Thesis (doctoral)--Manchester Metropolitan University, 1998. / BLDSC reference no.: DX209797.

My PhD research develops production processes incorporating origami folding, shibori, additive printing and fusing techniques to create textiles that sustain three-dimensional, adaptable form with little or no supporting substructure. In these materials the textile surface itself becomes structural. The controlled packing, deployment and structural stability offered by predetermined folds in planar surfaces are extremely beneficial in many situations e.g. engineering, architecture and product design. I have devised transferable templates of folding that can be reinterpreted in a variety of material weights and scales that have potential for application in a number of these areas. The inherent mobility of these structural textiles, combined with the judicious choice of substrate and materials applied through printing and fusing, enables properties such as thermal or sound insulation, electrical conductivity or light transmission to be varied, as the situation demands. The textiles created are not only autonomous physical entities but also speculative design models. Such developments more usually originate from material science, engineering and textile technology contexts. However, by building on research carried out by these disciplines to develop folded structures but emphasising a ‘poetic’, design-orientated outlook I explore the potential for a more intuitive, nonlinear approach to highlight hitherto overlooked elements in the design process.

This research was prompted by a concern for the vulnerability of traditional pre-industrial handicrafts, namely the songket textiles of Malaysia. The songket textile has been woven for over two centuries in Southeast Asia, and its materiality represents cultural heritage, tradition, and national identity in Malaysia. Market competition from imported, less expensive and mass-produced songket textile replicas has forced local makers to instigate creative change, as a means of longevity and secure a place in the market. Within this research theories of development and social science are used to direct the creative practice of the researcher, forming a textile praxis. The practice of the researcher, as a textile designer and weaver, will introduce alternative technology, namely yarns and weaving techniques, to the production of the textile in order to instigate change. This practice is conducted within the field in Malaysia and in the London studios of the Royal College of Art. The implementation of the practice reflects the local material, technological, and economic environments, hence, providing alternative yarns and weaving techniques which are ‘appropriate’ (Schumacher 1993) to the local hand-woven production infrastructure. It is the socio-cultural context of the textiles materiality which most challenges the researcher in her practice; the duality (Gell 1998) of the object, subject, and social relationship. Manifesting itself as objectivity, dualism presents an agency upon creative practice. The autonomous practice of the researcher is challenged by the autonomy of material representation. The textiles which were produced by the researcher’s practice consist of radical changes in materiality. Through acquiring local knowledge, they represent creativity, where social objectivity has been considered and also abstracted by the researcher. The textiles exist, not as a new genre of materiality, but as exposure and influence to local makers, demonstrating creativity which can be achieved by expanding upon existing technological frameworks. By experiencing the use of alternative yarns during the researcher’s field practice, local makers have chosen to adopt and appropriate the use of the yarns within their practice and subsequent textile market, a use which they have sustained. The use of exposure to influence the local makers practice has already caused changes in the textiles materiality. The future materiality of the textile depends upon the time and space in which its creative practice and society resides.

The practice based research "Skin stories: charting and mapping the skin" deals with issues across the fields of art, design, technology, biology and material science. In an attempt to bridge the gap between aesthetics and technology by investigating the potential of new and industrial materials, the epidermis is used as a metaphor for creating innovative textile surfaces which behave, look or feel like skin. As a result of theoretical enquiry and practical experiments, interactive design solutions have been developed to a prototype stage for possible application in domestic environments and public spaces as well as for integration into body related design concepts. The development of such functional and interactive textile membranes will hopefully enable individuals to experience a polysensual and responsive environment and it is this aspect which is considered to be an original contribution to knowledge in the textiles field. The aim of this written thesis is not only to illustrate the journeys and investigations made along the way and to demonstrate the outcome of the research, but also to situate the practical work in its cultural, critical and technological context. This thesis is accompanied by an interactive CD-ROM which is a visual representation of my 'research map' and holds a record of the practical work carried out during the research project. The ideas of the project "Skin stories: charting and mapping the skin" have been developed and tested during a 3-year research programme towards a Ph. D. at The London College of Fashion, University of the Arts London.

Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaf 25).

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaf 31).

Thesis (Ph. D.)--University of Pennsylvania, 1990. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 323-347).

Thesis--Wisconsin. / Includes bibliographical references (leaves 419-424).

Thesis (M.S.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--Wisconsin. / Includes bibliographical references.