From waste to textiles : the exploration of the potential application of rice straw waste in the development of eco textile design solutions

Full text

(1)Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author..

(2) &ƌŽŵtĂƐƚĞƚŽdĞǆƟůĞƐ.

(3)

(4) &ƌŽŵtĂƐƚĞƚŽdĞǆƟůĞƐ. The exploration of the potential application of rice straw waste in the development of eco textile design solutions.. Michelle Macky 2014.

(5)

(6) Warp ͞a set of verƟcal yarns that are held in tension on a frame or loom.” Weft ͞a set of horiǌontal yarns that Įll the weave structure.”.

(7) &ƌŽŵ tĂƐƚĞ ƚŽ dĞǆƟůĞƐ͗ the exploraƟon of the potenƟal applicaƟon of rice straw waste in the development of eco texƟle design soluƟons. Michelle Macky n exegesis presented in parƟal fulĮlment of the reƋuirement for the degree of Master of Design, Massey University, Wellington. 2014 Due to commercially sensiƟve informaƟon within and reƋuested by The Formary, this exegesis has been embargoed from the public unƟl December 201ϱ. Copyright is owned by the Author of this exegesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author..

(8) ĂĐŬŶŽǁůĞĚŐĞŵĞŶƚƐ Many thanks go out to: Paul Macky and ,elen Macky for your conƟnuous support and encouragement throughout my years of study. Dr. ândy ,eīernan and Dr. :essica Payne for your vast knowledge, supporƟve criƟƋue and constant enthusiasm in helping me complete my thesis to the highest standard. Funding provided by Callaghan /nnovaƟon enabled this invesƟgaƟon to further the research started by The Formary, Dr. ândy ,eīernan of Massey University͛s TexƟle department and Wool Yarns Ltd in 2012. ernadeƩe Casey and Peter Thomspon for having the conĮdence in me to help you achieve your goal. To all my friends, for your conƟnuous encouragement. Anna Considine for your graphic design knowledge and taking a huge weight oī my shoulders by improving the layout of this book. And special menƟon to the Wolfpack, / could not have goƩen through this year without you all. And last but not least to the Masters cohort of 2013/2014 for making this year so enjoyable. BOUNTY!.

(9) 1. ^trong wool Ͳ characterisƟc of crossbred sheep producing coarse Įbred wool. 2. Zeƫng Ͳ process of using moisture to aid in the separaƟon of Įbres from the plant e.g. Ňax and straw..

(10) abstract With the world͛s populaƟon predicted to grow by another two billion people within the next forty years ;United NaƟons, 2013Ϳ the demand for arable land space for agricultural food producƟon will increase rapidly. This in turn will result in an increased volume of waste Įbre. The availability of land to produce virgin ĮbreͲonly crops is limited. Companies and designers are beginning to use nonͲtradiƟonal innovaƟve approaches to uƟlise the Įbre from agricultural food producƟon or renewable sources. The Formary have placed themselves amongst these companies and have an aim to reduce the need for virgin ĮbreͲonly crops, freeing up valuable land space for food producƟon. The Formary are developing ways to convert Įbre waste from agricultural food producƟon into viable and marketable fabrics, “by transforming waste through good design” ;The Formary, n.d.Ϳ. The Formary developed a relaƟonship with the Chinese Government in 2011, while on the Wellington City Council͛s Mayoral DelegaƟon to China, approaching them with an idea to use rice straw Įbre from the 33й of unused waste. /n 2012, a collaboraƟve partnership between The Formary, Dr. ândy ,eīernan of Massey University͛s TexƟle department and Wool Yarns Ltd led to the development of a prototype yarn, using a blend of rice straw waste and New Zealand strong wool1. Funding provided by Callaghan /nnovaƟon enabled this invesƟgaƟon to further the research into using rice straw waste Įbre as a texƟle material.. The overall research had two key reƋuirements. The Įrst reƋuirement was undertaken by Dr. Gaile Dombroski who researched the technical processing of the rice straw into a viable yarn using diīerent reƫng2 processes. This research and design development focuses on the second reƋuirement, invesƟgaƟng design processes that can use rice straw waste as a fundamental material. The key goal was to use an opƟmal raƟo of rice straw waste to develop innovaƟve, disƟncƟve and viable fabrics. Fabric experiments were constructed through the reinterpretaƟon and development of tradiƟonal texƟle woven and nonͲwoven techniƋues. The tradiƟonal texƟle construcƟon process of weave has been comprehensively invesƟgated and experimented with to develop the use of the rice straw and wool yarn within a texƟle structure. The nonͲwoven texƟle techniƋue of felƟng was also incorporated into this research as it oīered an opportunity to increase the percentage of rice straw used. /t also created a uniƋue way to bind the rice straw and wool Įbres together. Both texƟle processes have added value to the rice straw Įbre by highlighƟng its natural properƟes, with the intenƟon of producing innovaƟve, high end, marketable fabrics as alternaƟves to current forms of disposal. This research depicts the partnership that was formed between The Formary and myself and progresses through my journey to shape the development of using the rice straw waste within texƟle design..

(11)

(12) content Scope. 13. Context. 1ϱ. Rice Straw Sustainable Development Wool DetŚoĚ Θ Wrocess. 27. Weave. 31. Honeycomb Waŋe Rib Double Cloth &eůt. ϱ0. Nuno FelƟng esŝŐn eveůopŵent. ϱϱ. xperimentaƟon /niƟal Material ConstrucƟon Changing and RedirecƟng xisƟng Technological Processes SpeculaƟve Design /ntegraƟng Technology and Material Development of Surface and Structural AestheƟcs ConcůƵsŝon. 71. 'ůossarǇ. 77. Reference List. 81. ibůioŐrapŚǇ. 8ϱ. List of &iŐƵres. 87. ppenĚix. 89. xŚibiƟon. 9ϱ.

(13) 3. sirgin ĮbreͲonly crops Ͳ agricultural crops grown solely for the Įbre e.g. coƩon..

(14) scope &rŽŵ ǁaƐte tŽ teǆƟůeƐ͗ the exploraƟon of the potenƟal applicaƟon of rice straw waste in the development of eco texƟle design soluƟons. Issue Currently the Chinese government claims that Įgures show ϲ7й of the waste bi-product accumulated from rice harvest is being uƟlised for the following purposes͖ organic ferƟliser - 1ϱй, feed for animals - 30й, energy producƟon 18й, fungi producƟon - 2 й and industry/ manufacturing - 2й, ;B. Casey, personal communicaƟon, :uly 2ϲ, 2013Ϳ. These Įgures highlight the issue of the remaining 33й of the waste Įbre that remains. China produces up to 3ϱй of the total world producƟon of rice. Asia produces ϲ20 million tons of rice straw annually. /t is esƟmated that China͛s share of this producƟon is around 200 million tons, eƋuaƟng to ϲϲ million tons of unused rice straw. Thus far there has also been no consideraƟon made to use it within the texƟle industry. The current pracƟce of inĮeld burning of this waste bi-product is causing aerial polluƟon in China. /t͛s Ƌuite common for the smoke and ash polluƟon to get so bad that China has to close airports. The Formary, an entrepreneurial company based in Wellington is interested in the development of converƟng Įbres harvested as a bi-product from agricultural crops already grown for food producƟon into viable and marketable fabrics, rather than growing crops solely for Įbre, using arable land. The Formary wants to reduce the need for virgin Įbre-only crops3. The Formary approached a Chinese rice manufacturer with an idea to use rice straw waste to create uniƋue fabrics, generaƟng alternaƟve uses for this Įbre. The Chinese see this as a soluƟon to a problem as much as a manufacturing opportunity.. ZesearĐŚ YuesƟŽŶ How can texƟle design processes be applied to rice straw waste Įbre, to propose alternaƟve uses for the 33й of the waste biproduct that is sƟll unexploited͍ WŚŽ aŵ I as a ĚesŝŐŶer͍ As a texƟle designer / value The Formary͛s approach to incorporate waste biproducts into their design pracƟce. By, “transforming waste through good design” ;The Formary, n.d.Ϳ The Formary are contribuƟng to sustainable development within the design industry. This research oīered me the opportunity to develop and extend my understanding of sustainable pracƟces within design and allowed me to develop my own advanced texƟle design processes, iniƟally informed by my exisƟng knowledge and experƟse in texƟle design. My design approach was to push the boundaries of the tradiƟonal methods and experiment with the unexpected. aůůaŐŚaŶ IŶŶŽǀaƟŽŶ A technology fellowship provided by Callaghan /nnovaƟon enabled this invesƟgaƟon to further the research started by The Formary, Dr. Sandy Heīernan of Massey University͛s TexƟle department and Wool Yarns Ltd in 2012. Callaghan /nnovaƟon provides businesses with support, knowledge and resources to turn ideas into internaƟonally marketable products. The Formary was granted this technology fellowship to assist in the technical experƟse and research and design development reƋuired to idenƟfy the best applicaƟon for rice straw waste.. 13.

(15) &iŐƵre ϭ Farmers in the process of buring rice straw, current pracƟce of disposal.. 14.

(16) context rice straw Rice is a major agricultural asset to China. China can account for as much as 3ϱй of the world͛s rice producƟon ;/RR/, n.d.Ϳ. However the amount of waste bi-product that is accumulaƟng due to rice harvests and the current pracƟce of burning this waste are causing grievous harm to the environment and the populaƟon of China. The common form of disposal is inĮeldburning which results in widespread aerial polluƟon. Figures 1 and 2 on pages 14 and 17 illustrate the process of burning the waste and the polluƟon that is caused during this act of disposal. /n 2008 the /nternaƟonal Rice Research /nsƟtute claimed that about ϲ20 million tons of rice straw was produced in Asia alone, and this amount is increasing every year. In Henan Province, the central plain of north China, approximately 2ϱй of the straw material is burned to prepare the Įelds for the next crop. In other areas the problem is worse, such as in :iangsu Province, where straw burning has increased from 21й in the mid-1990s to 48й in the mid-2000s ;Pan, Crowley, Θ Lehmann, 2011Ϳ. Due to its low digesƟbility, low protein, high lignin and high silica content it is also unable to be recycled back into the soil as it will not completely decompose during the limited Ɵme of 20-2ϱ days between each crop ;IRRI, n.d.Ϳ. These parƟcular physical and chemical properƟes have the ability to funcƟon in a texƟle product or have the ability to enhance texƟle fabrics, but their value is not recogniǌed within this Įeld.. Rice straw is a cellulose Įbre, which makes it viable to be manufactured into a number of products including paper and texƟles. The rigid and woody structure of the straw is due to the lignin4, which can oīer strength to a product. The waste Įbre also contains a high level of silica, a hard, un-reacƟve, colourless compound that oīered the potenƟal for Ňame retardant fabrics ;IRRI, n.d.Ϳ. This compound may however cause problems with tools and machinery in regards to industrial manufacturing of the Įnal texƟle product. Other key aƩributes that were vital to the development of viable applicaƟons for the rice straw included low thermal conducƟvity. Rice straw has a thermal conducƟvity of around 0.03ϲ W/m ΣCϱ, which is comparable to most insulaƟon materials. This allowed the development of non-woven felƟng techniƋues to be aimed towards the potenƟal applicaƟon of interior insulaƟon. Rice straw has the ability to biodegrade creaƟng a suitable applicaƟon into Limited Life GeotexƟles ;LLGͿ. LLG fabric structures provide addiƟonal reinforcement to soil unƟl the foundaƟon soil achieves the desired strength over Ɵme as new vegetaƟon establishes itself within the structure of the geotexƟle. The consideraƟon of this parƟcular applicaƟon for the rice straw was to create geotexƟles made from natural Įbres that would biodegrade over Ɵme, eliminaƟng waste from the environment. Combining wool Įbre with the rice straw waste, enhances its ability to absorb moisture, wool can absorb a third of its own weight in water without feeling wet. Wool also enhanced the potenƟal of the rice straw to be used as acousƟc insulaƟon, generaƟng more pracƟcal applicaƟon opƟons for each texƟle experiment.. 4. Lignin - a complex organic polymer deposited in cell walls. ϱ. W/m ΣC - measurement of thermal conducƟvity through a parƟcular thickness.. 1ϱ.

(17) context rice straw. &iŐƵre Ϯ Aerial poluƟon casued by the smoke.. 1ϲ.

(18) context rice straw. 17.

(19) 18.

(20) context sustainability ͚Sustainable development͛ as deĮned by the Oxford DicƟonary is an “economic development that is conducted without depleƟon of natural resources.” However, ͚sustainability͛ or the ability to sustain is popular within design pracƟce and design research; but can be interpreted from many perspecƟves. Within the texƟle industry sustainable development is a major concern and research to achieve this is a crucial objecƟve for this research. The Formary understand the complexiƟes towards having sustainable pracƟces put in place. They recognize their choices in the design development of a commercial product aīect the whole lifecycle, from manufacture to disposal. This is why they believe in using the waste Įbres from edible crops like rice, which is a more viable way of increasing land and crop value and freeing up arable land space instead of producing Įbre-only crops like coƩon. According to the Organic Trade AssociaƟon website, coƩon covers 2.ϱй of the world͛s arable land. CoƩon producƟon uses more than 1ϲй of the world͛s insecƟcides, more than any other single major crop. The availability of land to produce virgin Įbre only crops is limited, therefore companies and designers are beginning to use nontradiƟonal innovaƟve approaches to uƟlise the Įbre from agricultural food producƟon or renewable sources.. Fashion design researcher and sustainable design acƟvist <ate Fletcher ;2008Ϳ makes a valid statement believing that the challenge towards becoming sustainable is not to go on as before, but to move forward and acknowledge the complexity of the environmental and social impacts of our design choices. She adds that becoming sustainable can seem more real and easily achieved; designers just need to accept waste as an inevitable bi-product and incorporate waste into our design pracƟce. She also believes that sustainable Įbres should be chosen for their “appropriateness” to product and user. This is signiĮcant to this research, as the waste rice straw Įbre has thus far not been considered to be used within the Įeld of texƟle design. Fletcher ;2008Ϳ also addresses the fact that designers should consider the whole lifecycle of Įbre to Įnal product. This highlights another signiĮcant issue for the design and research development into waste Įbre use. The ͚cradle-tocradle͛ principle outlines the potenƟal to incorporate waste post-producƟon. Cradle-to-cradle design reŇects the whole lifecycle of the designed outcome and models human producƟon processes on the way nature circulates nutrients (Braungart Θ McDonough, 2009, p. 4Ϳ. This process aims to eliminate the concept of waste, “to eliminate the concept of waste means designing from the very beginning on the understanding that waste does not exist” (Braungart Θ McDonough, 2009, p. 104Ϳ. mploying the concept of ͚cradle-to-cradle͛ within this research ensures the rice straw will naturally regenerate or biodegrade at the end of its lifecycle and become precious nutrients for the environment.. 19.

(21) context sustainability. U< weaving and design company Camira is commiƩed to developing sustainable pracƟces and it shares Fletcher͛s view in choosing Įbre or materials appropriate to the Įnal product. With the focus on developing a sustainable product, Camira developed a fabric from sƟnging neƩle called STINGplus. InvesƟgaƟon into the use of this natural weed was undertaken due to its inherent properƟes; the strength of the Įbre being stronger than wool and yet Įner than hemp illustraƟng that this Įbre was ͚appropriate͛ to create woven interior fabrics with style and substance. The use of this natural weed in manufacturing texƟle fabrics emphasizes that by using design intervenƟon, value can be placed on sustainable Įbres. STINGplus is manufactured using 2ϱй neƩle Įbres and 7ϱй wool, in a process using less water and energy than other texƟle manufacturing processes. Camira is also assessing the whole lifecycle of the Įbres and their relaƟve sustainability to achieve the best outcome for its product (Camira: Style and Substance, n.d.Ϳ.. The Formary appreciate how Camira and <ate Fletcher view the potenƟal in incorporaƟng sustainable Įbres within design pracƟce. Camira approachedsustainable pracƟce by uƟlising a naturally growing plant; sƟnging neƩle, which is oŌen considered as a weed. CreaƟng fabrics that have both style and substance produces a viable way of eliminaƟng this weed. There is a common disƟncƟon between the research Camira is embarking on in regards to this research. The agricultural growth of the sƟnging neƩle is very sustainable, as it reƋuires no pesƟcides or herbicides and is produced on land that is oŌen unsuitable for other crops (Camira: Style and Substance, n.d.Ϳ. The Formary are challenging Camira͛s approach to sustainable development by using waste bi-products from food sources, which not only reduces waste but also increases value for the farmer and land.. “... sustainable Įbres should be chosen for their “appropriateness” to product and user.”. 20.

(22) context sustainability. The Formary worked collaboraƟvely with Camira to create a new sustainable texƟle using a uniƋue up-cycling process. By uƟlising Camira͛s experƟse in bast Įbre woven upholstery cloth Wo:o was created; a revoluƟonary fabric made from blending jute from the coīee sack waste stream from Starbucks and New Zealand strong wool.. CreaƟng a sustainable soluƟon to up-cycle waste Įbres like jute had a key challenge to overcome. The challenge was the waste Įbres did not have the reliability to standalone but needed a carrier to bind them together. Managing Director of The Formary BernadeƩe Casey developed a soluƟon by blending the Įbres with wool,. Within the media release The Formary presented in 2010 to announce the development of this new texƟle fabric, Group Sales Θ MarkeƟng Director for Camira Andrew SchoĮeld states,. It occurred to me that the perfect way to reduce the jute shedding was to blend it with wool. The more I thought about it I was convinced we were onto something. And so we began experimenƟng with wool and recycled jute in a number of diīerent applicaƟons.(p.2, ΀Media Release΁Ϳ. We have a long history of making environmentally friendly texƟles out of natural and renewable raw materials and were excited by the challenge of ͚up-cycling͛ jute by combining it with pure new wool. We manufacture fabrics for everything from oĸces and universiƟes to buses and trains to now be playing a part in enhancing Starbucks stores by re-using old coīee sacks is fantasƟc. (p. 2, ΀Media Release΁Ϳ. “... to eliminate the concept of waste means designing from the very beginning on the understanding that waste does not exist.”. 21.

(23) &iŐƵre ϯ. 22. Wojo Starbucks Chair..

(24) context wool The key direcƟve for this research was to use an opƟmal raƟo of rice straw within the construcƟon of texƟle fabrics. Because the rice straw Įbre needed a carrier, it meant that this invesƟgaƟon was not only about adding value to rice straw waste but also to New Zealand strong wool. Similar to Camira, The Formary have made wool their primary carrier for blending with waste Įbres, “we don͛t always work with wool, but when texƟles or Įbres do not have the integrity to stand alone, wool is a fantasƟc and forgiving carrier” (TDxTalk, 2013, ΀sideo Įle΁Ϳ. New Zealand wool has provided opportunity for income since the 1840s (Carter & MacGibbon, 2003Ϳ and was one of the largest and most valuable exports. The industry has seen a drasƟc decline over the years and now only represents less than 2й of New Zealand͛s export market (Faulkner, 2012Ϳ. The use of New Zealand strong wool within this research oīers local enterprises with an opportunity to gain more proĮt, while also promoƟng design within the wool industry.. Along with the collaboraƟon with Camira to create Wojo, The Formary was also in a partnership with Wools of New Zealand, due to their sustainable-farmed Laneve wool. “Laneve traceable wool is sourced only from accredited farms which meet high standards in regard to animal welfare, land management, farming techniƋues and environmental pracƟces” (The Formary, 2010, p.2, ΀Media Release΁Ϳ. Blending Laneve wool with recycled jute, not only created a sustainable product, but also oīered the opportunity to re-brand wool as a luxury Įbre. Brand strategist Brian Richards (2010Ϳ created ͚Laneve͛ with the main focus on re-posiƟoning wool as a presƟgious and luxurious Įbre. Consumers today are demanding more than superior Ƌuality. They are seeking authenƟc products, imbedded with natural properƟes, integrity and sustainability (WoolsNZ, n.d.Ϳ. Richards however addresses a problem with rebranding wool. He believes knowledge about wools disƟnguishing aƩributes exists, just not in one cohesive form. The Wools BeneĮts System (appendices, page 90Ϳ was created to highlight key aƩributes like beauty, health, integrity and comfort to aid criƟcal decision making when choosing between syntheƟc and wool products.. 23.

(25) context wool. The Formary acknowledged the superior aƩributes wool holds. Blending waste Įbres with wool means that the fabrics will beneĮt from the superior chemical properƟes and physical characterisƟcs of this uniƋue Įbre. Wool has the ability to repel water. The water-repellent surface makes wool garments naturally shower-proof and also reduces staining. The interior structure creates Ňexibility, absorbency, elasƟcity, resilience and wrinkle recovery properƟes. Wool has naturally high Us protecƟon. Wool Įbre has a higher igniƟon threshold than many other Įbres and is Ňame retardant up to ϲ00Ǒ C and produces less toxic fumes in a Įre. It is biodegradable, natural wool Įbre takes only a few years to decompose, and with high nitrogen content, wool can even act as a ferƟlizer. Breathable, non-allergenic and naturally insulaƟng; wool can insulate the home providing and retaining warmth, reducing energy costs (Campaign for Wool New Zealand, n.d.Ϳ.. 24. It was vital to keep these properƟes in mind and ensure that the relaƟonship between the rice straw and wool was apparent. The high silica content of the rice straw Įbre within the yarn enhances the exisƟng Ňame resistant properƟes of the wool. Rice straw and wool are both highly accessible and are renewable sources increasing the sustainable development of this research. The relaƟonship between the rice straw Įbre and wool is similar to the combinaƟon of jute and wool to create a viable fabric. Wojo fabric has been directed towards interior upholstery and was used to enhance the interior environments of Starbucks Coīee houses. Figures 3 and 4 presented on pages 22 and 2ϱ show examples of the Wojo fabric within a Įnal product. The potenƟal to use the rice straw yarn within interior fabrics is reinforced by these examples..

(26) context wool. “... we don͛t always work with wool, but when texƟles or Įbres do not have the integrity to stand alone, wool is a fantasƟc and forgiving carrier.” &iŐƵre ϰ. Cloak Chair (2010Ϳ Room Two. Wojo and Steel.. 2ϱ.

(27) &iŐƵre ϱ. 2ϲ. Weave speciĮcaƟon sheet..

(28) ŵetŚoĚ Θ process Graphic design researchers Ian Noble and Russell Bestley (2011Ϳ believe that design is a cycle and is an ͚iteraƟve process͛ and this process in itself raises further ƋuesƟons through which to develop alternaƟve and innovaƟve outcomes (Noble & Russell, 2011Ϳ. The overarching methodologies that contributed to the design development in this research were experimentaƟon, design iteraƟons and ƋuanƟtaƟve sampling. The method explored was to follow an experiment-led process and respond to the material through criƟcal evaluaƟon and analysis. The method followed six key stages outlined within the proposal presented to Callaghan InnovaƟon (Callaghan InnovaƟon Aim, ObjecƟves and Milestones, 2013Ϳ. By breaking the research down into the six set intenƟons, each with deĮned parameters, each task was made more achievable and the goals of each stage progressed eĸciently. 1.. Scope/ Literature Review.. 2.. xperimentaƟon.. 3.. IniƟal Material ConstrucƟon.. 4.. Changing and RedirecƟng xisƟng Processes.. ϱ.. SpeculaƟve Design, IntegraƟng Technology and Material.. ϲ.. Development of Surface and Structural AestheƟcs.. 27.

(29) method & process. The prototype yarn, a New Zealand strong wool and rice straw Įbre blend supplied by The Formary developed in earlier research framed the early stages of this exploraƟon. Responding to the physical nature of the yarn being very sƟī and scratchy, and adapƟng to the loose Įbres falling oī, the techniƋue of weave was selected. This was also due to the warp yarns needing to be strong enough to withstand greater stress and abrasion during weaving. A challenge of using this yarn during the weaving process was having the warp yarns sƟck together (photo evidence within appendices page 91Ϳ. The main focus for the research was to create fabrics with an opƟmal raƟo of rice straw. During the design development of the prototype yarn, the consideraƟon of using the rice straw in its natural form was experimented with. This was to see if the Įbre could stand-alone and not need a carrier. UƟlising the stalks of the rice straw oīered uniƋue colour combinaƟons within the weave structures. InvesƟgaƟng the process of reƫng the Įbre, produced soŌer and smaller Įbres, easily applied as stuĸng material. Both opƟons achieved a higher use of the rice straw within each sample.. 28. By working through a series of experiments, developing each diīerent weave structure one by one, numerous experiments were created during each stage of development. Each sample that was produced was created in an experimental manner, with iteraƟons of an experiment being created from the one that preceded it. AŌer an experiment was Įnished, it was automaƟcally cut from the loom for criƟcal evaluaƟon to determine the behaviour of the rice straw within the woven structure. Each weave had its own technical informaƟon noted down for future reference. Figure ϱ on page 2ϲ represents technical informaƟon for one parƟcular weave experiment. This was criƟcal to the process as it made it easier to replicate the same weave structure and it communicates the design direcƟon for construcƟng the woven cloth. The informaƟon could then be interpreted during industrial manufacturing. A technical journal was kept throughout the design process, and was reŇected on constantly to aid in the design decision for the next iteraƟon..

(30) method & process. Technical informaƟon included: •. Size of weave (widthͿ - this is measured in inches.. •. Reed size - this determines the Ɵghtness of the weave. Most experiments used η1ϲ.. •. Total number of thread ends.. •. Number of threads per inch. 32 threads per inch suited the thickness of the rice straw yarn.. •. Number of threads per dent. 2 threads were pulled through each dent; this allowed the rice straw Įbres to be pulled through easily.. •. Threading plan. Honeycomb, waŋe and double.. •. LiŌ plan. SeƋuence of liŌs that created the overall structure of the cloth.. •. Warp and weŌ yarns used.. During the development of each weave structure, a mind map was created to illustrate the progression of each sample. This was essenƟal as it portrayed links between each diīerent weave experiment. Examples of the mind map can be viewed within the appendices on pages 92 and 93.. “... design is a cycle and is an ͚iteraƟve process͛ this process in itself raises further ƋuesƟons through which to develop alternaƟve and innovaƟve outcomes.”. 29.

(31) IniƟal weave experiments.. 30.

(32) weave Weaving is a very technical process. It is used to construct fabrics for a number of applicaƟons and products including apparel, interior upholstery, technical and industrial texƟles. As previously menƟoned within Method and Process, the tradiƟonal techniƋue of weave was chosen to construct fabrics using the prototype yarn of wool and rice straw. This was to determine the behaviour of the rice straw within a woven structure. Author :essica Hemmings (2012Ϳ states that long before the cloth exists; the process of weaving begins with individual threads or yarns. This ampliĮes the essence of this research. The physical properƟes of the rice straw yarn, which includes the ability to biodegrade, alongside thermal and acousƟc absorpƟon, would establish how the woven structure would be created. Weave enthusiast Ursina Arn-GrischoƩ (1999Ϳ states the view of renowned texƟle designer Anni Albers on how we should portray the use of yarn, which we can incorporate into our weave structures,. This view that Arn-GrischoƩ (1999Ϳ reiterates is valid for this research because the yarn used depicts the overall structure and behaviour of the woven cloth. The Įnal outcome of a woven cloth is the combinaƟon of two elements, the character of the Įbres, the rice straw and wool and the overall structure of the weave. Arn-GrischoƩ also states that weaving should be adapted to its end use, and it is believed that form follows funcƟon. The overall funcƟon or applicaƟon is a guide to choosing an appropriate yarn for the fabric. Author Ann Richards (2012Ϳ believes the yarn and funcƟon of a weave is cohesive and highlights this idea by using inspiraƟon from Albers, The fastening of its elements of threads to each other is as much a determining factor in its funcƟon as is the choice of the raw material. In fact, the interrelaƟon of the two, the subtle play between them, in supporƟng, impeding, or modifying each others characterisƟcs, is the essence of weaving. (p.7Ϳ. Yarn is a source of endless inspiraƟon. If we as designers cooperate with the yarn, we can solve problems of design and form more objecƟvely. If the design is simple, is adapted to its end use, and the yarn is taken into account, our work will not be shortlived fashion that will one day look out-of-date. It will be ageless. (p.32Ϳ. 31.

(33) ǁeaǀe. This research began with a speciĮc yarn. The applicaƟon and funcƟon was determined aŌer criƟcal evaluaƟon of the yarn͛s properƟes. The high silica content of the straw enhances the exisƟng Ňame resistant properƟes of the wool, a key aƩribute for interior fabrics and furnishings. Both Įbres have the ability to biodegrade, which created the opportunity to construct woven structures speciĮcally looking at the funcƟon and performance as a technical texƟle. Fabrics for interior environments are designed to be revealed and have a high degree of aestheƟc appeal. The woven structures contributed to this factor as they created design elements within their repeat paƩerns. Woven fabrics suitable for the interior environment must be able to withstand considerable wear and tear, and when it comes to interior upholstery, money doesn͛t necessarily buy longevity. Weaving techniƋues are such an excellent way to incorporate heritage and beauty into one piece of fabric. EvaluaƟon of upholstery fabric usually begins with consideraƟon of the Įbre content. Rice straw Įbre has never been used before, however the inclusion of the wool Įbre achieved the performance reƋuirements of an interior fabric.. 32. Weaving was, for many years, “the pre-eminent technology employed in the manufacture of industrial texƟles” (Horrocks & Anand, 2000, p. 10Ϳ. Woven technical texƟles are designed to meet the reƋuirements for their end use (Horrocks & Anand, 2000Ϳ. Designers are uƟlising this simple process of interlacing Įbres to create strength, thickness, extensibility, porosity and durability. Today͛s texƟle industry trend is moving towards manufacturing technical, high performance fabrics designed not just to look aƩracƟve, but also to oīer a signiĮcant added value in terms of funcƟonality and performance..

(34) ǁeaǀe. An area of technical texƟles considered for this research was geotexƟles. GeotexƟles are penetrable fabrics which, when used in associaƟon with soil or the outside environment, have the ability to separate, Įlter, reinforce and protect. GeotexƟles are a core member of the geo-syntheƟc family. It has been esƟmated in a recent market report published by Transparency Market Research (2013Ϳ the global market for geotexƟles was valued at USD 3.2 billion in 2011 and is expected to reach USD ϲ.4 billion by 2018. In terms of volume, the demand for geotexƟles was 1,904.0 million sƋuare meters in 2011 and is expected to reach 3,398.4 million sƋuare meters in 2018 (Transparency Market Research, 2013Ϳ. Man-made Įbres dominate the geotexƟle industry. GeotexƟles are designed according to the desired funcƟonal needs, and can be fabricated from both syntheƟc and natural Įbres with diīerent design, size, shape and composiƟon, making geotexƟles a dual commodity.. Woven structures can vary almost endlessly due to the two thread systems that are reƋuired to construct a cloth, the warpϲ (verƟcalͿ and weŌ7 (horizontalͿ threads (Eriksson, Gustavsson, & Lovallius, 2011Ϳ. All woven fabrics are derived from three basic structures; plain weave which creates the Įrmest cloth, twill weave creates a shiŌ in warp and weŌ threads producing diagonal lines within the weave structure and saƟn weave is where the warp and weŌ threads are spread out creaƟng a smooth surface (Eriksson, Gustavsson, & Lovallius, 2011Ϳ. The development for this research began with the idea that a woven cloth is a Ňexible construcƟon. This was ampliĮed through the following development of four advanced weave structures; honeycomb, waŋe, rib and double cloth.. The concept of Limited Life GeotexƟles (LLGͿ has been considered for the Įnal designed outcome incorporaƟng the rice straw and wool yarn. LLG refers to the funcƟon of the geotexƟle in providing addiƟonal reinforcement unƟl the foundaƟon soil achieves the desired strength over Ɵme, as new vegetaƟon establishes itself within the apertures of the geotexƟle. This vegetaƟon covers the ground surface and its roots anchor the soil so the geotexƟle is made redundant biodegrading over Ɵme, eliminaƟng waste.. ϲ. Warp thread - a set of lengthwise threads that are held in tension on a frame or loom. 7. WeŌ thread - horizontal threads that Įll the weave structure.. 33.

(35) ǁeaǀe. &iŐƵre ϲ Honeycomb cell structure constructed with rice straw/ wool yarn.. &iŐƵre ϳ Reverse side of the weave structure, curling of the yarn.. 34.

(36) ŚoneǇcoŵb The honeycomb weave was idenƟĮed as a potenƟal weave structure due to the parƟcular aestheƟc feature of the deep cells that are created in its structure. The honeycomb weave derives its name from its resemblance to the hexagonal honeycomb cells of wax in which bees store their honey. The hexagonal hollows that are produced within this structure create a geometric check paƩern. The high and low parts of honeycomb woven fabrics are formed by diīerent intersecƟons of the warp and weŌ. This structure creates a rough texture to the weave, however incorporaƟng wool as a weŌ material provided soŌness to the Įnal experiments.. Figures ϲ and 7 show how the structure of this weave made the yarn behave in diīerent manners. The Ňoats caused curling and twisƟng of the yarn, generaƟng more movement within its structure (Figure 7Ϳ. The rice straw yarn has a parƟcular roughness due to the loose Įbres. The Ňoats that are created in this sample gave it more of a delicate and soŌ appearance. The use of a diīerent binder weŌ (plain weave between honeycombͿ achieved more depth to the cells, which introduced a new iteraƟve for this structure.. The physical characterisƟcs of the weŌ threads ͚ŇoaƟng͛ on the reverse side of the woven cloth renders it readily absorbent of moisture. The weaves are, therefore, suitable for towels and bathrobes. ExperimentaƟon with this parƟcular structure was to deĮne the cells of the honeycomb and also to incorporate the use of both sides of the weave, highlighƟng two aestheƟc elements. This took the form of changing the weŌ yarn used to construct the woven cloth. By keeping the warp yarn (prototype rice straw/ wool yarnͿ constant, diīerent experiments were created.. 3ϱ.

(37) ǁeaǀe. &iŐƵre ϴ Altering the size of the weŌ yarn used to create the secƟons of cells changed the overall structure of the weave; the cells became more deĮned and had more depth, illustrated in Įgure 8. The thick felted yarn hides the colour within, however this creates more stretch and movement revealing the colours used, which is shown in Įgure 9. The depth of the cells had the potenƟal to hold small objects, leading to the discovery of the next woven structure to be experimented with, waŋe weave.. 3ϲ. Felt yarn creaƟng depth to the honeycomb cells. Hides colour within..

(38) ǁeaǀe. &iŐƵre ϵ Stretching the woven structure reveals the colours within the cells.. 37.

(39) ǁeaǀe. &iŐƵre ϭϬ Waŋe weave structure containing grass seeds.. 38.

(40) waffůe The structure of a waŋe weave is created using a pointed threading plan, creaƟng small hollows that form pyramid like structures. This structure creates a large surface area within the weave allowing air to Ňow through freely for Ƌuick moisture absorpƟon. It is common to see the waŋe weave structure in interior homeware including bath towels due to its Ƌuick moisture absorpƟon. It also occurs within the technical texƟle industry as a soluƟon for soil stabilizaƟon.. ExperimentaƟon for this parƟcular structure was to extend the idea of being able to hold objects within the structure of the weave. Earlier experimentaƟon saw the use of the honeycomb structure; however the cells were sƟll not deep enough to contain the objects. The waŋe weave creates deep hollows, covering a large surface area, suitable to hold small objects like seeds, or be used to stabilize soil. The use as a geotexƟle is depicted within Įgure 10.. The inclusion of this structure had the whole lifecycle of the fabric being created in mind. Producing geotexƟles made from natural Įbres that would biodegrade over Ɵme, eliminates waste occurring within our environment.. 39.

(41) ǁeaǀe. &iŐƵre ϭϭ ExperimenƟng with resin to alter the structural properƟes.. 40.

(42) ǁeaǀe. Figure 11 depicts an area of experimentaƟon uƟlising resin to alter the structure of the weave. This was to replicate the use of bioresin to construct composite materials. The overall weave became very solid and had no movement; the chemical resin used restricts the natural Įbres ability to biodegrade.. “... geotexƟles are designed according to the desired funcƟonal needs, and can be fabricated from both syntheƟc and natural Įbres with diīerent design, size, shape and composiƟon, making geotexƟles a dual commodity.” 41.

(43) ǁeaǀe. &iŐƵre ϭϮ Rice straw is transformed into a 3D form.. 42.

(44) rib The rib structure was an innovaƟve experiment uƟlising a twill/ reverse twill paƩern. By merging two structures together an unexpected reacƟon occurred. On the loom the weave was a Ňat 2D surface, once it was cut, it transforms into a 3D rib structure. This is due to the open warp secƟons (Ňoats8Ϳ, allowing the weŌ threads to move. This innovaƟve rib structure gives the weave more movement and Ňexibility, allowing diīerent materials to be used. Figure 12 illustrates the use of raw rice straw, the stalks were very sƟī but were able to transform into a 3D shape due to the movement of the rib Due to the propensity of the rib to collapse it was very diĸcult to determine the overall size of the weave. When construcƟng this structure, weaves were produced at least double the Įnal size to accommodate for the movement of the weŌ threads and to allow the ribs to form. Another uniƋue aspect to this structure was the rib created two sides to the weave, which introduced the consideraƟon of experimenƟng with double cloth.. The overall size, density and thickness of this parƟcular structure oīered the consideraƟon to apply this to interior surfaces as acousƟc absorpƟon panels. TexƟle designer Aleksandra Gaca is developing the technical possibiliƟes and applicaƟons of the woven structure. Gaca creates her ͚ArchitexƟle͛ weaves by using diīerent combinaƟons of material and contrasts the use of modern technology with natural materials and tradiƟonal processes. This creates extraordinary added value: noise reducƟon. AcousƟcs are oŌen problemaƟc in more minimalisƟc interior architecture, but thanks to the ribbed textures (Įgure 13Ϳ, these ArchitexƟle panels absorb sound waves more eĸciently than Ňat texƟles and thereby contribute to a more muted environment (Hemmings, 2012Ϳ, adding a design aestheƟc to the surrounding architecture.. &iŐƵre ϭϯ Aleksandra Gaca - ͚ArchitexƟle͛.. 8. Floats - threads that span several other threads without being interwoven.. 43.

(45) ǁeaǀe. Early stages of design development. Rib structure uƟlising prototype yarn.. 44.

(46) ǁeaǀe. Early stages of design development. Rib structure transformed with use of two colours.. 4ϱ.

(47) ǁeaǀe. &iŐƵre ϭϰ Forming an opening within the woven structure.. 4ϲ.

(48) ĚoƵbůe cůotŚ The techniƋue of double cloth was experimented with due to the ability to form interesƟng designs and certain methods of construcƟon.. The craŌsmanship of fashion designer :an Taminiau illustrates the use of double weaving within his collecƟons Unfolding (2003Ϳ and Follies (A/W 2007-08Ϳ.. Double weave can come in many forms, including double cloth, tubular weave, mulƟlayered cloth and double width. To increase the use of rice straw Įbre, the development of a uniƋue double cloth structure was trialed.. Taminiau transforms Ňat pieces of fabric into 3D objects. UƟlising the techniƋue of double weave allowed him to create mulƟple layers and openings for the body. The construcƟon of the garment being woven directly into the fabric, no further sewing was reƋuired (:antaminiau, 2013Ϳ.. Pockets were created within the structure of the weave to construct openings allowing the reƩed straw to be stuīed inside the weave. Figure 14 illustrates an opening within a weave structure. This generated an economical and sustainable soluƟon for interior insulaƟon. CriƟcal evaluaƟon of this parƟcular structure saw that it was a very Ɵme consuming construcƟon process, however could be produced faster in industrial manufacturing. The issue of Įbre migraƟon also restricted the development of double cloth to be used as interior upholstery.. Figure 1ϱ showcases Taminiau͛s use of weave within a fashion applicaƟon. Due to the feel of the rice straw and the tendency for the Įbres to shed oī the yarn the areas of applicaƟon were focused upon interior and technical texƟles. Further research undertaken to formulate a uniƋue reƫng process to produce soŌer Įbres for the second prototype yarn could inŇuence further consideraƟon into fashion design. &iŐƵre ϭϱ :an Taminiau - ͚Follies͛.. Once a woven cloth has been formed, it automaƟcally has two obviously diīerent sides to its structure. To construct a true double weave, two separate layers are woven, each with its own warp and weŌ (Arn-GrischoƩ, 1999Ϳ. The uniƋue element of revealing two diīerent sides also created an aestheƟc appeal to the experiments.. 47.

(49) ǁeaǀe. IniƟal design development. PotenƟal applicaƟon ideas. 48.

(50) ǁeaǀe. Early stages of design development.. 49.

(51) feůt The felƟng techniƋue was used to explore a higher percentage use of the rice straw Įbre. During the manual process of beaƟng the weŌ yarn to construct the woven cloth, loose Įbres began to shed oī the yarn. The loose Įbres would accumulate, generaƟng more waste to use. The overall ƋuanƟty of rice straw within the Įnal woven cloth was unknown. FelƟng oīered a uniƋue way to bind the rice straw and wool Įbres together. Felt has a disƟncƟve history as a texƟle, used both for craŌ and industry applicaƟons and is currently used as a Ƌuick Įx to using waste. Felt has a uniƋue range of possibiliƟes, “thin and translucent, very dense and thick or even hard” (Brown, Dent, Martens, & MaƟlda, 2009, p. ϱ8Ϳ. It can be made into sheets or formed into three-dimensional shapes. Due to the range of possibiliƟes, felt can be a heavy dense material concealed within interior walls for insulaƟon. This type of applicaƟon was considered for the purpose of this research.. ϱ0. The felƟng process was explored in numerous ways; including wet felƟng, which provided both strength and structure to the experiments. Needle punching technology was also included to create dense layers of felt. Using reƩed rice straw within layers of felt provided an economical and sustainable alternaƟve to syntheƟc Įbres for use as a stuĸng material. The rice straw also added more strength to the felt when layered together. The outcome of the felt was dependent on the number of layers used in each experiment. Fine and translucent layers allowed the reƩed rice straw to be visible, depicted in Įgure 1ϲ. Dense and strong restricted the movement of the fabric. Using the stalks of the straw, simple graphic paƩerns were created within the layers of felt. This altered the appearance of the felt adding value to the fabric. Felt is oŌen hidden. The use of natural light became an important aspect in the development and Įnal outcomes of these experiments. The paƩerns are revealed between the layers transforming the felt from a simple compact piece of fabric to a texƟle with higher value with the potenƟal to be viewed with interior environments (Įgure 17Ϳ..

(52) feůt. &iŐƵre ϭϲ Thin layers of felt reveal the rice straw Įbre.. &iŐƵre ϭϳ Dense layers, rice straw stalks visible in stripe paƩern.. ϱ1.

(53) nƵno feůtinŐ &iŐƵre ϭϴ Manufactured fabrics, pre-dyed wool. The techniƋue of nuno-felƟng was chosen because it allowed both processes of weave and felt to be integrated creaƟng innovaƟve fabrics, without the need to introduce manufactured syntheƟc fabric substrates. Nuno is the :apanese term for cloth, and nuno felƟng refers to the techniƋue of felƟng through an exisƟng fabric substrate. In the early 1990s several arƟsts experimented with this techniƋue producing varied results. The desire was to create lightweight felts uƟlising small amounts of wool and coaxing the Įbres through a sheer woven fabric. ArƟsts found that if the weave was suĸciently open the wool Įbres would migrate through the woven fabric thus creaƟng a new type of material. This modernisaƟon of the felƟng process has had a major impact on the possible uses for felt as it has allowed for the creaƟon of sheer fabrics suitable for window treatments or soŌ draping fabrics for fashion. Early experimentaƟon began with using pre exisƟng fabrics with open weave structures, plus pre dyed wool Įbre, which can be seen within Įgure 18. The manufactured fabrics were overshadowing the rice straw and wool. To develop The Formary͛s reƋuirement to not introduce other fabrics, the exploraƟon into this techniƋue created a new direcƟon for the research - the merging of the weave experiments with felƟng.. ϱ2.

(54) ŶuŶo feůƟŶŐ. &iŐƵre ϭϵ ExperimenƟng with large rice straw stalks. By merging both construcƟon processes together, a higher raƟo use of rice straw Įbre was achieved. Experiments took the form of using the thick rice straw stalks, which produced an uneven surface to the weave and felt backing. Figure 19 depicts the uneven surface of the weave; the stalks are too big and have started to fall out. Using the smaller reƩed Įbre within Įgure 20, an even applicaƟon between the layers was achieved and less Įbre migraƟon occurred.. &iŐƵre ϮϬ ExperimenƟng with smaller reƩed Įbres.. ϱ3.

(55) ExperimenƟng with diīerent materials. Neon green nylon.. ϱ4.

(56) ĚesiŐn Ěeveůopŵent To assist in the design development of using the rice straw waste within texƟle design six key stages were outlined within the proposal presented to Callaghan InnovaƟon (Callaghan InnovaƟon Aim, ObjecƟves and Milestones, 2013Ϳ. By breaking the research down into the six set intenƟons, each with deĮned parameters, each task was made more achievable and the goals of each stage progressed eĸciently. 1.. Scope/ Literature Review.. 2.. ExperimentaƟon.. 3.. IniƟal Material ConstrucƟon.. 4.. Changing and RedirecƟng ExisƟng Processes.. ϱ.. SpeculaƟve Design, IntegraƟng Technology and Material.. ϲ.. Development of Surface and Structural AestheƟcs.. ^taŐe ϭ Ͳ ^copeͬ >ŝterature Zeǀŝeǁ A comprehensive review of relevant literature was undertaken to examine all the salient issues related to Įbre development. SpeciĮc topics explored included new Įbre and yarn concepts and development, technical processes, technological applicaƟons and the latest material development. Using the research gathered the scope of the research was to determine a range of construcƟon processes to be experimented with. The research ƋuesƟon was deĮned to create a base for the enƟre design development. This was an essenƟal stage of the research as it opened the doors to numerous possibiliƟes to experiment with.. ϱϱ.

(57) desŝŐŶ deǀeůopmeŶt. &iŐƵre Ϯϭ ExperimenƟng with recyclable materials - newspaper.. ϱϲ.

(58) desŝŐŶ deǀeůopmeŶt. ^taŐe 2ͬ3 Ͳ ǆperŝmeŶtaƟoŶ aŶd IŶŝƟaů Daterŝaů oŶstrucƟoŶ The second and third stages of design development began using the prototype blended yarn and experimenƟng with the tradiƟonal texƟle techniƋue of weave. Three diīerent types of looms were used (AVL9, Table Loom10 and Rigid Heddle11Ϳ, to construct iniƟal fabric trials and experiments. CriƟcal steps were outlined for each stage. To begin material construcƟon iniƟal texƟle eƋuipment was set up. Viable construcƟon techniƋues were developed to further material samples to enable creaƟve experiments. EvaluaƟon of the physical properƟes and funcƟonal aƩributes of the fabric samples were documented. SpeculaƟve and unpredictable experimentaƟon allowed the freedom to explore the yarn͛s full potenƟal within diīerent weave structures. ConsideraƟon of uƟlising diīerent weave paƩerns, scale, density, colour and aestheƟc ƋualiƟes were trialed to alter the physical properƟes and funcƟonal aƩributes of each fabric. ExploraƟon into using a range of materials was considered for this stage.. To improve the sustainable pracƟces within the design process, recyclable materials like plasƟc bags and newspaper (Įgure 21Ϳ were trialed to alter the structure of the weave. The newspaper linked research to the area of geotexƟles as it is commonly used as an economical and sustainable weed mat. SyntheƟc nylon was also experimented with to create a contrast between the natural properƟes of the rice straw and wool. The nylon provided strength and colour to the weave structures. Development through stages 2/3 conĮrmed that the tradiƟonal texƟle process of weave was suitable to develop the prototype yarn into viable texƟle fabrics. During this early stage of development The Formary conĮrmed that they did not want the introducƟon of other materials, as the main direcƟve behind this research was to create texƟle fabrics with an opƟmal raƟo of rice straw. The experiments were criƟcally evaluated in regards to how the rice straw behaved and if the rice straw had in fact enhanced the texƟle fabric. Four advanced weave structures; honeycomb, waŋe, rib and double cloth were selected to develop further within the next stages.. 9. AVL - Semi computerized loom that inputs the weave paƩern. Manual foot press and shuƩle. 10. Table Loom - Manual loom. 11. Rigid Heddle - Small compact loom that produces plan weave.. ϱ7.

(59) desŝŐŶ deǀeůopmeŶt. ^taŐe ϰ Ͳ haŶŐŝŶŐ aŶd ZedŝrecƟŶŐ ǆŝsƟŶŐ Processes The aim of this stage was to advance the use of weaving by changing and re-direcƟng the iniƟal samples. CriƟcal steps that were put in place involved tesƟng and planning changes to exisƟng construcƟon techniƋues and processes. A series of trials were produced, uƟlising an iteraƟve approach. The method used was to create a woven sample, then construct it again with one alteraƟon. This was employed in order to conduct a range of experiments with potenƟally diīerent physical and performance aƩributes. The four key weave structures, honeycomb, waŋe, rib and double cloth that were deĮned within the experimentaƟon and iniƟal material construcƟon were altered through an iteraƟve design approach. This showcased the full potenƟal of each woven structure.. IteraƟve approaches came in the form of: •. Altering the size of the weŌ yarn used producing larger weaves. This increased the size of the rib structure.. •. Changing the number of threads pulled through each dent on the reed. This either created a Ɵght dense weave or a loose open structure.. •. Altering the reed size – how many thread ends per inch. Similar to the above experiment this would determine how Ɵght or loose the overall weave structure would be.. •. Increasing the liŌ seƋuence to make the rib structure larger.. •. Using felted and un-felted strong wool (Įgure 22Ϳ.. •. Using two structures within one weave.. •. CreaƟng double sided fabrics.. •. Using rice straw stalks as weŌ material - generaƟng a sustainable approach, as no processing of the Įbre was reƋuired, also producing 100й uniƋue weaves.. •. Adding colour, this changed the aestheƟc nature of the woven cloth.. Progression through this stage allowed each weave structure to be pushed to its full potenƟal. CriƟcal evaluaƟons of the samples led to the development of the Įnal series of concept fabrics.. ϱ8.

(60) desŝŐŶ deǀeůopmeŶt. &iŐƵre ϮϮ Felted wool.. ϱ9.

(61) desŝŐŶ deǀeůopmeŶt. ^taŐe ϱ Ͳ ^pecuůaƟǀe esŝŐŶ͕ IŶteŐraƟŶŐ dechŶoůoŐǇ aŶd Daterŝaů The aim of this stage was to merge techniƋues to alter the rice straw Įbre. Two other techniƋues were experimented with to alter the rice straw; the Įnishing techniƋue of natural dye and the construcƟon process of French kniƫng. CriƟcal steps were followed to idenƟfy appropriate combinaƟons of texƟle techniƋues. A plan was then developed and implemented to merge speculaƟve design, tradiƟonal processes and contemporary fabricaƟon techniƋues to create new innovaƟve samples.. ϲ0. IntegraƟng technology into this research saw the use of the needle felt loom being uƟlised to create thick layers of felt. The acƟon of the needles and rollers allowed numerous samples to be tested at once, permiƫng dense layers of both wool and reƩed rice straw to pass through. The use of this technology created compact fabrics binding the wool and rice straw Įbres together, without the need for water. The outcome of the felt was dependent on the number of layers used in each experiment. Fine and translucent allowed the reƩed rice straw to be visible. Dense and strong restricted the movement of the fabric. Several trials were conducted to Įnd an opƟmal raƟo of rice straw to be used, these included: •. Diīerent percentage raƟos of wool to rice straw (weightͿ – ϱ0/ϱ0, ϲ0/40, 70/30. The weight of each Įbre varied. The opƟmum was that a 70/30 mix was suitable for this experiment, which The Formary were hoping to achieve.. •. The number of layers used. One layer of rice straw sandwiched between two layers of wool created an uneven surface. Spreading the reƩed straw between more layers allowed for a more even and compact sample..

(62) desŝŐŶ deǀeůopmeŶt. The use of natural dye was introduced to bring a hint of colour into the experiments, and to see how the rice straw would react to this techniƋue. Red was chosen as the colour to incorporate. This choice was to appeal to the main client of this research, China. The Chinese value the colour red as it is believed to bring good luck and happiness (NaƟons Online, 1998Ϳ. InterpreƟng the colour for this research, the Rainbow Mountains of the Zhangye Danxia Landform Geological Park in the naƟon͛s north-western Gansu province, was used as inspiraƟon (Įgure 23Ϳ. The arrangement of sandstone and minerals pressed together for over 24 million years has created a breath taking rainbow mountain range. Focusing on the range of reds within the mountains, madder was uƟlised to dye the yarn and rice straw into an array of diīerent shades. Madder was used because of it͛s ability to produce a variety of reds including orange red, brick red, Įery red and rusƟc red, showcased in Įgures 24 and 2ϱ, pages ϲ2 and ϲ3. The rusƟc red was produced to create a natural contrast between the rice straw and wool Įbres.. &iŐƵre Ϯϯ Rainbow Mountains.. A 10й madder extract soluƟon was used, as this is stronger than the usual madder dye that is oŌen used. Varying temperatures were tested with an increase in temperature by about 10-1ϱ ΣC achieved the desired colour changes. For the yarn and rice straw the temperature was leŌ between ϱ0-ϲ0 ΣC, which accomplished a range of pinks to rust reds. The standard dye bath is one hour, adding the Įbre/fabric when the soluƟon is at the reƋuired temperature. As a rule the use of only 10й alum was used, for ease of calculaƟng weight measurements and to be as sustainable as possible, however alum is oŌen used in 20-2ϱй concentraƟons, which was used within the Įrst formula (Įgure 24Ϳ. The percentage of alum was decreased to alter the colour and to become more sustainable. Natural dye researcher Anne de la SayeƩe has done a lot of exploraƟon within the Įeld of natural dye and dye commercializaƟon and recommends 8й alum as a more sustainable approach. The 2й diīerent does not aīect the results of the colour achieved or the sustainability of the dye bath (ARRDHOR – HorƟcultural CRITTs, n.d.Ϳ. A dye soluƟon was used to alter the colour of the yarn. Due to the blend with wool the colour held easily. ReƩed rice straw Įbre was also leŌ to soak in the dye bath allowing the colour to hold without the need of wool to carry the colour. The Rainbow Mountains͛ hills, valleys and paƩerns within the sandstone were also replicated within the structures of the weaves. The rib structure created 3D surfaces similar to the mountains and the horizontal and verƟcal threads within the weave reŇected the paƩerns within the sandstone.. ϲ1.

(63) desŝŐŶ deǀeůopmeŶt. &iŐƵre Ϯϰ ExperimenƟng with diīerent fabric samples.. ϲ2.

(64) desŝŐŶ deǀeůomeŶt. &iŐƵre Ϯϱ Diīerent shades of colour.. ϲ3.

(65) desŝŐŶ deǀeůopmeŶt. During the weaving process a lot of the warp yarn was leŌ over and was unable to be used. The inclusion of the techniƋue French kniƫng created the opportunity to re-use this waste yarn to create a larger and thicker cord (Įgure 2ϲͿ, which could be re-purposed back into another weave experiment (Įgure 27Ϳ.. The size and the loose Įbres in the original yarn prevented the use of an automaƟc coder, as the Įbres would catch in the needles. The techniƋue of hand French kniƫng was tested which was a Ɵme consuming approach, but has the potenƟal to be scaled successfully within industrial manufacturing.. This techniƋue changed the original yarn by producing a very dense cord that had more strength, stretch and movement within its looped structure. The size of the cord allowed the woven cloth to be produced faster as it covered more surface area. The potenƟal for the rice straw yarn within this process allows the opportunity for it to be used on its own. The overall strength of the cord now has the potenƟal to be used as technical texƟles. &iŐƵre Ϯϲ Process of French kniƫng.. ϲ4.

(66) desŝŐŶ deǀeůopmeŶt. &iŐƵre Ϯϳ UƟlising the cord within a woven structure.. ϲϱ.

(67) desŝŐŶ deǀeůopmeŶt. ^taŐe ϲ Ͳ eǀeůopmeŶt of ûrface aŶd ^tructuraů estheƟcs The main focus of the last stage was to Įnalise the samples. Discussing the results of the development stages with The Formary and by documenƟng valuable connecƟons between the knowledge, skills and insights obtained from the various experiments and construcƟon processes three series were deĮned. This was to highlight the main aƩributes of the rice straw Įbre and how it was transformed through texƟle processes and design intervenƟon. •. AestheƟc. •. Rice Straw. •. ApplicaƟon. estheƟc This series focused on uƟlising the weave structures for their aestheƟc properƟes. HighlighƟng the geometric shapes apparent in the honeycomb structure added value to the rice straw and enhanced its potenƟal use within interior environments. Applying the Įnishing techniƋue of natural dye, uƟlising madder to create a contrast between the natural colours of the rice straw and wool. This series developed the potenƟal use of rice straw within interior environments, adding cost value to the rice straw. The inclusion of the wool Įbre enhanced the physical properƟes of the rice straw and also made the handle of the rice straw Įbre more suitable for interior upholstery.. ϲϲ. Rice Straw This series used only the rice straw waste, showcasing the potenƟal of how it could be used. Using the yarn within the waŋe and rib structures showed that it could adapt to any shape as well as highlighƟng the key aƩribute of being biodegradable when used as soil stabilizaƟon. The reƩed Įbre was bound together using natural glue to make a laminate. UƟlising the rice straw in its natural form produced uniƋue weave structures. This created a sustainable approach, as no processing of the straw was reƋuired. This series was developed with the aim of having the rice straw revealed within each sample and to show that it does have the integrity to stand alone as a sustainable texƟle Įbre. ppůicaƟoŶ CreaƟng the samples for this series focused on developing an applicaƟon for each weave structure and felted fabric. The chemical and physical properƟes of the rice straw and wool are heightened through each diīerent applicaƟon. •. Moisture AbsorpƟon - honeycomb and waŋe weave structures.. •. Biodegradable - geotexƟles and waŋe weave.. •. InsulaƟon – acousƟc and warmth felƟng and double cloth..

(68) desiŐŶ deǀeůopmeŶt. &iŐƵre Ϯϴ AestheƟc series.. ϲ7.

(69) desiŐŶ deǀeůopmeŶt. &iŐƵre Ϯϵ Rice Straw series. 100й uniƋue wallpaper.. ϲ8.

(70) desiŐŶ deǀeůopmeŶt. &iŐƵre ϯϬ ApplicaƟon series. InsulaƟon.. ϲ9.

(71) “... a process of experimentaƟon, trial and error, invenƟon and design development.”. 70.

(72) concůƵsion From waste to texƟles explores the potenƟal applicaƟon of rice straw waste in the development of eco texƟle fabrics. This research follows the experimentaƟon and development of uƟlising rice straw waste within texƟle construcƟon processes to create uniƋue and viable fabrics. It creates alternaƟve uses for this waste bi-product eliminaƟng the need to employ the current pracƟce of inĮeld burning to dispose of the unused waste. The prototype yarn, a New Zealand strong wool and rice straw Įbre blend supplied by The Formary developed in earlier research framed the early stages of this exploraƟon. Responding to the yarn͛s physical characterisƟcs and chemical aƩributes was a crucial stage in the design process. These characterisƟcs and aƩributes were to have a signiĮcant inŇuence of the Įnal outcomes of my research. The key elements of the rice straw Įbre; biodegradability, Ňame retardant properƟes, thermal and acousƟc insulaƟon were isolated. Vital to the development of this research was to develop a high raƟo of rice straw use within the texƟles created. The iniƟal direcƟon was the creaƟon of texƟle fabrics suitable for interior and fashion applicaƟons. CriƟcal reŇecƟon and challenges of working with the yarn concluded fashion was not a relevant line of enƋuiry. The feel of the Įbres within the yarn would feel unpleasant against the skin and had the tendency to shed oī the yarn.. Acknowledging the shedding propensity of the yarn, the tradiƟonal texƟle construcƟon process of weave was selected, formulaƟng iniƟal concept fabrics. This was to determine the behaviour of the prototype yarn within a woven structure as it was unknown how this yarn would react because it has not been used before. An experiment-led iteraƟve, material responsive design methodology was implemented to direct the research through a process of experimentaƟon, trial and error, invenƟon and design development. CriƟcal evaluaƟons of the experiments idenƟĮed four advanced weave structures; honeycomb, rib, double cloth and ǁĂŋe would be further invesƟgated, each highlighƟng key aƩributes of the rice straw Įbre. The ǁĂŋe ǁeĂǀe structure will be discussed further on in this secƟon. Honeycomb weave provided an element of design and aestheƟc appeal, thus adding value to the rice straw within the woven structure. Focusing on the visual aspects of the honeycomb, the intenƟon of applying the rice straw yarn within interior environments was achieved. The Rib structure was an innovaƟve development merging two structures together. This developed very dense, thick and compact weaves with the potenƟal use as technical acousƟc absorpƟon fabrics. Double cloth, a weave that can have numerous variaƟons; tubular and double layers. Double cloth was trialed as a way to construct pockets within the woven structure. The openings permiƩed the rice straw Įbre to be used as an alternaƟve to syntheƟc stuĸng materials used for interior insulaƟon.. 71.

(73) coŶcůusioŶ. The development of these woven structures led the research into the experimentaƟon with the non-woven techniƋue of felƟng. FelƟng created a new direcƟon for this research, a uniƋue way to bind the rice straw Įbre and wool together, plus generaƟng the opportunity to use a higher percentage of the rice straw waste. By documenƟng the connecƟons between the knowledge obtained from the various experiments and construcƟon processes, three series of concept fabrics were created; eƐtheƟc, Rice ^trĂǁ and ƉƉlicĂƟon. eƐtheƟc incorporated the use of the prototype yarn and wool in the construcƟon of fabrics with a high-end value suitable for interior environments. The inclusion of extra wool was essenƟal to this series as the beneĮts of wools superior stain resistance, insulaƟng and water repellence properƟes enhanced the performance as an interior fabric. eƐtheƟc uƟlised the woven structures of honeycomb, waŋe and rib to create fabrics with an element of design, however this resulted in a low usage of rice straw Įbre. This led to the development of the series Rice ^trĂǁ. As the name suggests, rice straw yarn, reƩed Įbre and rice straw stalks were the only elements within the Įnal concept fabrics. This series conĮrms rice straw is a viable Įbre to construct texƟle fabrics and also that it has the integrity to stand-alone as a Įbre, not reƋuiring a carrier.. 72. The iniƟal direcƟon for this research was to create fabrics suitable for interior or fashion uses. As menƟoned fashion was not relevant to this research, however the third series ƉƉlicĂƟon generated new avenues of research for the rice straw waste. More value was placed on the physical characterisƟcs and chemical properƟes of the Įbres as the concept fabrics were constructed with performance and funcƟon in mind rather than their aestheƟc appeal. An area The Formary had not considered for the development of the rice straw was technical texƟles, speciĮc to this research - geotexƟles. GeotexƟles are used in associaƟon with the exterior environment providing support, ĮltraƟon and separaƟon within the earth. Limited Life GeotexƟles was considered as they are constructed using natural Įbres that would biodegrade eliminaƟng waste occurring within the environment. During the development stages I established that the ǁĂŋe ǁeĂǀe structure best suited this applicaƟon and the prototype yarn. The physical construcƟon of the structure forming pyramid like hollows enforced the idea of using the ǁĂŋe ǁeĂǀe for soil stabilizaƟon. HighlighƟng the key aƩribute of both Įbres ability to biodegrade, I was able to consider the whole lifecycle of the Įnal fabric..

(74) coŶcůusioŶ. A key aim of this research was to place value on an unexploited waste Įbre. Value is not only present within the concept fabrics that have been constructed, value can also be found within my documentaƟon of the technical speciĮcaƟons of each woven structure. The method of detailing all the technical informaƟon was criƟcal to the design process as it made it possible to replicate each weave and communicate the design direcƟon for construcƟng the woven cloth. This vital informaƟon proved my experƟse knowledge as a weaver to reproduce small test experiments and upscale them into viable concept fabrics. This informaƟon can now be passed onto industry manufacturers for further development. The Callaghan InnovaƟon proposal suggested six key stages of design development to assist with my research. Breaking the research down into the six set intenƟons, each with deĮned parameters made each task more achievable and the goals of each stage progressed eĸciently. SƟcking to this Ɵme frame was vital for the construcƟon process of weave as it is a very concise and long process to create a woven structure. My design approach was to push the boundaries of tradiƟonal processes and experiment with the unexpected which I was able to incorporate into this structured method of working.. ReŇecƟng on these stages I was able to keep to a schedule and was able to inform The Formary on my current stage of development. The Formary were supporƟve of my design direcƟons and let me shape the development of the use of rice straw waste in my own way. The Formary͛s ethos of sustainable pracƟces within design directly aīected my design process. Employing the cradle-to-cradle approach within the design development, a process that aims to eliminate the concept of waste, ensured the rice straw and wool would naturally regenerate or biodegrade at the end of its natural lifecycle and become precious nutrients for the environment. Material choices were restricted to natural Įbres. Repurposing the ends of the warp threads into the construcƟon process of French kniƫng limited the amount of waste material. The sustainable Įnishing techniƋue of natural dye provided the opportunity to introduce colour within the concept fabrics. This research conĮrms that rice straw waste is a viable Įbre to be used within the construcƟon of texƟle fabrics. Using the waste bi-product from an agricultural food source to create uniƋue and viable fabrics is a feasible way of introducing sustainable pracƟces into the design industry. We do not need to rely on producing Įbreonly crops like coƩon. IncorporaƟng food bi-products not only frees up arable land space, more value is gained for the farmer and land.. 73.

(75) coŶcůusioŶ. With a strong understanding of texƟle techniƋues and with the applicaƟon of proper methods and processes, the potenƟal for further development can occur. InvesƟgaƟng the reƫng process of the rice straw Įbre to produce a soŌer Įbre, combined with the construcƟon of a yarn that binds the Įbres securely will lead research into the development of fabrics for the fashion industry. The experiments and Įnal fabrics have proved that the structures of the weaves were vital in developing an end use for the rice straw. The combinaƟon of wool and rice straw within the yarn and in the woven structures is a viable relaƟonship in the construcƟon of interior fabrics. These Įnal concept fabrics mark the end to this stage of development, but opens the door to further research into using waste bi-products as a key material within design pracƟces.. 74.

(76) coŶcůusioŶ. ReƩed rice straw laminate. Natural glue.. 7ϱ.

(77) 7ϲ.

No results found