A Tactile Sustainability

What I want to be when I grow up

2010-05-03T20:02:00.000-07:00

I recently found textile artist Claudy Jongstra and am extremely inspired by her work. She raises her own flock of endangered sheep, harvests the wool and then hand makes felt for her tactile works. She works with such architects as Stephen Holl and Rem Koolhaas for large scale projects within their buildings. By working in an autonomous and sustainable manner she oversees the entire process from raw materials to end product including the use of natural dyes.

I'm Baaaack!

2010-05-01T16:07:00.000-07:00

After a long hiatus, which I am most apologetic, I'm back sharing my experiences to the world. My thesis adventure has ended with spectacular results, but I am looking forward to more weaving and architecture opportunities in the future. I am going to do a little recapping to start by posting all the graphic, written and woven work I've completed since the midpoint (December 2009) of my study. I feel as if I have abandoned this blog resource and would very much like to awake it again as I start taking the first steps away from academia.

My study led me to working with the versatile and ancient tool of the back strap loom. Below is an excerpt of my thesis describing how the back strap loom became an integral module for weaving space:

The final design concept of weaving space led to weaving objects off of the traditional loom and exploring weaving in three dimensions while still keeping the ideals of material memory and maternal structure. Additional research on the history of weaving in primitive cultures led to the discovery of the backstrap loom and its portable and modular characteristics relevant to this study. According to a textile exhibit entitled The Fabric of Mayan Life, the backstrap loom is “a fairly simple and mobile type of loom, as it largely consists of sticks and a strap worn around the weaver’s waist to apply tension to the threads as the fabric is woven.” The loom is then attached to a stationary object, primarily a tree, to maintain and adjust tension. The basic design of this type of loom, as compared to the traditional heddle loom, allows complete flexibility in weaving, as it can be used anywhere. Additionally anyone can quickly be taught to use it and it also can be adjusted to any size body or weaving expertise. The very elegant and simple fabric produced from the backstrap loom and its extreme versatility is an inspirational module in the interpretation of weaving space to provide shelter. With a jump into the human scale and an extension into the vertical plane to wrap three-dimensionally, the woven section lends itself to creating a habitable space. The three realms of basic architectural shelter—roof, floor, and wall—are achieved through small planar adjustments to match these elements. Furthermore, with a repetition of the woven modules radially around a stationary object a complete enclosure is constructed.

The following images depict the human form using the backstrap loom and some inspirational graphics for the shape of the final woven construct.

ReMaking Shelter: Adventures in Collaborative Weaving

2010-03-07T15:36:00.000-08:00

Click here to see photos from my weaving event this past Saturday:ReMaking Shelter

Moving On

2010-01-25T16:40:00.000-08:00

After a relaxing and contemplative holiday, I am back at weaving and am looking to take it to the next level--a habitable shelter based on woven tectonics. In thinking about how to approach this task, I did a lot of research about portable back strap looms, which are the most primitive type of loom and are still being used to make tents of the Bedouin people. I constructed my own back strap loom with a little help from some online sites and started weaving away. It works in the very same way as my traditional four harness LeClerc loom, but to explain it a little better, its the difference between a standard or an automatic transmission in an automobile. I am doing all of the work in the back strap loom, while my LeClerc has all these wonderful bells and whistles to do the process. As my focus for this study highlights weaving as being more process-based rather than the product-based, this type of loom further stresses the notion of process. It attaches to your hips and another stationary object to create tension on the warp. The plain weave, the simple over and under, is the only type of pattern available on this type of loom and is accomplished by yarn-made heddles that I manually pull up and down to create space for the shuttle. I've attached several pictures about the first loom prototype and the fabric it produces. A little more on the big picture: I am looking to arrange several back strap looms around a tree and have the resultant fabric comprise a shelter of my design.

"Piece de Resistance" ...so far

2009-11-30T20:42:00.000-08:00

Wow I know its been quite a while, but as you will see below I have been very busy. I finished up the semester with a rather large weaving: 9'x3'!! There were several concepts involved, but the overall goal was to embed meaning into the weaving, weather that takes place through materials, memories, or space. My favorite part was weaving with the 16mm vintage movie film. When I ordered it on Ebay, I had no idea what images would be on it. As luck would have it, it's a home movie of small children!! Perfect for woven memories! Other materials I used were fishing line, floral wire, welding wire, my grandfather's tie, copper and Plexiglas rods, plastic grocery bags, which I fashioned into yarn--or "plarn," hardware cloth, and a wooden dowel. The first image gives a sense of the size of the work.

the first construct

2009-11-05T14:38:00.000-08:00

Just a quick note....after some inspiration from fiber artist Janet Echelman, I created this crazy woven construct from floral wire and some very bumpy yarn.

Soft and structural.
Enclosed and open.
Opaque and translucent.

and so she shall weave...

2009-11-04T17:17:00.000-08:00

After quite a battle with the fishing line, I finally got the warp in place, all 12 feet of it!! The fishing line put up quite a fight when I was trying onto the front and back apron rods. (K)not staying put is the best thing that it does. Also it obviously doesn't stretch similarly to the wool yarn, so that is making a difference in the tension I am trying to maintain. Despite these difficulties I think it was a really great choice to use something with such a similar form but from a completely different origin as the wool. The purpose of this weaving is to express embedded meaning, communication, and memories. As the current state and appearance of the wool yarn still give reference to the sheep that it came from. I didn't shear the sheep, but most people are familiar with the shearing process and then the process in which raw wool is spun into yarn. Physical properties of wool traditionally denote warmth, comfort, protection, and softness. All of these qualities in some form are all present in the yarn and are more apparent as I weave them into cloth. The fishing line is a completely different ball of wax. Other than being made from petroleum, I know next to nothing about what chemical processes and procedues are required to create the product. Furthermore, it is traditionally used as part of a recreational activity, is transparent , and spends a lot of time being wet....a long way from the loom. Essentially its in foreign territory, so lets put it to the test!! What can and can't it do? So far, all it wants to do is roll back up on the spool it came on...argh. But alas, we must listen to the materials! Oh and I've got some old 16mm movie film on the way. Nice!!

Julia Sherman....wow and thanks!

2009-10-30T07:05:00.000-07:00

I just wanted to thank my Aunt who sent me the link to the most amazing textile artist, Julia Sherman. As I am still contemplating what architectural links I can draw from weaving to create my woven artifact, Julia's Cone of Power and also her Room a Loom works have been extremely influential. As a community weaving/building experiment, I am considering conducting my own version of a room-wide weaving next semester.

2009-10-30T06:57:00.000-07:00

Its about time! After a lengthy blog hiatus due to the Black Mountain Conference and also beginning my thesis written document,--which is already 50 pages--I have begun a new piece. I am going big or going home on this one, as the dimensions are 3'x12'. After suggestions from my mid-term presentation and thinking about my previous smaller pieces, the techniques and different elements I am investigating deserve to be bold. The warp is made up of natural wool and also monofilament fishing line. I measured out about 1500 yards of wool and fishing line thus far. As expected the wool is easy to work with despite the length. The fishing line however is another story. Fibrous materials (most of them) in weaving are frozen in tension, creating the overall balance of the work. The materials have a memory of their previous state and create tension as they attempt to revert to this state. Lets just say fishing line is very stubborn or very lazy, I'm not sure which yet. Its been doing everything but cooperate, but I am hoping that once I get it tied on, that things will come together. This weaving is definitely about letting the materials dictate what the weaving should look like, based on their capacities or in abilities to revert to that previous state. I will also be integrating some rolled hardware cloth to create voids in the warp and investigate if this could be a habitable architectural space. Things that will be woven: wool yarn, fishing line, welding wire, floral wire, zip ties, and plastic bags. I am looking into old 35 mm film, pantyhose, and a mule tape, a wire pulling material called mule tape. Keep you posted! ciao!

Halfway there and not slowing down!

2009-10-07T13:13:00.000-07:00

I've been so busy preparing for my Thesis 1 Mid-Term presentation (today) and also the Black Mountain Conference this weekend, that I haven't been very religious with postings lately. Reviews today of my work went very well and I am posting a picture of what the pin up looked like. It's hard to believe that I am 25% done with the entire thesis project. I will be presenting the same work weekend at the BMC conference. I will be back next Tuesday and am looking forward to starting a new project and blogging more about it. Materials on the list: zip ties, fishing line, welding wire, and other thin gauge metal. Its going to get good! Now its time for a nap! ;)

the goods

2009-09-24T20:06:00.000-07:00

A few photos of the fun equipment and materials that I have been playing with. I'm kind of obsessed with the bobbin winder ;)

Quick post

2009-09-24T07:58:00.000-07:00

Busy day, but I couldn't resist posting what grew on my loom yesterday!

New Experiment(s)

2009-09-22T07:05:00.000-07:00

I am pleased to me making progress on the next piece, which includes industrial twine and a large heavy gauge plastic bag I sliced up into one continuous strand and loaded onto my shuttle, as my weft materials. I also used a technique of the two weft materials jointing at randomly locations across the warp, something I saw in On Weaving by Anni Albers. I find this intriguing, but I wish it was more apparent. As the plastic is transparent, it is visible as a regular weft strand, but when it approaches the joint with the twine, it loses something. Any thoughts? However, positives exist: not having working with either of the two weft materials, I wasn't sure how they were going to lay within the warp. I didn't design this out on paper beforehand, as I am sticking with my laboratory of experimentation. Interesting enough, the plastic happily folded in half without much work on my part and made an even spacing for the twine to follow, both without much beating. It is better we let the material speak than we speak ourselves.

Additionally, in Manual: The Architecture of Kieran Timberlake, they talk of the craft of weaving itself and the presence of weaving in architecture:

The building block, or cell, of a woven surface is the joint between overlapping materials. Weaving in essence is a continuous joint. In closely spaced weaving, the pattern of intersections becomes both visually and practically subservient to the plane or volume. Although the joint is normally an event of each physical consequence that it dominates our perception, in a densely woven form, the joint is transformed into a recessive contributor to the overall appearance of surface and shape.

In addition to the entire work being a continuous joint, I feel the internal joint which I created with the two weft materials begins to add another dimension, still identifying with their description, but perhaps not in such a recessive way. This joint, an additional form of structural organization, is one of my doing which I imposed on the material and process, not mechanically imposed by my tools. Should it be a recessive or begin to organize the entire piece? As I am thinking about moving into three-dimensions by next adding some thin gauge wire to the next experiment on this warp, perhaps that could express the internal joint spatially, in addition to its visual distinction.

An Architecture of WHAT?!

2009-09-21T07:07:00.000-07:00

As this is an architectural thesis, sadly I cannot just keep playing and experimenting forever on the loom...there has got to be a method to this madness, even if it does change on a weekly basis. As a result of oodles of research this past week, I have been able to draw some initial qualitative design assumptions. I am newly intrigued with the popularity and effectiveness of architectural installations seen at such venues as P.S. 1 MOMA and the Storefront for Art and Architecture. As these constructions are temporary and small in scale, they provide a high level of sensorial experience of the space/place without all of the practicalities of an actual building, kind of like a solution for the senses. Priority is placed however on their actual method of construction, due to time restraints, space, and the direct and immediate connection of the designer to the materials and production--which I find to be the most challenging and intriguing element of all. To restore the designer the experience of direct experience of a medium is the task of today, the words of Anni Albers. The process of forming has been disturbed by divorcing the planning from the making, since a product today is in the hands of many, no longer in the hands of one. Most importantly Albers states that the craftsman gives meaning to material beyond itself. This is quite an empowering statement.

Below are my qualitative thoughts on program.

Design Criteria:

An ephemeral built environment based on the literal and conceptual construct of weaving
Constructed as an outdoor architectural installation for gathering, connection and learning
Links to maternal thinking and the prehistoric tent suggest a means to remake the world without replacing it
Product is not a building, but an architecture of experimenting in and on the real world
Reveals the process of making, seeing, and knowing
Not permanently sited, relocated and reassembled as required
Conceived as an "Architecture" in residence (derived from artist in residence programs for creative nomadic studies)
Celebrates interactions with it through sensation, demonstration and physical connection

Design Qualities:

Structure dissolves into surface
Never quite interior or exterior, enclosed or open
Organizes simple materials into a thoughtfully constructed visual artifact
Utilizes repetition and placement in design and construction
Omni directional and flexible

Starting off right

2009-09-14T13:04:00.000-07:00

After coming off of non-weaving week, I have started my second piece and have successfully measured the yarn, sleyed the reed and threaded the heddles and its only halfway through Monday! (Sigh of relief) I realize that despite other commitments and work this is the most important part of my study and I need to make it a priority...daily. In planning the new piece, I wanted to stay mainly with the methods explored in the first piece to one, not get too far over my head initially and two because its the most basic and most ancient form. I kept two alternating colors, however, based off of some accidental snapped yarn creating interesting voids in the first piece, I decided to sley one, two, or no threads in the reed dents to hopefully create a randomized shed, repeated as the color changes. I still threaded the heddles using a straight draw, 1, then 2, 3, and 4, then repeat, so I am unsure of the outcome. I am also going to use a plastic bag that I shredded into a "yarn" and perhaps some rough twine that I purchased at a hardware store as an interesting weft. Ironically the new piece is a blue and yellow warp again. I was drawn to this fluorescent yellow yarn and the blue randomly followed.

I did however have some breakthroughs last week: I met with local weaver and USF Collaborator Judi Jetson. Lets just say she is exactly what I need as a beginning weaver to have on my side. During our talk she brought up several good points on weaving design and production, first being how natural the act of weaving comes to her. The precise and intricate movements of the set-up along with the rhythmic dance and syncopation of throwing the shuttle and depressing the treaddles. I completely agree with her description and satisfaction derived from weaving. It felt completely natural for me as well, like something inherent. Although being new, the language of weaving somehow feels familiar and not foreign.

She also commented how weaving is a solitary act, unlike other fiber arts like quilting, knitting, or spinning. This isn't necessarily a negative and creates a different experience than your typical Monday night knitting group. Weaving isn't done to pass the time, its a conscious and deliberate act. I have found that it allows you be alone with your hands, the material, and your thoughts. You are completely present with your movements and what happens is under your direct control. Under a strict set of repetitious process and guidelines, infinite possibilities reveal themselves.

Judi and I were also discussing the first piece I created and the unified strength of the under and over members. She suggested I write this comment I made down, so here it is: The piece was so flexible and so rigid at the same time. I can't pull it apart, but I can manipulate it in so many ways. Although this is significant observation, its relevance is yet unknown...not for too much longer though.

Finally, Judi and I discussed that weaving is much more about process than product. At this point, I have spent much more time setting up rather than actually weaving, but I feel nothing is lost as I have learned so much over the past few weeks. I have a sense of pride in hanging up my recent product for all to see, its a beautiful experiment, but is it a true representative of the time, energy, and thought embodied to make it? Are our efforts ever completely understood in our creations? Is it supposed to only be a personal triumph? Is the product really important or is it our learning and growing that makes the process worthwhile? This is something to be explored as weaving is approximately 70% process and 30% product. Does creating beautiful architecture follow the same course? I would say yes.

Somewhat new abstract

2009-09-10T07:47:00.000-07:00

Towards a Tactile Sustainability: Women, Architecture and Weaving

Weaving and architecture, conceived simultaneously with cave paintings, are two ancient forms of craft used to enclose space and provide shelter harmoniously with nature. Like that of architecture, a useable textile in its basic composition is the interlacing of two groups, the warp and weft, at right angles to create surface and structure. Textile artist Anni Albers of the Bauhaus attributes the organization of weaving to the skills of an ancient goddess. Her understanding of prehistoric cultures further links women closer to the overall creation of structure, though perceived as a masculine endeavor. Consequently early advancements in architecture, the structural organization of shelter, are a result of feminine inventions.

Moreover, it has been the female who has been entrusted with emotional and sensual elements of shelter since prehistory. Through the creation of a home, women’s mastery of the domestic realm strengthened and led to gender-defining ideologies. Suburban typologies of the post-war United States heightened the feminine domestic role through social and environmental isolation of the gender. The suburbs ironically conditioned an alternative sentiment of the built environment featuring ideals of tradition, sustenance, and continuity with nature.

In the modern era, weaving and architecture have devolved to be similarly designed and chosen for aesthetic qualities only. Textiles are produced for an indoor existence with weaving traditions unchanged and innovation only seen in synthetic fibers. Modern homes are chosen and constructed using inefficient practices popularized in the 1950s, with advancements only in materiality. Both disciplines overlook their feminine link and mutual advantages of protection, flexibility, connection with users, tactile engagement, and environmental impact.

The capacity of the planet suffers due to outdated and unsustainable residential building practices, while quality of life degrades due to the inabilities of built spaces to nurture and engage inhabitants effectively. Based on eco-feminist philosophies within architecture and the structural, spatial, and tactile qualities of weaving, these crafts will again interlock into a modern, efficient construct. The time has come to rethink building design and the feminine integration of weaver and architect provides a foundation for the discovery of an appropriate assembly for the next generation.

Argh, its Thursday

2009-09-10T07:14:00.001-07:00

I had anticipated starting a new woven work this week but now its Thursday and I've been only successful with the consuming the tasks of tightening up my thesis abstract, the creation of a thesis "movie poster", and research on relevant case studies which will guide/inform me in what the heck I am gonna make. Here is the final poster, don't you want to come see my "movie"? I've also supplied my new and improved abstract in the next post, which differs from the one on the poster.

Reviewing Black Mountain College

2009-09-07T11:23:00.000-07:00

I'll presenting my thesis adventures up until midterm at Black Mountain College in North Carolina during an international conference. Its exciting to see my name on the event schedule for Sunday October, 11!! whoo hoo!

I must be doing something right

2009-09-03T15:15:00.000-07:00

Just like I randomly stumbled upon the sole inspiration for this study, Anni Albers, while doing research for an alternate class over the summer, I have done it again by happening upon an additional vital source for my thesis committee. I've been thinking a lot about the members of my committee and was hoping to find a local weaver/textile artist, preferably with some interdisciplinary study. Preliminary searches were frustrating and unsuccessful. However while just investigating a magazine called Handwoven by Interweave Press, I found a listing of weaving classes and teachers organized by state. To my surprise there was a listing in Lutz, Florida, which is very near Tampa, by textile artist and weaver Judi Jetson. I immediately emailed her with my abstract and link to this blog. I think it took her all of 10 minutes to email back and her response was more unbelievable than I could have ever asked for (or searched for!) She is actually employed by the university, knows several members of the architecture faculty, and is a part of the Pinellas Weavers Guild --which I was going to contact any day now. She said it was shocking we had not met before and I completely agree. A face-to-face meeting over coffee, a trip to the Pinellas Weavers meeting, and the missing piece to the committee puzzle into place. Namaste!

First Study

2009-09-02T14:14:00.000-07:00

The yarn hunt

2009-09-02T13:02:00.000-07:00

After starting the first piece, I was fortunate to have a weaving visitor (thanks to them!) stop by my studio and give me a few pointers. Yes, the yarn was definitely wrong and this first piece was going to be the most difficult because of that. It was relieving to learn that the next piece would be easier, but sadly none of the 30+ cones of yarn that came with my loom are appropriate for weaving!! Argh. They were thrown in as a late bonus, so no worries. After hitting up my local chain craft stores, I learned that weaving yarn was not as readily available as I had hoped. Thank goodness for the web because I would have never known about an amazing yarn store in South Tampa, Knit and Knibble. Stopping by on Saturday afternoon, I found them swamped with knitting classes and many browsers. Welcome to the cult of knitting!! I acquired the help of a great sales lady and was amazed at their selection of all types of yarn actually appropriate for knitting and weaving--anything from 24-26 stitches per inch and of minimum 1600 yards/pound. Please note for Christmas presents...lol. I decided on wool and picked colors that appealed to me. At this point, color is not a concern but rather an accent, as seen in the selection of fluorescent yellow.

Warp + Weft = Weave

2009-09-02T11:27:00.000-07:00

Last Thursday I became a weaver in the actual sense. Setting up for three days culminated into a truly crazy creation of experimentation. I started out doing a simple basket weave and then moved to a twill using the same yarn I had used for the warp. This yarn proved to not be a good selection as it was difficult pulling the beater after each throw of the shuttle. I also had a lot of trouble keeping the selvedges (the edges of the piece) even and not pulling in too much. Controlling this is something I'm sure is acquired with more exposure. Sadly, I also snapped three blue lines due to a snag behind the reed. So you live and learn. It was a really fun experience however because I soon moved on to investigating different patterns, yarn, and beating strengths. See my latest creation below. I feel pretty successful right now and look forward to more. I'm really looking forward to possibly designing and/or conceiving my next piece on paper beforehand, as Anni Albers did. From this first study I am also interested in further using other items besides yarn as the weft and just seeing what happens. Channeling happy accidents is what I am going for.

Heddle Mania

2009-08-28T11:00:00.000-07:00

After several readings of Deborah Chandler's description of threading the heddles, I was quite intimidated. So many eyes, so many ends!! She does comment that it takes a lot more energy to describe than to actually do. After getting down to it, I fumbled for a while trying to thread an end rather than a fold and finally came into a method. I decided to not use a threading hook and just use my fingers. Pulling over 12 heddles instead of one at a time is a much more efficient and less cumbersome process. At this point I can also confidently say that the yellow thread I selected is not the best choice for a warp, as its been unraveling since I took it off the warping board. This is all a learning process, so the more challenges the better.

The product will be a plain weave with 1 inch wide stripes of the yellow and blue warp (verticals) and two other colors (which I have yet to select) in the weft (horizontals), 10 inches by 2 yards long. The warp sett is 12 e.p.i. (ends per inch). Tying to the front and back aprons will occur later today and much to the anticipation of my studio mates, weaving shall commence very shorty. Additionally, the product is not a "thing," its more of a learning device. I like the way Chandler says: if you have set out to learn something, and you do, then the piece has fulfilled its function.

Thesis in 30 minutes

2009-08-27T09:40:00.000-07:00

Assignment One of Thesis I class was to write three sentences about my thesis and draw/diagram it in 30 minutes. Here's where I was going. Follow me? ;)

2009-08-25T18:03:00.000-07:00

Video of some sleying fun.

Sley those reeds!

2009-08-25T16:56:00.000-07:00

Today was quite successful and relieving at the same time. First, my portfolio was accepted into the Thesis program at the USF SACD, so that means that undertaking the study of weaving and architecture is really going to happen! Phew!
Back on the loom, I was able to select two types of yarn for my first warp and measure them out into (60) 2 yard increments on the warping board. I also had enough time to sley the yellow yarn into the reed. The process felt very natural and it seems as if I could become very proficient at it quickly. Put on some good music and sley-away. I have attached a quick video of the task, but I am in the process of posting it. I enjoy the minute-ness of working with such small elements and intricacies. I do have some reservations about the yellow yarn I selected as it seems to be unraveling. Perhaps this was not a wise selection, but this piece is just for fun anyways. Tomorrow I will tackle the heddles. They intimidate me.

Observing Anni

2009-08-24T20:16:00.000-07:00

A few images from the Anni Albers exhibit at Black Mountain College exhibit back in June and one of the former college now summer camp. Also adding the link to the conference that I will hopefully be presenting at in October. Coincidentally, this occurs right after my first preliminary Thesis pin-up, so not too much extra work.

Getting down to "Looming"

2009-08-24T19:43:00.000-07:00

Day one of what I like to call weaving, but it was more a dissection, investigation, and placement of little sticky notes all over my loom so I can remember what all the pieces are. I poked, prodded, and moved all the parts and everything seemed to be in working order. I also took inventory of my goodies that came with the purchase, sley hooks, numerous shuttles, bobbin winders, and tons of other things that I cannot identify at the current time. I've been reading Learning to Weave by Deborah Chandler and also the original Leclerc manual, printed in 1971 (lol), for some insight. After reading the instructional passages several times I think I'm prepared to start measuring out yarn on my warping board probably tomorrow. A few hours in the wood shop and (thankfully) plenty of wood scraps saved me about $70. We can save that for some Alpaca yarn! Yeah!

So tomorrow: measure the warp, sley the reeds, and hopefully threading the heddles. I am still slightly confused as to how the treddles attach to the lams and how the warps get tied off in the rear, but perhaps when it is staring me in the face it will make more sense.

I am truly enthusiastic about my endeavor and but slightly nervous, as this is something I've never attempted to do and the stakes are quite high. However, I have faith in a fortune cookie I got recently: You will be successful in anything you put your hands to. And we're off!

2009-08-11T10:35:00.000-07:00

Conductive Thread...watch out!

Thesis 2009 Abstract

2009-08-11T10:27:00.000-07:00

Weaving and architecture, conceived simultaneously with cave paintings, are two of the most ancient forms of craft, both enclosing space and providing shelter harmoniously with nature. Like that of architecture, the creation of a useable textile in its basic composition is the interlacing of two groups, the warp and weft, at right angles to create surface and structure. Through her research, textile artist Anni Albers attributes the organization of weaving to the skills of an ancient feminine goddess. Consequently early advancements in architecture, the structural organization of shelter, are a result of feminine inventions. Through Albers’ understanding of ancient cultures she further links women closer to the overall creation of structure, though perceived as a masculine endeavor, from this woven skill.¹

Moreover, it has been the female who has been entrusted with emotional and sensual elements present in the development of shelter since prehistory. Through the creation of a home, women’s mastery of the domestic realm, strengthened and slowly led to gender-defining ideologies. Suburban residential typologies of the post war United States heightened women’s domestic roles through social and environmental isolation of the gender. The suburbs ironically conditioned a homelike sentiment of the built environment, implementing feminine ideals of tradition, sustenance, and continuity with nature.

In the modern world we produce textiles for a predominately indoor existence, underutilizing their benefits as an elementary shelter resource and erasing Albers’ basic relations of weaving and architecture.² Residential design of the post-war housing crisis in the United States disregarded nurturing feminine design principles and sanctioned the suburban typology as a principal relief strategy. Still seen as a preferred housing option today, homes are predominately constructed with methods popularized in the 1950s with advancements only seen in materials. Albers points to similar developments in textiles where the fundamental weaving traditions are unchanged and advancement only occurs with the creation of chemically treated fibers.³ Both are now designed and chosen for aesthetic qualities and overlook mutual advantages of protection, flexibility, connection with users, impact on environment, and overall performance. Tactile engagement, essential to interactions with space, is also largely absent from modern fibers and the places we inhabit.

As historic accounts show, women inherently link architecture and textiles. Through disregarding this connection, the capacity of the planet is suffering due to outdated and unsustainable residential building practices, while quality of life is degrading due to the inability of today’ structures to nurture and engage inhabitants effectively. A modular, structural wall panel system, incorporating indoor and exterior advancements in shelter through textiles and engagement of inhabitants through tactile sensibilities, will again realign these ancient crafts into an effective, modern residential construction solution. The time has come to redefine and redesign suburbia and subsequently women, undertaking the task of weaver and architect, provide the most powerful efforts in the discovery of an appropriate housing construction for the modern era and the future.