Figure 2.1 Basotho architecture, time-line. Source: Author, 2021

ernisation of architecture between the sixteenth and twentieth centuries; the construction materials and indigenous floor plans of Mohlongoa-fatse and rondavel changed (Mokorosi, 2017). The time-line below will illustrate the modernisation of the architecture. Basotho architecture has evolved since 1600AD; however, the traditional woven textile patterns were not incorporated in the contemporary architecture and the social context.

There are major factors that determine the final characteristics of any textile, namely: the fabric form, the source of fibre and method of constructing the final product (Bittner, 2004). There are also three categories of fibre, based on source, which are as follows; natural fibres, mineral fibres and man-made fibres (Bittner, 2004). The yarn quality in the processing of textile products is constituted by different sectors such as knitting or weaving (Schwartz, 2019). Schwartz, 2019, elaborates the following as the desired terms to be considered when weaving:

• A yarn that can withstand stresses and potential deformation imposed by the rigorous weaving processes. • A yarn that can withstand high rubbing effects with different elements in a weaving machine and harsh inter-yarn contact during fabric forming. • A yarn that can produce a defect-free fabric.

It is difficult to determine what constitutes the yarn quality because of the different factors; therefore a product requirement like ‘durability’ is also not easily measureable by a single parameter (Schwartz, 2019). However Schwartz (2019) emphasises that when fibres are converted into yarn, the newly formed fibre should meet the same level of strength, (similar to the yarn) when converted to a fabric. Schwartz (2019) concludes by saying that fabric must be selected carefully and applied in a way that enhances durability and minimises any side effects that can diminish the performance characteristics. It is therefore crucial to understand yarn characteristics and what constitutes yarn quality in different sectors of textile production.

When discussing textile-materials science, Garcia (2006) states that there is innovation in materials due to the increasing prominence of contemporary tensile structures in architecture. Polyester and fibreglass are the most commonly used materials in textile architecture (Houtman, 2015). Polyester has good tensile strength and elasticity, however its mechanical properties decrease with ultraviolet (UV) light and it is subject to ageing (Houtman, 2015). Fibreglass also has good tensile strength but it is brittle and has a low elastic strain (Houtman, 2015). The fibre reinforced polymer (FRP) family combines fibres such as glass, carbon and aluminium to create an extremely lightweight and strong material (Blonder and Grobman, 2015). The authors further mention that FRP materials can serve both as a skin and as a structure because of their self-supporting structural properties. The majority of FRP applications in architecture is in cladding, rather than in structure (Blonder and Grobman, 2015). Polytetrafluoroethylene (PTFE)-coated, glass-fibre membranes have superior durability, of around 30 years and greater resistance to weather elements (sun, rain and wind), (Pereira, 2018). Jute fibres reinforce polymer fibres and hybridisation of polymers increases the strength of the structure and decreases the cost of construction (Evrim, 2020).

It is vital to understand the mechanical properties of textiles and their behaviour to avoid compromising their performance. It is also clear that the FRP textiles are commonly used in contemporary design and architecture because of their high strength characteristics, amongst others.

2.4 Translation of textiles into architecture

Garcia (2006) discusses types of architextile and various ways in which architecture engages with textiles. The first is where the architect uses metaphors from textiles or textile based processes in architecture. Griffen (2001) demonstrates this example in his writings, making use of an analogy between a structural frame with a glass envelope and a table that is covered with a table cloth. In his description, a glass envelope represents a ta-