Qhobela, M - Documenting and Translating Selected Details in Basotho Design Culture into Contemp... by jacques_23

Figure 1.0 Video QR Code, source: https://youtu.be/2VVSdjnt8g8

ABSTRACT Research has shown that textiles and weaving practices were known to humankind since the birth of human material culture, not only as convenient tools but also as an important part of traditional arts and crafts. However, over millennia as structures of heavy massive elements became prominent, the textile craftsmanship in architecture became rare. This study aims to investigate the Basotho traditional textiles and weaving techniques and translate selected details into contemporary materials to explore its potential use in a contemporary context. This research is based on qualitative methodology; the author reviews relevant literature and analyses, does hand woven models and documents weaving techniques and textile patterns. The investigation also includes the exploration of performance oriented architecture. This study analyses Basotho traditional textiles such as grass woven hats (Mokorotlo and ts’ets’e), reed screen (Seotloana) and grass woven baskets (Sesiu and Seroto). The theoretical basis uses Semper’s theory which divides architecture into four elements where textiles are described as wall or enclosure. The focus of the exploration will be on form, materials, techniques, technologies, practices and performance. The objective is to celebrate and preserve the fading Basotho weaving practices. This will be achieved by producing contemporary woven textiles and recommend possibilities for architectural applications which will portray the unique identity and social context of Basotho woven textiles. Another objective is to explore architectural possibilities responding to contemporary built environment challenges. The identified challenges include recognising that natural resources are being depleted, therefore having sustainable construction and architecture is vital. Another challenge is the current paper and digital media used in architecture may be lacking in the representation of contemporary architecture therefore there may be opportunities for invention through older practices. Key words: Basotho design culture, weaving practice, textiles, contemporary materials, forms, techniques, technology, performance

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TABLE OF CONTENTS Abstract.........................................................................................................iii Table of contents..........................................................................................iv-v List of figures……………………………………………………………………….vi-x List of tables...................................................................................................xi Acknowledgement......................................................................................xii Chapter 1: Overview....................................................................................xiii 1.1 Project context………………..………………………………………….....1 1.2 Mini-dissertation structure.....................................................................2-3 1.3 Research question.................................................................................4 1.4 Problem statement................................................................................4 1.5 Research methodology........................................................................4-5 1.6 Contributions..........................................................................................5 Chapter 2: Literature review…………………………………………………...6 2.1 Basotho woven textiles ………………….............…………..……………7 2.2 Basotho’s architectural history…………………………….……………..7-8 2.3 Textile as a study ……………………….…………………………………..9 2.4 Translation of textiles into architecture…………..……………..………9-10 2.5 Form finding and structural weaving……….…….…………...………..10-11 2.6 Architecture and music........................................................................11 Chapter 3: Traditional materials and techiniques used for the fabrication of traditional patterns in weaving……….........................12 3.1 Materials..................................................................................................13-15 3.2 Selected Basotho woven artefacts....................................................16 3.2.1Mokorotlo..............................................................................................16 3.2.2 Ts’ets’e (hats).......................................................................................17 3.2.3 Seotloana (reed woven fence).........................................................18 3.2.4 Sesiu and seroto (baskets)..................................................................19 3.3 Techniques experiments........................................................................20-22 Discussion......................................................................................................22 Chapter 4: Contemporary materials and traditional techiniques used for the fabrication of traditional patterns in weaving.....................23 4.1 Contemporary materials.......................................................................24 4.2 Materials properties...............................................................................24-27 4.3 Techniques experiments .......................................................................27-32 Discussion......................................................................................................33 Chapter 5: Applications in contemporary architecture..........................34 5.1 Case-studies............................................................................................35 5.1.2 Woven patterns...................................................................................35-36 5.1.3 Form-work.............................................................................................36-37 Chapter 6: Performance oriented architecture........................................38 6.1 Performance oriented architecture....................................................39 6.2 Memories: games as sequences..........................................................40-49 iv

6.3 Translation of game sequences into construction sequences.........51 6.4 Architecture as sequences of events in motion.................................51-52 6.5 Experiments.............................................................................................52-81 Chapter 7: Discussions and conclusion.....................................................82-85 List of references…………………………………………..…………….....…....87-90

LIST OF FIGURES Chapter 1 Figure 1.0 Video QR Code, source: https://youtu.be/2VVSdjnt8g8....................................ii Figure 1.1 Diagram of research subdivisions. Source: Author, 2021....................................2 Figure 1.2 Diagram of chapter layout. Source: Author, 2021..............................................3 Figure 1.3 Diagram of research methodology: Author 2021...............................................5 Chapter 2 Figure 2.1 Basotho architecture, time-line. Source: Author, 2021.......................................8 Figure 2.2 Basic fabrication process . Source: Blonder and Grobman, 2016, Design and fabrication with fibre-reinforced polymers in architecture: available from: https://scholar.google.com........................................................................................10 Figure 2.3 Geometric principles of weaving structure demonstrated on a hemisphere source: Huang.W, Huang.J and Wu.C...........................................................11 Chapter 3 Figure 3.1 Types of grass. Source: Author, 2021...................................................................15 Figure 3.2 Crossed figure of eight & bee skep weaving techniques. Source: Author, 2021.............................................................................................................16 Figure 3.3 Cycloid weaving technique and the three strings braiding. Source: Author, 2021.............................................................................................................16 Figure 3.4, Ts’ets’e hats images. Source: Author, 2021......................................................17 Figure 3.5 Double-hook spiral weaving technique. Source: Author, 2021.....................17 Figure 3.6 Sewing coil weaving technique. Source: Author, 2021..................................18 Figure 3.7 Sesiu. Source: Carene Boykin, pinterest.............................................................19 Figure 3.8, Sesiu & seroto sketches. Source: Author, 2021.................................................19 Figure 3.9 Double-hook spiral weaving technique on moseea grass. Source: Author, 2021.............................................................................................................20 Figure 3.10 Sewing coil weaving technique on moseea grass. Source: Author, 2021............................................................................................................20 Figure 3.11 Decorative sewing coil weaving technique on moseea grass. Source: Author, 2021.............................................................................................................20 vi

Figure 3.12 Bee skep technique on moseea grass. Source: Author, 2021...........................21 Figure 3.13 Bee skep technique on moseea grass. Source: Author, 2021...........................21 Figure 3.14 Crossed figure of eight weaving on moseea & loli grasses. Source: Author, 2021.................................................................................................................21 Figure 3.15 Three string weaving on loli grass. Source: Author, 2021....................................22 Figure 3.16 Three string weaving on moseea grass. Source: Author, 2021..........................22 Chapter 4 Figure 4.1 Copper wire, indiamart.com...................................................................................24 Figure 4.2, Solder wire: sparkfun.com.......................................................................................24 Figure 4.3 Elastic band: imall.com............................................................................................25 Figure 4.4 High density polyethylene rope. Source: Author, 2021........................................25 Figure 4.5 Nylon fabric. Source: Author, 2021.........................................................................26 Figure 4.6 PVC sheath. Source: Author, 2021..........................................................................26 Figure 4.7 PVC insulation. Source: Author, 2021......................................................................26 Figure 4.8 Copper and elastic band(tightened). Source: Author, 2021...............................27 Figure 4.9 Copper and elastic band(loose). Source: Author, 2021.......................................27 Figure 4.10 Polyethylene rope and PVC sheath model. Source: Author, 2021....................27 Figure 4.11 Nylon and copper model. Source: Author, 2021.................................................28 Figure 4.12 Copper & elastic band. Source: Author, 2021.....................................................28 Figure 4.13, Copper & solder wire. Source: Author, 2021........................................................28 Figure 4.14, Pure and copper alloy model. Source: Author, 2021.........................................29 Figure 4.15, Nylon model. Source: Author, 2021......................................................................29 Figure 4.16 Crossed eight weaving on copper. Source: Author, 2021.................................30 Figure 4.17 Crossed eight weaving on copper. Source: Author, 2021.................................30 Figure 4.18 Crossed eight weaving on copper & polyethylene threads. Source: Author, 2021...................................................................................................................31 vii

Figure 4.19 Crossed figure of eight weaving, nylon & pvc sheath. Source: Author, 2021.................................................................................................................31 Figure 4.20 Crossed eight weaving on copper. Source: Author, 2021................................32 Figure 4.21 Three string weaving on copper. Source: Author, 2021.....................................32 Figure 4.22 Three string weaving on polyethylene. Source: Author, 2021...........................32 Chapter 5 Figure 5.1 Illustrations of lace fence. Source: redfortfabric 2019.........................................35 Figure 5.2 Illustrations of lace fence. Source: redfortfabric 2019.........................................36 Figure 5.3 Bruder klaus field chapel. Source: architizer.com...............................................36 Figure 5.4 Bruder klausfield chapel. Source: chadschwartz.com.......................................37 Figure 5.5 Bruder klausfield , chapel charred walls. Source: architizer.com......................37 Chapter 6 Figure 6.1 Senqaqana pashama. Source: Author, 2021......................................................41 Figure 6.2 Senqaqana choreography sequences. Source: Author, 2021.........................42 Figure 6.3 Senqaqana choreography montage. Source: Author, 2021............................43 Figure 6.4 Senqaqana choreography,montages. Source: Author, 2021...........................44 Figure 6.5 Performers playing Reni-Reni. Source: Author, 2021...........................................44 Figure 6.6 Reni-Reni choreography. Source: Author, 2021..................................................45 Figure 6.7 Reni-Reni choreography montages. Source: Author, 2021...............................46 Figure 6.8 Malepa. Source: Author, 2021...............................................................................47 Figure 6.9 Double diamond string pattern. Source Gupta, 2015, String games...............48 Figure 6.10 Malepa sequences. Source: Author, 2021.........................................................49 Figure 6.11 Malepa Montage. Source: Author, 2021...........................................................50 Figure 6.12 Site 1 image, google earth18/10/21..................................................................53 Figure 6.13 Site plan. Source: Author, 2021...........................................................................53 Figure 6.14 Site 2 image, google earth18/10/21..................................................................53 Figure 6.15 Site plan. Source: Author, 2021...........................................................................53 viii

Figure 6.16 Bee-skep weaving illustration. Source: Author, 2021........................................54 Figure 6.17 Bee-skep weaving illustration. Source: Author, 2021........................................55 Figure 6.18 3 string song, English version. Source: Author, 2021.........................................56 Figure 6.19 3 string song, Sesotho version. Source: Author, 2021........................................56 Figure 6.20 3 string sweaving illustration. Source: Author, 2021.........................................57 Figure 6.21 3 string song sequential movement. Source: Author, 2021.............................57 Figure 6.22 Sequential movement montage. Source: Author, 2021..................................57 Figure 6.23 3 string sequential movements. Source: Author, 2021.....................................58 Figure 6.24 Hand three string weaving sequences. Source: Author, 2021........................61 Figure 6.25 Hand three string weaving sequences montage. Source: Author, 2021................................................................................................................62 Figure 6.26 Hand three string weaving sequences montage. Source: Author, 2021................................................................................................................63 Figure 6.27 Body three string weaving sequences. Source: Author, 2021...............................................................................................................65 Figure 6.28 Body three string weaving sequences montage. Source: Author, 2021................................................................................................................66 Figure 6.29 Body three string weaving sequences montage. Source: Author, 2021................................................................................................................67 Figure 6.30 Figure eight song. Source: Author, 2021............................................................70 Figure 6.31Crossed figure eight site-specific performance, body sequence. Source: Author, 2021................................................................................................................71 Figure 6.32 Crossed figure eight site-specific performance, hands sequence. Source: Author, 2021................................................................................................................72 Figure 6.33 Crossed figure eight site-specific performance, body sequence. Source: Author, 2021................................................................................................................75 Figure 6.34 Crossed figure eight site-specific performance, body sequence (montage). Source: Author, 2021..............................................................76 Figure 6.35 Crossed figure eight site-specific performance, body sequence (montage). Source: Author 2021...............................................................77 Figure 6.36 Crossed figure eight site-specific performance,hand sequence. ix

Source: Author, 2021...........................................................................................................79 Figure 6.37 Crossed figure eight site-specific performance, hand sequence (montage).Source: Author, 2021..........................................................80

LIST OF TABLES

Table 1. Names of grasses. Source: Guillarmod, 1982 Table 2. Types and names of grass and their uses. Source: Author, 19/08/21 Table 3. Properties of nylon. Source: Polymerdatabase.com

ACKNOWLEDGEMENTS Firstly, I would like to express my sincere gratitude to my supervisors Mr Stephen Steyn and Prof. Jacques Laubscher for their invaluable guidance, support and patience throughout this research. I appreciate all the insightful comments that helped me to develop this thesis. I would like to give special thanks to Messrs Ralits’a Ratalane, Letapata ‘Maleng, Morero Rants’obe and Mrs M. Mohale, entrepreneurs in the Maseru small, medium and micro-enterprises who assisted me in Basotho weaving techniques. I would also like to extend my appreciation and thanks to the academic individuals in the school of built environment of the Lerotholi Polytechnic in Lesotho, especially Mrs. Mahao and Mr. Mosese for their assistance and encouragement during my research data collection stage. I would like to thank my friends and colleagues for assisting me with the SEM performance. I would also like to thank TUT film students Thomo Tshipinyane and Mpho Nkoana for their assistance with the research video. Lastly, I would like to thank my caring and loving family especially my parents Mr and Mrs Qhobela and my aunt Mrs Mabesa. They never stopped encouraging me throughout my post-graduate studies. My heartfelt gratitude.

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1.1 PROJECT CONTEXT Weaving as a craft has been practised for thousands of years, as a common cross-cultural phenomenon, with different patterns and techniques between cultures (Griffen 2001). Kozlov (2018) claims that technology theorist Emmerich believed words such as textiles, texture and architecture have a common origin. The words textile, technology, text, texture are derived from the same pro-Indo-European word “tek” which is also a root for architecture (Kozlov, 2018 and Garcia, 2006). Garcia (2006:7) further affirms; “the increasing ‘architecturalisation’ of textiles and the increasing ‘textilisation’ of architecture are more simply, architectural ways of thinking and doing in textile design, and a way of thinking and doing architecture.” In the medieval period both architecture and weaving were positioned as mechanical arts (Aron, 2012). The separation began through hard lobbying by Renaissance artists and humanists when establishing art academies. These academies were dedicated entirely on teaching architecture, painting and sculpture. Architecture separated from its mechanical compatriots and became a visual art, leaving weaving behind as a handicraft (Aron, 2012). During the nineteenth and twentieth centuries, Modernism introduced concepts of purism and functionalism in architecture. As a result, ornamental expression in architecture was rejected. Loos (1908) even argues that the removal of ornamentation in architecture is synonymous with the evolution of culture. Textiles were easier to dismiss as architectural surfaces during these periods, since textiles are easily associated with decoration due to their expressive and tactile qualities. The architecture in Lesotho began to change in the eighteenth century when the missionary priest Casalis set out to replace mohlongoa-fats’e (grass hut) with a rectangular floor plan stone house (known as Heisi), (FitzGerald, 2008). Traditional Basotho textiles and weaving practices are fading and the craftsmanship is reduced to a smaller scale of ornament and hat production. The majority of building designs have disconnected from traditional weaving design culture. Woven artefacts can be considered the result of mediation between materials, humans and the cultural knowledge of craftsmanship (Naboni and Breseghello, 2015). Therefore this study aims to reinforce the relationship between humans, materials and cultural knowledge of craftsmanship by reviving and developing traditional details in textiles and incorporate contemporary materials to create architecture that responds to the contemporary social context. Based on the researcher’s initial literature review, no study has been conducted on the specific proposed research topic; therefore, it is essential for this research be conducted as an initiative to bring awareness on how to incorporate traditional weaving practices into contemporary architecture, to the public and professionals in the construction and architectural fields. The reason that exterior woven walls are no longer being constructed is because of their excessively permeable nature (Griffen, 2001). However, Heinzelman, Bristogianni and Teuffel (2015) state that the light weight or rapid construction is an advantage for textile architecture. Moreover, textile architecture has different applications from canopies to wide span structures, even emergency shelters. Therefore the proposed study will argue that implementing Basotho traditional weaving practices and incorporating contemporary materials could expand its performance to improve its applicability to contemporary architecture.

1.2 Mini-dissertation structure The mini-dissertation is divided into two parts. Part 1 contains chapters 1 to 5 which focuses on materials and case-studies. Part 2 contains chapter 6 and 7 which focuses on weaving as sequential movement in the making of contemporary architecture and also concludes the dissertation. Chapter 1 includes the introduction, project context, problem statement, research questions, aim, method and contribution of the study. Chapter 2 is the literature review on topics relating to the Basotho traditional textile, weaving practices and contemporary materials. Chapter 3 illustrates weaving techniques on traditional materials and their use in Basotho craftsmanship. Chapter 4 explores and analyses traditional weaving techniques on contemporary materials. In chapter 5 case-studies demonstrate the application of weaving and innovation in contemporary architecture. Chapter 6 shows how weaving can become sequential movement in architecture and construction. Chapter 7 will discuss the findings and conclusions.

Part 1

Part 2

•Chapter 1-Overview •Chapter 2-Literature review •Chapter 3-Traditional materials & techniques •Chapter 4-Contemporary materials & techniques •Chapter 5-Case-studies

•Chapter 6-Performance-oriented architecture •Chapter 7-Discussions & Conclusion

Figure 1.1 Diagram of research subdivisions, (Author, 2021)

•Overview

Chapter 1

•Project context •Mini-dissertation structure •Research question •Problem statement •Research methodology •Contribution

•Literature review

Chapter 2

Chapter 3

Chapter 4

•Basotho woven textiles •Basotho's architectural history •Textile as a study •Translation of textiles into architecture •Form finding and structural weaving •Architecture and music

•Traditional materials & techniques

•Materials •Selected Basotho woven artefacts and techniques •Technique experiments

•Contemporary materials & techniques •Materials •Technique experiments

•Case-studies

Chapter 5

•Woven

patterns

•Form-work

•Performance oriented architecture

Chapter 6

•Performance-oriented architecture •Memories (games as sequences) •Translation of game sequences into construction sequences. •Architecture as sequences of events in motion •Experiments

Chapter 7

•Discussions and conclusion

Figure 1.2 Diagram of chapter layout, (Author, 2021)

1.3 Research Question In alignment with the research topic and objectives, the research questions were as follows: 1. Do contemporary materials have a better workability than Basotho traditional materials? 2. Can weaving be used beyond architectural aesthetics? 3. Can weaving be performed as a sequence in a labour intensive construction? 4. Can weaving sequential movement be applied through the use of rhythm and harmony to correlate on construction sites?

1.4 Problem statement Textiles are known from the origin of human material culture as an integral part of traditional arts and crafts. Basotho traditional textiles and weaving practices are fading and when produced, they are primarily for decorative purposes and for sale to tourists. The majority of contemporary building designs have disconnected from traditional weaving design culture. The current paper and digital media used in architecture may be lacking in the representation of contemporary architecture, therefore there may be opportunities for invention through older practices.

1.5 Research Methodology The chosen methods were influenced by the research questions and objectives of the study and the methodological approach of this research project is qualitative. The investigations were conducted using relevant secondary data from existing studies and the author also conducted some materials and performances experiments. The first approach involved literature review relating to the Basotho traditional textiles, weaving practices and contemporary architecture, materials, weaving applications, architecture and music. The traditional woven patterns and techniques were analysed and possible construction of geometric forms of complex surfaces. The second approach involved physical modelling. The author analysed and modelled by weaving the following Basotho traditional patterns: two different hats (Mokorotlo and ts’ets’e), two different baskets (Sesiu and seroto) and reed woven fence (Seotloana). The woven patterns were translated into geometric models of complex surfaces. The third approach involved site specific performances that demonstrate performance-oriented architecture.

Literature review Modelling

Performance

• literature review relating to the Basotho traditional textiles, weaving practices and contemporary architecture, architecture and music.

• The author models hand woven items using both traditional and contemporary materials

• Participants are engaged in site specific performances to demonstrate performance-oriented architecture.

Figure 1.3 Diagram of research methodology, (Author 2021)

1.6 Contributions

The researcher aims to make the following contributions: To illustrate how traditional weaving practices can be incorporated in contemporary architecture, with the aim of creating awareness to the public and professionals in the construction and architectural fields.

Introduction The purpose of the literature review is to explore relevant literature relating to the Basotho traditional textile, weaving practices and contemporary materials.

2.1 Basotho woven textiles The most commonly seen crafts in Lesotho are those made from grass because it is abundant in the mountain highlands (Morley, 2007). Basotho women are greatly talented in weaving grass hats (Mokorotlo and ts’ets’e), baskets, brooms, traditional beer strainers (motlhotlo) and floor mats. The Basotho used to weave enormous baskets (Sesiu) that were used in the households for storing grainy foods from the fields (Morley 2007). They also used to weave smaller and more decorative baskets (seroto), which were created for keeping fruit and other dry foods. The storage baskets are no longer being produced because it is more economical and is considered a sign of status to own enamel and plastic baskets which outlast the grass baskets (Morley, 2007). Beer strainers (motlhotlo) and floor mats seem to be a thing of the past. They are rarely produced and when created, it is primarily for decorative purposes and for selling to tourists (Morley, 2007). Mohair weaving is labelled a “traditional” craft. It was introduced in the 1960s by foreigners who trained hundreds of Basotho women and it became a prominent craft in the country (Morley 2007). According to a 1980 report by the Office of Women in Development (OWD), the weaving cooperatives in Lesotho were under the coordination of the United Kingdom and the United States of America. There are a few weavers who use floor looms for faster weaving and they produce mohair shawls, scarves, bags and table runners. To conclude, the craft of weaving in Lesotho has been reduced to a smaller scale of ornaments and basic household items like brooms which will likely soon also disappear.

2.2 Basotho’s architectural history Architecture in the Basotho land began earlier than 1600AD, when the San or Bushmen were still the inhabitants of Lesotho. They lived in caves (lehaha) or shelters made of branches and turfs of grass (moqheme), (Mokorosi, 2017). Around 1600AD, other tribes of Baphuthi, Bats’oeneng, Baphetla and Lihoja occupied the land and constructed beehive dwellings (hemispherical) made of corbelled stones (liqhobo), with walls and roofs with small door opening (Mokorosi, 2017). Between 1600AD and 1900AD, the Basotho and Xhosa tribes created grass thatched circular huts with conical roofs now known as rondavels and circular huts with a tunnel- like porch at the entrance (Mohlongoa-fatse) which is known to have existed form Ntsoana-tsatsi (Basotho’s place of origin), (Mokorosi, 2017). In the nineteenth century the Basotho adopted the heisi which was introduced by the missionaries. Heisi had a square or rectangular floor plan with saddleback thatch roof, then later, the thatch was replaced with flat, corrugated-iron roof and was then called polata (Mokorosi, 2017). The construction process of Mohlongoa-fatse; a hemispherical shape was formed by bending the poles/branches inward and tying them at the top (Mokorosi, 2017). The framework was strengthened by weaving thinner poles in and out of the main foundation poles. Then grass and reed would be used for thatching the entire hut. Thatch was bound in a lattice pattern by plaited rope. There were additional structures such as Seotloana (reed woven fence) used for privacy and security of the homestead. The mod7

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.

Figure 2.1 Basotho architecture, time-line, (Author, 12/07/21)

2.3 Textile as a study 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 ta9

ble cloth and the table represents a structural frame. As a skeletal frame has functions as a type of loom framework onto which other systems of the building can be interwoven. The second type is when textile-like spatial structure or form is produced in architecture, such that forms are designed as skirts, veils, curtains and so on. The third way is when architecture engages with textiles through texts such as in fictional and theoretical writings. Bazrafshan (2014) demonstrates the second and third types in a dissertation about translating the Weaving Art into Architecture. Inspired by Joseph Muller’s poem on grid systems, he imagines the gridded city of Washington DC as a carpet with both horizontal and vertical streets. Each existing block is seen as a manifestation of pattern in the carpet, in a detailed scale and a building can be interpreted as a knot in a fabric. The fourth type is when textiles or hybrids of textiles and composites are used in the actual construction or materialisation of architecture. This study will focus on weaving practices and their translation.

2.5 Form finding and structural weaving Goldsmith (2014) explains the difference between form-finding and shape- finding. A shape-finding approach is based on personal visualisation of the end product while form finding occurs when the designer is inspired by processes and coordination in nature which inform ways to organise the building project. This study will adopt the form-finding approach which will be demonstrated in the modelling of forms and textile patterns that will be determined by material properties. Weaving patterns depend on the material’s mechanical performance to frictional and bending resistance generated by the interlacing sticks (Naboni and Breseghello, 2015). They further explain that weaving shows potential for the design and construction of complex doubly curved surfaces, due to the specific bending characteristics of the material. Blonder and Grobman, (2015) proposed a method of form finding with FRP, based on textile characteristics of fibre elements in composite FRP, in the form of woven fabric and self-organisation properties. The method involves hanging up textile membrane, impregnating it with resin, then curing it and overturning the result to obtain a shell like structure, as shown in figure 2.2 below.

Figure 2.2 basic fabrication process, (Blonder and Grobman, 2015)

Huang, Wu, and Huang (2017), mention the importance of the geometry in structural design as well as weaving of structures. They discuss the two main geometrical principles for weaving structure as the following; firstly, the weaving rods should be evenly distributed because an evenly distributed grid constitutes a better framework and also a more coherent one for installing envelope components. Secondly, the geodesic curvature of the rods should be minimised because the bending resistance is vital in weaving structure and form finding, as the rods are inevitably bent, but the curvature should be kept away from its ultimate bending resistance. The smaller the curvature, the more resilient the structure becomes. The authors illustrate the principles with figure 2.3 below. The left geodesic has uneven distribution because the horizontal distances between the curvatures from the top to the bottom of the hemisphere are not the same. The middle shows evenly distributed curves with a large geodesic curvature because the vertical distances between the curvatures from the top to the bottom of the hemisphere are the same. The geodesic on the right, shows weaving structure as a compromise between even distribution and minimum geodesic curvature.

Figure 2.3 shows geometric principles of weaving structure demonstrated on a hemisphere , (Huang. Huang and Wu, 2017)

2.6 Architecture and music Architecture is considered as mother of all arts because of its roots in various concepts of arts (Morsi, Dewidar and Abdelkhalek, 2021). They state that music inspires many architects during the design stage and that architecture and music have the ability to represent the culture heritage and form the country’s identity. “Music is liquid architecture; architecture is frozen music” (Savant, Jadhav and Dudgikar 2017: 161). These authors mention rhythm, harmony, proportion, dynamics and articulation as similarities between architecture and music. They further explain that rhythm in music is patterns of sound in relation to a beat while in architecture is repetition of elements, openings, shapes establishing regular or irregular rhythm in architecture. All arts deal with space and time (Savant, Jadhav and Dudgikar 2017). However in this study, rhythm is used to order sequential movement in spaces creating a harmonious repetition of sequences in construction and the making of architecture. They define harmony in music as a pleasant combination of elements that balances sound and composition while in architecture is a balance between elements. In this research harmony will be achieved in performance-oriented architecture when there is a balance between movement and rhythm during the construction process. 11

3.1 Materials There are different types of grass used by Basotho to weave various things because of their unique individual properties. For elements such as roof, fence (Seotloana) and outdoor basket (Sesiu) the grass must be strong, long, thicker, malleable and durable. In a case of indoor small baskets (seroto), hats and beer strainer, the grass must be malleable, not too brittle when dry and reasonably durable. Table 1 below shows some types of grasses and their use in Basotho craftsmanship.

Table 1. Names for grasses (Guillarmod, 1982)

Sesotho name

English name

Moseea

Botanical name Danthonia Drakensburg

Lethepu

Angel’s fishing rod

Dierama igneum

Thita-poho

Gum grass

Eragrostis gummiflua

Mohlomo

Red grass

Themida triandra

Qokoa Loli Letsiri

Hyparrhenia pilosissima Desert sedge

Cyperus marginatus Digitaria setifolia

Table 2. Types and names of grasses and their uses (Author, 19/08/21) Grass type

Type 1

Sesotho names

Type 2

Moseea / mosuoa Molala-hlolo Lethepu

Type 3 Type 4 (long grasses)

Leloele Thita-poho Mohlomo Qokoa

Type 5

Loli

Type 6

Roro (brittle when dry) Letsiri

Type 7 Type 8 Type 9

Lefiroane Teele Lesuoane

Type 10

Mothala

Use

Brooms, hats and ropes ( thapo) Moseme( grass mats), brooms, and hats ropes Brooms, seroto Sesiu, Seotloana, roofing Ropes, mats, hats, beer strainer, kholokoana Temporary ropes Ropes for: Sesiu, seotloana and roofing Strong durable ropes Non-durable rope, hats Strong rope but not as durable as lefiroane Seotloana and roofing mat (similar to the plastic used underneath tiles)

The experiments that will be conducted will use only moseea and loli grasses. Below are images of some types of grass.

Figure 3.1 Types of grass, (Author,13/10/21)

3.2 Selected Basotho woven artefact and techniques This section will analyse different weaving techniques used on these selected Basotho artefact. The selected artefacts are mokorotlo hat, ts’ets’e hat, seotloana, sesiu and seroto. 3.2.1 Mokorotlo hat It is one of Basotho traditional hats and a national symbol in Lesotho. It is woven from loli and moseea grasses. There are unique weaving techniques and patterns incorporated in the weaving of this hat.

Figure 3.2 crossed figure of eight & bee skep weaving techniques, (Author, 08/07/21)

Figure 3.2 above shows a crossed figure of eight weaving technique used on the crown with loli grass. A Bee skep weaving technique is used on the hat surface and Moseea grass and thread are used; the thread is the weft and moseea the warp. The decorative colourful arch-like patterns on the hat are woven using cycloid weaving technique and the three strings weaving as shown in figure 3.3 below. These decorative members are also woven with moseea grass. The three string weaving uses three strings to weave. The left and middle strings exchange positions then the middle and right string also exchange positions. The exchanging of positions occurs until the weaving is done.

Figure 3.3 cycloid weaving technique and the three strings braiding (Author, 08/07/21)

3.2.2 Ts’ets’e hat Ts’ets’e is also one of Basotho traditional hats woven from moseea grass. There are different kinds of Ts’ets’e hat. It has a big family with many different weaving techniques and pattern depending on the region where the weaver is from. Figure 3.4 below shows some of the ts’ets’e hats. For this study hat 3 will be the focus as indicated in figure 3.4. Double-hook spiral weaving technique is used to weave the ts’ets’e hat and the shape is determined by the weaver. The weaver manipulates the direction of the grass while still maintaining the spiral weaving fashion. The sizes of patterns whether closely woven or not, are also determined by the weaver.

Figure 3.4, Ts’ets’e hats, (Author, 07/07/21)

Figure 3.5 double-hook spiral weaving technique, (Author, 09/07/21) 17

3.2.3 Seotloana Seotloana is a reed fence or screen that served different purposes. It was meant to protect winds from entering the house, also constructed for privacy and security of the homestead. Some of the household activities like grinding corn would take place in that space. Construction techniques. Poles are entrenched in approximately 0.5 m deep hole to stand firm. These will hold the whole structure firm to the ground. Two mohlomo or qokoa grass bundles are woven/ twisted then fastened parallel on both sides of the pole frame then grass inserted between (perpendicular to the horizontal grass bundles). The grass is then clipped onto the parallel woven bundles with a three or four string woven rope using the sewing coil weaving technique. The woven fabric is responsible for distributing tensile stresses and the poles (structural frame) provide compression resistance, stabilising the structure.

Figure 3.6 Sewing coil weaving technique, (Author, 15/07/21)

3.2.4 Sesiu & seroto Sesiu and seroto are Basotho baskets. Sesiu is a big basket used to store granary foods after harvesting. It is placed outside elevated from the ground with stones to prevent any contact with moisture and pests. Sesiu can be woven from mohlomo or qokoa grasses using letsiri woven ropes to hold the grass together. Seroto is a small indoor use basket that is usually used to keep fruits and dry foods. It is woven from thita-phoho grass. Both baskets employ the bee skep weaving technique.

Figure 3.7 sesiu,carene Boykin

Figure 3.8, Sesiu & seroto sketches, (Author,12/07/21)

3.3 Techniques experiments This section will explores the traditional weaving techniques illustrated in section 3.2 on moseea and loli grasses. The intention of these experiments is to analyse the workability of these grasses and to explore possible forms that can be created. 3.3.1 Double-hook spiral weaving technique

Figure 3.9 double-hook spiral weaving technique on moseea grass, (Author 15/07/21)

The double hook-spiral weaving technique was employed on moseea grass using a polypropylene thread. A round cup-like form was achieved. 3.3.2 Sewing coil weaving technique

Figure 3.10 sewing coil weaving technique on moseea grass (Author, 10/07/21)

Figure 3.11decorative sewing coil weaving technique on moseea grass (Author, 10/07/21)

The sewing coil technique is employed on both figure 3.10 and figure 3.11. The weaving on figure 3.11 was done by constantly changing the position (tilting) of the woven object such that it changes the direction of the thread. Moseea grass was used to weave flat surface (mat-like) using wool as a thread. 20

3.3.3 Bee skep weaving technique

Figure 3.12 bee skep technique on moseea grass, (Author, 04/07/21)

Figure 3.13 bee skep technique on moseea grass, (Author, 07/07/21)

The bee skep is employed on both figure 3.12 and 3.13. The technique was done on the moseea grass using a waxed thread. 3.3.4 Crossed figure of eight weaving technique

Figure 3.14 crossed figure of eight weaving on moseea & loli grasses, (Author, 10/07/21)

The crossed figure of eight technique is employed on moseea and loli grasses.

3.3.5 Three string weaving technique

Figure 3.15 three string weaving on loli grass, (Author, 12/08/21)

Figure 3.16 three string weaving on moseea grass, (Author, 12/08/21)

Discussion Grass is an easy material to weave, especially before it dries out. It can be brittle when dry. Both grasses are greenish in colour when fresh then with time change to the green-yellow colour and finally to the yellow-brown colour. However, the Basotho people usually soak the dry grass in warm water to soften it and improve it workability. Loli is a soft thicker grass that is easily manipulated compared to moseea. It is for that reason loli is used as weft and moseea as warp in figure 3.14. All techniques were successful and different forms and surfaces were achieved. The flat surface in figure 3.11 can bend easily to form a curvature because of the grass strands that are facing in the same direction, allowing the sliding movement between the strands. The thread joints also do not restrict movement. Figure 3.10 cannot fully bend because of the horizontal grass belt that runs across, creating a 90 degrees joint between the strands. With the spiral weaving, a form is determined by how the weaver manipulates the grass. Figure 3.12 demonstrates to cylinder-like form; the weaver was consistent when layering the grass, maintaining the same diameter, without pushing the grass inwards or outwards. Contrary to figure 3.13 and figure 3.9, the weaver was weaving outwards, increasing the diameters of the circles while weaving upwards. Grass has been used for a long time in weaving, especially in vernacular architecture and artefacts across the world. Grass has a short life span however, there are new technologies such as “Greencoat eco paints” that provide the enhancing properties to grass. 22

4.1 Contemporary Materials Traditional materials have many advantages however, their application is limited by contemporary set of complex factors like building regulations, environmental factors and lack of skilled labour amongst many (Golden, 2017). As a result, materials are constantly modified to make them more suitable for current application. Contemporary materials have a greater potential to create complex geometric forms and weather resistant structures. This chapter will focus on some of the contemporary materials that can incorporate the weaving of Basotho traditional patterns.

Copper wire

4.2 Material properties

4.2.1 Copper wire

Figure 4.1 copper wire, (indiamart.com)

4.2.2 Solder wire

Figure 4.2, Solder wire, (sparkfun.com) 24

Both pure and alloyed copper have a similar melting point and copper alloys have a greater strength than pure copper (Li & Zinkle, 2012). Pure copper has a higher electrical and thermal conductivity than copper alloys. Copper has a high ductility as an advantageous property which makes the material easy to place and join with or fasten to other materials (Sάnchez, 2018). Copper can be manipulated by common procedures of folding, warping or heat-sealing (Sάnchez, 2018). A wide variation of colour in copper, from the reddish tones to the browns as it ages, is one of the most attractive aspects of the material from an architectural point of view (Sάnchez, 2018). Copper is a ductile, recyclable, elegant as well as antibacterial material that is considered as a glamorous contemporary material (Designbest, 2019).

Solder is a fusible alloy used to join less fusible metals (Aves, 2015). There are different types of solder alloys and their chemical composition determines their melting point and their tensile strength. Lead containing solder alloys have most advantage such as good wettability, high ductility, low shear modulus, high temperature application, melting temperature range of 300°C to 314°C and workability (Lyon, 2010). However, these alloys are hazardous to the environment and human health because of the lead. There is still no leadfree solder alloy that performs as well as the

lead-based one and a good solder should also have a good electric conductivity and fluxlessness (Lyon, 2010). 4.2.3 Elastic band

Elastic band Elastomer commonly known as rubber is a linear polymer which possesses elasticity and good resistance to corrosive fluids. There are two types of rubber which is natural and synthetic rubbers (Roshni, 2021). Natural rubber can stretch up to 700% prior to reaching its ultimate elongation, which causes it to break while fluoroelastomers can only withstand 300% elongation (Azo Materials, 2015).

Figure 4.3 Elastic band, (imall.com)

The following properties are worth the designer’s consideration when selecting elastomers; specific gravity, abrasion resistance, tear resistance, compression set, resilience, elongation, tensile modulus, tensile strength and hardness. However, it further states that tensile strength is the most important factor for buyers and designers because it signifies the point of failure resulting from the stretching of rubbers (Azo Materials, 2015). The tension rupture of an elastic band is independent of its natural length and it decreases linearly with increasing load time (Triana and Fajardo, 2012). The harder the rubber, the higher the tensile modulus, making the rubber resilient (Azo Materials, 2015). The resilience is the ability of rubber to return to its original size and shape. It is critical in dynamic moving elements and surfaces. Elastomers are used in the production of beltings, floor tiles, automotive moulded products, hoses, tyres, seals and gaskets (Roshni, 2021).

4.2.4 Polyethylene rope

Figure 4.4 High density polyethylene rope (Author, 02/08/21)

Polyethylene It is a lightweight, durable thermoplastic polymer. It is one of the most commonly used plastics. Polyethylene is economical, with a low co-efficient of friction, has an excellent chemical resistance, stable in cryogenic environments, good impact resistance, resistant to many solvents, good fatigue and wear resistance and does not have water absorption, especially High Density Poly Ethylene (HDPE), (Dielectric manufacturing, 2019). It is used for conveyor guides, chute liners, chemical holding tanks, food processing parts, medical equipment, packaging applications, conveyor wear strips (HDPE), piping systems (HDPE) and marine components (Dielectric manufacturing, 2019) 25

4.2.5 Nylon Nylon Nylon is a generic name for a family of synthetic polymers especially aliphatic and aromatic polyamide (Polyamide fiber, 2015). Nylon fibers are exceptionally strong and elastic and stronger than polyester fibers. However, due to its higher price and lesser wrinkle resistance, it has been replaced by polyester in many garment products (Polyamide fiber, 2015). Table 3 below shows physical properties of nylon.

Figure 4.5 nylon fabric. (Author, 28/07/21)

Nylon is used in the garment and home furnishing industry, tire cords, ropes, seat belts, hoses, conveyer belts, carpets, parachutes, racket strings, sleeping bags, tents, and various civil engineering materials (Polyamide fiber, 2015).

Table 3. Properties of nylon, (polymerdatabase.com) NYLON FIBER PROPERTIES

Tensile Strength (Tenacity) Abrasion Resistance Absorbency Static Resistance Heat Resistance Wrinkle Resistance Resistance to Sunlight Elasticity Flame Resistance Resilience

Excellent Excellent Fair Fair - Poor Fair Good - Excellent Poor Excellent Does Not Burn Excellent

4.2.6 PVC sheath and insulation

Figure 4.6 PVC sheath, (Author, 01/08/21)

Figure 4.7 PVC insulation, (Author, 01/08/21)

Polyvinyl chloride (PVC) This is also one of the most widely used polymers in the world. PVC has a tensile strength of 2.60N/mm², thermal coefficient of expansion of 80 x 10-6 and has weather-proof attributes. It has wide applications in construction such as manufacturing windows and door profiles, pipes and fittings, flooring, internal and external cladding and many more (British Plastic Federation (BPF), (2021). . Techniques experiments 4.3

4.3.1 Bee skep weaving technique

Figure 4.8 copper and elastic band: tightened (Author, 03/08/21)

Figure 4.9 copper and elastic band: loose (Author, 03/08/21)

Figures 4.8 and 4.9 employed bee skep weaving technique but in figure 4.8 the elastic band is tightened while in figure 4.9 the elastic is loose. Because of the elastic, both models have a stretch effect; however, figure 4.9 is more flexible. Usage of elastic materials in construction is vital especially where movement of elements is a requirement; however the elastic materials should have the elasticity properties that match the application.

Bee skep technique is used in figure 4.10. This model was hand woven because of the nature and sizes of the materials, no needle was used. The PVC sheath is slippery because of its smooth surface which makes it difficult for the rope to hold firmly, however if the rope is closely woven, the rope would secure the sheath. Figure 4.10 polyethylene rope and PVC sheath model (Author, 29/07/21)

Figure 4.11, nylon and copper model (Author, 01/08/21)

Figure 4.11 is a model made from nylon and copper, employing bee skep weaving technique. A long coiled copper alloy is woven with strips of a stretchy nylon fabric. The nylon allows the stretch effect on the model; however, the friction caused by the weaving process tears the fabric and causes fringes on the fabric.

4.3.2 Sewing coil weaving technique

Figure 4.12 copper & elastic band (Author, 17/07/21)

Figure 4.13, copper & solder wire (Author, 17/07/21)

In both figure 4.12 and 4.13 the sewing coil weaving technique is used. A copper alloy was cut into almost even strips and a bundle of them woven with an elastic or/and solder wire. The copper alloy is not easily manipulated by a hand to warp or fold, as a result elastic band and solder wire were used, and however, solder wire cannot withstand the rubbing effect of weaving because of its brittleness.

Figure 4.14, pure and copper alloy model (Author, 30/07/21)

Figure 4.14 shows a copper model employing the sewing coiling weaving technique. A copper alloy was also cut into almost even strips and woven with pure copper. Pure copper is more malleable than alloys. The model can bend easily to form a curvature.

Figure 4.15, nylon model (Author, 29/07/21)

Strips were cut from the nylon fabric and woven using three strings weaving and sewing coil weaving techniques. The model is light and allows for the stretchy effect; however, the tearing was experienced when doing the “bee skep” weaving technique that tied the three strings braided members together.

4.3.3 crossed figure of eight weaving technique

Figure 4.16 crossed eight weaving on copper, (Author03/08/21)

Figure 4.16 is a model made from both pure and alloy copper. The crossed figure of eight is employed and pure copper is used as weft, while the alloy as warp.

Figure 4.17 crossed eight weaving on copper, (Author, 03/08/21)

Figure 4.17 is employs the crossed figure of eight on insulated copper wire. There is pure copper covered by the insulation. Because the copper wire, the woven model can bend and form a curvature.

Figure 4.18 crossed eight weaving on copper & polyethylene threads, (Author, 03/08/21)

This model is woven from pure copper and polyethylene strands and the crossed figure of eight in incorporated. The model is flexible; it can bend but quickly goes back to its original state. Polyethylene is a flexible material but cannot retain a curvature.

Figure 4.19 Crossed figure of eight weaving, nylon & PVC sheath, (Author, 11/08/21)

A crossed figure of eight technique was employed. Strips of nylon fabric were cut and woven on PVC sheath. The PVC surface is slippery therefore, it required the nylon fabric to be close and tightly woven.

4.3.4 Double-hook spiral weaving technique

Figure 4.20 crossed eight weaving on copper, (Author, 03/08/21)

Figure 4.20 incorporates double-hook spiral technique and a copper alloy is woven with wool. Like in figure 3.9 the weaver increases the diameters of the circles while weaving upwards.

4.3.5 Three string weaving technique

Figure 4.21 three string weaving on copper, (Author 11/08/21)

Figure 4.22 three string weaving on polyethylene, Author, 11/08/21)

The three string weaving was employed on both figure 4.21 and 4.22. Pure copper is used to weave in figure 4.21 and because of it malleability, it is easily manipulated by hold and can bend easily retaining a curvature. In figure 4.22, polyethylene strands are used for modelling. The material is flexible but cannot retain a form or shape on its own. 32

Discussion Based on obtained results from the experiments, traditional weaving techniques can be incorporated and applied on contemporary materials. Contemporary materials are capable of executing the patterns and forms similar to that of traditional materials. The results also show that copper is malleable and can be manipulated into different shapes and forms. Copper can be used to model architectural surfaces as demonstrated in figure 4.14, structures with curvatures and many other forms. The insulated copper wire in figure 4.17 is also flexible and can retain form however not as well as the exposed copper. The advantage of the insulation is that PVC material has water-proof qualities. PVC and polyethylene are also flexible materials but cannot retain form on their own. These materials will need to be reinforced by other materials or be processed to stiffen them. However, their flexibility is advantageous for weaving. The nylon material is suitable for weaving techniques such as three string weaving, crossed figure of eight instead of being used to weave the bee skep technique. Figure 4.15 and 4.19 clearly demonstrate why three string and crossed figure of eight techniques are more preferable than the bee skep. This observation is based on the selected nylon material, not every nylon fabric. Nylon can be used to weave architectural surfaces and also be used in tensile structures.

5.1 Case studies The relationship between textiles and architecture has existed for millennia and today they come together in a new innovative way through contemporary art and architecture. The following case studies will demonstrate some possible applications of woven patterns and techniques in contemporary architecture. 5.1.1 Woven patterns The lace fence was produced by a young Dutch designer Joep Verhoeven while studying at Design Academy Eindhoven as his graduate project (Fairs, 2007). He is now part of the design team at Demakersvan which was founded in 2008. The idea was based on the chain-link security fences and inspired by Dutch lace making techniques. Materials and process Both PVC coated steel and copper wires are used but copper is preferable because it is more malleable than steel (Fairs, 2007). These wires are woven into a continuous mesh using a process similar to giant scale knitting and then erected on posts. Applications Specific mesh sizes are used accordingly to the function of the elements and they are designed to comply with the EU standards. They are not only aesthetically appealing; they are manufactured to be suitable to both indoor and outdoor use.

Figure 5.1 illustrations of lace fence. (redfortfabric 2019)

Figure 5.2 illustrations of lace fence. (redfortfabric 2019)

5.1.2 Form work

Figure 5.3 Bruder klaus field chapel (architizer.com)

The chapel was designed by Peter Zumthor and constructed by local farmers to honour their patron saint Bruder Klaus of the 15th century (Sveiven, 2011). The chapel is located in Mechernich, Germany and the project was complete in 2007. A wigwam of tree trucks was erected and concrete was poured and rammed atop the existing surface. Once the concrete had set, the wooden frame was set on fire, leaving hollowed, blackened cavi36

ties, and charred walls.

Step 1

Step 2

Step 3

Step 4

Figure 5.4 Bruder klausfield chapel, (chadschwartz.com)

Figure 5.5 Bruder klausfield, chapel charred walls,(architizer.com)

The Bruder klausfield chapel demonstrates texturing of heavy surfaces. A woven formwork can be used to achieve similar results. A formwork fabric can be woven using Basotho weaving techniques then erected in place while concrete is poured. After it sets, the patterns of the formwork will be imprinted on a concrete element. This chapter has demonstrated that weaving can create architectural elements and formwork structures. In conclusion Basotho weaving techniques can be applied in contemporary architecture, using contemporary materials to create a unique identity and social context. 37

6.1 Performance-oriented architecture 6.1.1 Introduction Experiments in chapters three and four only demonstrated weaving in a small scale. This chapter will further pursue the exploration of weaving using a bigger architectural scale. The concept of scale inspired the translation of these small hand scale experiments into a big architectural scale. The big scale suggested involving participants/labourers, construction materials, and the construction site. This idea gave birth to an avant-garde approach of weaving on a large scale, where weaving is done as a performance/event in space. Participants move in sequences ordered by rhythm or song to create a harmonious event of weaving. 6.1.2 The process of making This section will focus on the exploration of making architecture through architectural sequences in space/event/movement (SEM). Movement will be explored as an active agent in the making and learning of architecture. Architectural sequences are not only the reality of actual building or symbolic reality of their fiction, but there is always an implied narrative whether of method, use or form (Tschumi, 1996). Games are a good example of how a narrative can be translated from one medium to another in space and the sequences in the narrative become a language. The narrative can be demonstrated through play songs. Play song games are a combination of rhythm and words. Usually, the words of the song instruct the sequential movement of bodies participating in the game. For example, the song might have words like “jump”, “hop”, “clap” and the participants would do exactly as the song suggests, parallel to the rhythm. Below are some of the games from Nts’ihlele (2003) dissertation, portraying how sequences can be a language. 6.1.3 Definitions Words such as construction, performance, event and choreography will be used interchangeably in this chapter. They define the act of making architecture. The dictionary definitions may be limited, therefore some words will be elaborated on later in the text. Choreography According to definitions.net choreography is the art of designing sequences of movement in which motion, form or both are specified. Lexico.com describes choreography as sequence of steps and movement in dance or figure skating especially in a ballet or other staged dances. Performance Merriam-webster.com defines performance as an activity (such as singing a song or acting in a play) that a person or a group does to entertain an audience. According to Dictionary Cambridge performance is an act of doing something, such as your job. Construction Dictionary Cambridge explains construction as the work of building or making something, especially building and bridges while Merriam-webster.com defines construction as a pro39

cess, art or manner of constructing something Event Collins dictionary explains an event as something that happens especially when it is unusual or important while Google oxford language defines an event as a thing that happens or takes place, especially one of importance.

6.2 Memories (games as sequences) Most of our memories are embedded in games and play songs. Games become a part of our lives and influence our outlook on life. Some games also employ SEM concept. Games are organised structures that are not only meant to entertain or amuse children, but are valuable aids for learning and developing skills needed in adult life (Nts’ihlele, 2003). Some of the Basotho games as: animal imitation games, guessing games, contest games, dance game and the games of skill and chance (Masiea, 1973). For this study, games are reviewed as a way or method of making contemporary architecture, where weaving processes become an event of sequence in space. As a result, the focus will be on choreographic games and the games of skill and chance, also classified as memory games. The games described are as interpreted by Nts’ihlele (2003). 6.2.1 Games 6.2.1.1 Skipping rope (Senqaqana pashama) Senqaqana pashama is one of the long skipping rope games played by girls between the ages of thirteen to fifteen. Three girls take part in this game; two girls are turning the rope while the other one in the centre jumps rhythmically to the chant. The skipper imitates the frog jumping and laying on its stomach while keeping her balance and sense of rhythm. This game uses a skipping rope with a minimum of three players. Figure 6.1 below shows girls playing senqaqana pashama. Girls chant rhythmically:

Translation:

Senqaqana ka metsing Pashama; pashama Pashama, pashama, pashama

Frog in the water, Lie on your stomach; lie on your stomach Lie on your stomach, lie on your stomach, lie on your stomach

Figure 6.1Senqaqana pashama, (Author 15/10/21

Choreography The movement sequences of the game will be presented in cinematic frames and montages. These sequences demonstrate how the body moves or jump to the rhythm of the song in space, imitating a frog.

Figure 6.2 senqaqana choreography sequences, (Author,15/10/21)

Figure 6.3 senqaqana choreography montages, (Author,15/10/21)

Figure 6.4 senqaqana choreography montage, (Author,15/10/21)

6.2.1.2. Reni-Reni (Games with stones; stone passing game) Reni-Reni or Reti-Reti is a stone passing game played in an open space usually by five to seven people. They sit in a form of a circle and each player holds a light stone that will be easy to pass around. The game is accompanied by a song “Reni-Reni”. Figures 6.5, 6.6 and 6.7 below illustrate the game.

Figure 6.5 performers playing Reni-Reni, (Author, 05/10/21)

Players sing: Reni-Reni, Reni oa le china (repeat) Re tsoa koana bochabela Re nyetsoe ke ma China (repeat) Translation Reni-Reni, Reni belonging to the Chinese (Repeat) We come from there yonder east We are married into the Chinese community (Repeat) As the players sing “Reni-Reni” they tap the stones on the ground 16 times to the rhythm of the song. At the point where words “Re tsoa koana bochabela, re nyetsoe ke ma China” begin, each player passes their stone to their neighbour on the right and receives another from their neighbour on the left. They continue in this fashion until the end of the section “ke ma China”.

Choreography

Figure 6.6 Reni-Reni choreography, (Author, 07/10/21)

Figure 6.7 Reni-Reni choreography, montage, (Author, 07/10/21)

This game helps children to maintain a sense of rhythmic exactness of movement and harmony in the passing and receiving of stones at a crucial moment of the game. It trains the child to develop eye, hand and stone/object coordination. The educational value of stone catching games is in the alertness, concentration, accuracy, movement alignment and coordination of more than one action. 6.2.1.3 Malepa (Games of mental skill) Malepa (puzzle) is a string-figure game that inculcates ingenuity and creativity in children by developing their self-esteem. It is not only prayed by the Basotho children but it is well known and played in different parts of the world. It allows originality in creating a form of a diamond or patterns. A piece of a string (khoele) about half a metre long is tied and the player winds it round their fingers and starts to manipulate the string with their fingers to create diamonds patterns as shown in figure 6.8 below. This game demonstrates how the finger movement/ choreography can make diamond patterns.

Figure 6.8 Malepa, (Author, 03/11/21)

The steps are demonstrated through Gupta’s (2011) instruction and cinematic frames. The montage shows the fingers movement in the making of the two-diamond pattern.

Figure 6.9 double diamond string pattern, (Gupta, 2011)

Choreography

Figure 6.10 malepa sequences, (Author, 03/11/21) 49

Figure 6.11 Malepa Montage, (Author, 03/11/21) 50

6.3 Translation of game sequences into construction sequences As Nts’ihlele (2003) had explained, games are not only meant to entertain children but are also meant to equip them with skills that will benefit them in adulthood. Some of the skills that the games provide are the ability to maintain a sense of rhythmic, exactness of movement and harmony, concentration, accuracy, movement alignment and coordination of more than one action. These skills can be applied in construction where site-works are conducted as sequential events by the labourers. For such events to be possible and harmonious the participants must possess the above-mentioned skills. This form of direct engagement with movement is another way of learning a skill by doing through repetition as it is done in games. To conclude, these childhood skills are needed in a performance-oriented design and construction. 6.3.1 Learning and adapting the sequence It is crucial to understand human behaviour when it comes to learning or enhancing learning, which in this case is learning the weaving techniques and how to implement them in construction culture and the making of architecture. Psychological research has been oriented around understanding how human beings learn and learning results are specific to the task undertaken (Gaqné, 1984). Repetition and rehearsal of information enhances the process of learning by which memories are moved from temporary storage to a permanent storage in the brain (Richards, 2008). Multiple of repetitions of information can be monotonous and bore students, which could result in loss of focus and attention therefore involving strategies with human movement, songs, and other forms of novelty that can enhance the value of the repetition (Richards, 2008). She explains that the brain seeks meaning through patterns, and the use of music and rhyming creates a pattern or organisation for information. In conclusion, for weaving sequences to be learnt and applied as an instruction of making architecture, repetition and rhythm must be incorporated. The words in the song can instruct the procedure of construction and the rhythm can harmonise the movement.

6.4 Architecture as sequences of events in motion A sequence is “a composite succession of frame that confronts spaces, movements and events, each with its own combinative structure and inherent set of rules” (Tschumi, 1994:10). Architecture is a sequence of events /performances in motion. The beauty of contemporary architecture is its ability to inspire innovation, thoughtful improvements to older styles of architecture and techniques. It captures the spirit of oneness and endless connectivity between architecture and other forms of art. Architecture has been explored and experienced through cinematography, choreography, scenography because of its multi-faceted nature. Architecture is a fertile ground ready to grow any planted seed. There are four active domains which characterises performance oriented architecture which are the human subject, environment/space and complex organisation of space and materials (Hensel, 2011: 3). Space performs with or without the performer entering into the space; it echoes previous events (Hannah, 2019). She further explains that space is never fixed but it constantly 51

changes in an active state of becoming. Considering performance space(architecture as an orchestrated set of systems) as “eventual” realigns both built and imagined spaces as embodied time-based events and experience where constructed environment is no longer recognised as a fixed, durable object designed to order space and its inhabitants (Hannah 2011). There is no space without event and that architecture is not simply about space and form but includes event, action and what happens in space (Tschumi, 1996). Hannah (2019) also considers space as central to her creative practices and affirms by saying “space is the stuff of architects (who construct it), scenographer (who abstract it), experienced by inhabitants (immersed in it) and spectators (who regard it). Architecture as a traditional static domain, silently incorporates power systems into the built environment through defining, regulating and limiting our daily practices (Pitches and Popat, 2011). It imposes these systems on multitudes and inspires socially acceptable behaviour and often a real fear (Pitches and Popat, 2011). They suggest for architecture to be transformed into a dynamic and co-creative event, the active and temporal found in theatrical event must be admitted. Architecture performs; it determines how we experience it. It seduces, intimidates and excites its inhabitants and surroundings through form, colour, textures, lighting and many other factors. In conclusion, if we are to consider space, humans, and the construction processes as active domains, the idea challenges the traditional perspective of architecture as rigid. Performance/event is an integral component of architecture and weaving sequences are an avant-garde approach inspired by contemporary architecture, where movement and event in space become a design process.

6.5 Experiments The purpose of the experiments is to demonstrate and widen prospective approaches that could be employed in contemporary architecture. “There is no way to perform architecture in a book. Words and drawings can only produce paper space, not the experience of real space. By definition, paper space is imaginary: it is an image” (Tschumi, 1996: 93). Performance oriented design allows the human subject to experience and create in space. The experiments are site-specific performances inspired by design in motion, based on order and precise structure of sequences. The performances demonstrate the interaction of bodily experience of the performer into the performance of weaving and creating a spatial language which shows the relationship between body, space and procedure/event. It also demonstrates the scale of the operation, from small hand scale to a large body scale in performance. The cinematic frames are used as a viewing device and structure to order architectural sequences and montages. These experiments were performed in two different sites at Tshwane University of technology (TUT). The first site is an open park-like space. The second site is outside building 11 at the northern side at the stair-case. The weaving was done on the stair-case frame. The procedure is labour intensive and uses a combination of specific sequences and repetition. The performers had to learn the weaving sequences.

Construction sites

Figure 6.13 site plan, (Author, 18/10/21)

Figure 6.12 site 1 image, (google earth18/10/21)

Figure 6.15 site plan, (Author,18/10/21)

Figure 6.14 site 2 image, (google earth18/10/21)

6.5.1 Experiment illustration

Below is an illustration of how performers can engage in the bee-skep weaving process through movement in space.

Figure 6.16 bee-skep weaving illustration, (Author, 12/10/21)

6.5.1.1 Bee-skep performance In this performance there are five performers, four weavers and the collar (the one that holds and control the materials). The performers are standing in a circle and the collar in the middle. The weavers move in a circular movement weaving and taking turns: Weaver 1 moves to the middle and weaves then moves to weaver 2 to hand-over the threaded needle and takes weaver 2’s position. Weaver 2 moves to the middle to weave and then moves to weaver 3 to take their place and hand-over the needle. Weaver 3 moves to the middle to weave and moves to weaver 4 to hand-over the needle and take their place. Weaver 4 moves to the middle to weave and move to hand-over the needle to weaver 1 and take their place. This route is carried out until the weaving process is done. 54

Figure 6.17 bee-skep weaving illustration, (Author, 12/10/21) 55

6.5.2 Site-specific performance The following site performances were done at TUT campus. They demonstrate the three string and crossed figure eight weaving techniques. 6.5.2.1 Three string weaving The sequence is done by three people and can be illustrated by hands or body sequence. Hand sequence Three ropes are tied to the tree trunk and each weaver holds a rope. They stand in a linear format, and then weavers hands pass their ropes to one another, carrying out a rhythm and an instruction from the words of the “3 string weaving song”: Similarly, with the body sequence the song instructs the direction of the rope and body movement.

3 String weaving song Mpinane Qhobela

4° & ¢ ™™ œ 4

left string move

& œ

left string move

the

œ œ

the

mi - ddle

right string move

≈ ≈ œ œ œ

mi - ddle

the

mi - ddle

œ œ œ œj ‰

let us move to - ge ther

™™ ü †

one

Figure 6.18 3 string song, English version (composed by Author)

3 string song MPINANE 3 3 ° & C ¢ ™™ ‰ œ œ ≈ œ œ œ œ œ œ

tha - po 3

e ka

& ‰ œ œ ≈ œ œ 3

tha - po 56

e ka

le - qe - leng

œ œ œ œ 3

le - ho - jeng

≈ œJ ≈ œ œ ≈ œ ≈ ‰ Œ J 3

tlo

bo - ha - reng

≈ œJ ≈ œ œ ≈ œ ≈ ‰ Œ J 3

tlo

bo - ha - reng

Figure 6.19 3 string song, Sesotho version (composed by Author)

™™ ü †

Below are demonstrations of site-specific performance and sequential movements. These illustrations are for both hand and body sequences. For hand sequence the weaver-W is substituted with Rope-R. The hand movement is indicated by the direction of the rope.

Figure 6.20 3 string weaving illustration, (Author, 20/11/21)

Weaver-W

Left string-L.S

Figure 6.21 3 string song sequential movement. (Author, 20/11/21)

Right string-R.S

Middle-M

Figure 6.22 sequential movement montage, (Author, 20/11/21) 57

Weaver-W

58 58

Figure 6.23 3 string sequential movements, (Author, 20/11/21)

6.5.2.1.1 : Three string weaving

Hands & body sequences/choreography in construction

The question of architecture is in fact that of place, of taking place in space…an event. -Jacques Derrida, Point de Folie-Maintenant l’ Architecture Source: Hannah, D. and Goodwin, M., 2019

Hands sequences

Figure 6.24 hand three string weaving sequences, (Author,15/10/21)

Figure 6.25 hand three string weaving sequences (montage), (Author, 15/10/21)

Figure 6.26 hand three string weaving sequences(montage), (Author, 15/10/21) 63

Body sequences

Figure 6.27 body three string weaving sequences, (Author, 15/10/21) 65 65

Figure 6.28 body three string weaving sequences (montage), (Author, 15/10/21)

Figure 6.29 body three string weaving sequences (montage), (Author, 15/10/21)

6.5.2.2 The crossed figure of eight weaving This sequence was performed in two different sites. The body sequence was done at the same site as the three-string weaving while the hand sequence was performed outside building 11 at TUT campus. The rhythm of the “figure 8 song” and the words instructed and harmonised the weaving process. The body sequence It involves two trees and can be done by either two or three people. Two people sequence Firstly, the rope is tied around the tree trunk then the weaver moves to the middle to hand over the rope to second weaver. The second weaver goes around the tree at a 180° angle then moves back to the middle and hands over the rope to the first weaver who is still waiting in the middle. The first weaver also goes around the tree at a 180° angle. This can be repeated seven times/ rounds. A round is a complete cross figure eight. Three people sequence Weaver 1 stands next to tree 1, weaver 2 stands in the middle and weaver 3 stands next to tree 2. Weaver 1ties the rope around the tree trunk, moves to the middle to hand it over to weaver 2. Weaver 2 takes the rope to weaver 3, then weaver 3 goes around the tree at a 180° angle and hands it back to weaver 2. Weaver 2 takes the ropes to weaver 1; weaver 1 goes around the tree at an angle of 180° then hands it over to weaver 2. Weaver 2 carries the rope to weaver 3, and then the routine goes on. This sequence is also repeated seven times, and then weavers can take a 2 minutes break. The sequences are accompanied by the weaving song. Hands sequence This sequence involves two weavers and two poles; each weaver is standing next to a pole. Weaver 1 ties the rope around a pole and hands it over at a diagonal direction to weaver 2. Weaver 2 receives the rope and moves it around the pole handing it to weaver 1 at a diagonal direction. The process is carried out until it is done. This sequence is also accompanied by the “figure 8 song”

Crossed figure eight weaving song:

figure 8 song °™ 4 & ¢™œ œ œ œ™ œ œ œ 4 tie

the rope

a - round the tree

Mpinane Qhobela

pull and turn

œ œ œ œ œ

fi - gure of

& œ

tie

œ™

the rope

œ œ

a - round the tree

pull and turn

œ œ œ œ œ

fi - gure of

™™ ü †

Figure 6.30 figure eight song, (composed by Author)

Below are demonstrations of a crossed figure eight site-specific performance and sequential movement.

Site 1, Body sequences

Figure 6.31crossed figure eight site-specific performance, body sequences (Author,11/11/21) 71

Site 2, Hands sequences

Figure 6.32 crossed figure eight site-specific performance, hands sequence, (Author, 11/11/21)

6.5.2.2.1 : Crossed figure of eight weaving

Hand & body sequences/choreography in construction

Space, like time, is emergence and eruption, oriented not to the ordered, the controlled, the static, but to the event, to movement or action. Elizabeth Grosz, Architecture from the outside (2001: 116)

Body sequences

Figure 6.33 crossed figure eight site-specific performance, body sequence, (Author, 11/11/21) 75

Figure 6.34 crossed figure eight site-specific performance, body sequence (montage) (Author, 11/11/21)

Figure 6.35 crossed figure eight site-specific performance, body sequence (montage),(Author 11/11/21)

Hand sequences

Figure 6.36 crossed figure eight site-specific performance, hand sequence, (Author, 11/11/21) 79

Figure 6.37 crossed figure eight site-specific performance, hand sequence (montage), (Author, 11/11/21) 80

The collection of cinematic frames and montages demonstrated a visual dialogue between of space, time, event and movement through sequences. They are used as instruments to narrate construction operation. These mediums also demonstrated an artistic effect on weaving; where a tree casts its shadow in the background appearing as woven prints on the ground. The above illustrations of site-specific performances are meant to demonstrate how site operations and construction can be done in the nearer future. This technique may also increase productivity and engagement in the built environment.

7.1 Discussion & conclusion The research topic was inspired by the 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 83

or construction such that bodies, materials and space become one. The sequences were presented in videos, cinematic frames and montages to demonstrate movement in space. 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 in 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. Limitations • The research results on material experiments are limited to the selected materials. • The research did not test structural integrity of materials. • The author only used hand woven models • Due to time constraint the research could not test all the traditional weaving techniques. • This study did not model any architectural elements but will demonstrate weaving techniques on both the traditional and contemporary materials. 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 pro84

cesses 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.

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