with existing knowledge of architects like Bernard Tschumi and Dorita Hannah to mention a few. They perceive architecture to be active and involving participants, event and space. These findings also challenge existing theories that proclaim architecture as a passive fixed object that orders space.

In conclusion, architecture is a forever evolving industry with different styles and technologies of construction. For a long time architecture has been perceived to be limited to buildings as a fixed object in space not acknowledging that architecture goes as far as the nomadic period where it was temporary, flexible and communal. The study has demonstrated how rhythm, sequential movement can be interwoven to organise construction sites. However the intention of this study is not to restrict this technique to weaving, but to suggest that other methods and techniques of construction can be done in a sequential performance and rhythm. Based on these results, this research recommends a paradigm shift on how and what architecture should be. This study proposes this performance-oriented way of making architecture to be observed and taken into consideration for future approach in contemporary architecture.

For future work and research, there is a great potential and opportunity to further develop real on-site construction processes incorporating rhythm and choreography, which could improve the efficiency and time-management in construction industry. This technique may have an impact on building contracts, building codes and standards. It could also change a way architects have been designing for centuries; where instead of producing drawings choreography is used to demonstrate the design process and cinematic frames and montages may also be used as an instruction or manual on how to construct and design.

Objectives

Objective 1 •The main objective was to investigate and demonstrate how Basotho traditional textile weaving practices and selected details can transform contemporary buildings and processes to respond to social context and material challenges.

Objective 2 •To celebrate and preserve the fading Basotho weaving practices by producing contemporary woven textiles in architecture which will portray the unique identity and contemporary social context of the Basotho textiles.

These objectives were fully met in chapter 4. The experience proved the Basotho weaving technique is not limited to traditional material but they can also be done with contemporary materials. These techniques can be used to create contemporary designs and architectural elements. In that sense, not only has the result shown that it is possible to incorporate these techniques in contemporary design but they have been celebrated and were preserved in this research.

Objective 3 •To explore possibilities of the kind of architecture that could respond to today’s challenges in the built environment.

This objective was fully met in chapter 6. The performance-oriented technique of making and construction architecture is an approach that could resolve architectural presentation and construction challenges using sequential construction.

Objective 4 •To illustrate weaving in an architectural scale.

This objective was met in chapter 6, where sequential weaving was performed on site, illustrated by performers and materials moving in sequences while weaving on site.

Objective 5 •To illustrate the use of textile on structural frames.

The objective was partially met in chapter 6. Performers were weaving the crossed figure of eight weaving technique on the stair case frame at building 11. However the intention of the experiment was to demonstrate the hand sequences not to illustrate the use of textile on structural frames.