Research Thesis

EXPLORING BASKET WEAVING TECHNIQUES FOR SPACE MAKING ELEMENTS
THROUGH COMPUTATION TOOLS
By
SURABHI HEBBAR
International Master of Interior Architecture and Design
Faculty of Design
CEPT UNIVERSITY
Ahmedabad, Gujarat
2015
Guided by:
Professor
Jwalant Mahadevwala
Abstract
Weaving techniques used in basketry has the potential to become an alternative construction
method in large space making elements. Application of those weaving techniques gives wide
opportunity for exploration through new materials, patterns, and techniques. In spite of use of
inherent structural techniques in baskets, only few have been employed in construction. These crafts
techniques have been limited to small scale baskets and other products. The reason being limited use
of techniques in large space making elements are identified as, less knowledge transfer from craft
generation, ignorance in identifying structural qualities as basket are considered under crafts.
Considering the potentiality in the weaving principles practiced in basket weaving, the
research aims at analyzing weaving procedures and understand the methodology which could be
used in space making elements. Since India is rich in basketry weaving, the study focusses on
understanding weaving principles in various techniques employed in traditional and conventional craft
forms.
The purpose of this thesis is to develop a system using knowledge of basket weaving
principles, through computational techniques. In order to develop this system, the study is carried
out to understand the different techniques of basket weaving through extensive review of literature
followed by identification of parameters involved in conventional basket weaving techniques practiced
in various parts of India.
Further the study aims at implementing parameters of weaving techniques in a given system
through computational techniques using digital tools (Rhino, Grasshopper). Later behaviour of the
system is analysed, by transforming digital system into physical model to find compatibility of using
basket weaving techniques. This research results in number of inventory forms developed using
progressive form of elements using specific defined process through digital tools.
Exploring Bsket Weaving Techniques
Table of Contents
Abstract
Acknowledgements
1. Overview 2
1.1 Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
1.2 Research question. . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
1.3 Scope and Limitation. . . . . . . . . . . . . . . . . . . . . . . . . . 3
2. Basket weaving 6
2.1 History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
2.2 Underlying computation . . . . . . . . . . . . . . . . . . . . . . . . 8
2.3 Scope of Basketry in Architecture . . . . . . . . . . . . . . . . . . . 9
3. Weaving Techniques 16
3.1 Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
3.2 Types of Weaving Techniques . . . . . . . . . . . . . . . . . . . . . 17
4. Stucture of Basket 23
4.1 Component of Basket. . . . . . . . . . . . . . . . . . . . . . . . . . 23
4.2 Case studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
4.3 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5. Exploration 42
5.1 Methodology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
5.2 Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Appendix
References
I
Exploring Bsket Weaving Techniques Acknowledgements
Acknowledgements
It is with immense gratitude that I acknowledge the support and help of my guide Jwalant
Mahadevwala for all his advice and guidance throughout the semester. He has given a close attention
with care to go through the project and make necessary correction as and when needed
I would like to thank my thesis Co-ordinator Rhishav Jain and professor Kireet Patel for
guidance and support throughout the semester.
I would also like to thank all my faculty members of Faculty of Design and Dean Prof.
Krishna shastri for their extended support.
I share the credit of my work with B.N. Bhuvaneshwaran and Henry Skupwinckz. This thesis
would not have been possible without the help of him.
I thank my Hostel mates Sonali Vyas, Gunjan Ghonge, Vidhi Munshaw, and Srijani Hazra
for being supportive in all my ups and downs during the course. Also i thank my juniors for being
supportive.
I also extend my thanks to State Bank of India for financing me till the end of my course and
also for my well-wishers for their support.
Finally I would like to thank my family, especially my parents Seetarama Hebbar A and Vijaya
Hebbar A S and my sisters Kathyayini(W/o Rajaram K) and Gayathri(W/o Ramadas Maiyya) for all
their support and encouragement during my two years of Masters course at C.E.P.T University.
II
Exploring Bsket Weaving Techniques Acknowledgements
Dedication
To my Parents and Sisters
III
Exploring Bsket Weaving Techniques Overview 2
Overview
Introduction
research question
Scope and limitation

Surabhi Hebbar 1
Exploring Bsket Weaving Techniques Overview
1. Overview
1.1 Introduction
Weaving is a technique of interlacing two linear elements namely warps and wefts at right angle
to each other to create a large system. The system developed through weaving Increases the stability
of surface made than single linear material overlapped together. This technique can be carried out with
using simple tools.
In general weaving exists in nature around us. Twigs of tree weaving over and under, round
its own tree trunks; spider webs having its own style of network; bird’s nests woven by male birds;
structures woven using branches by apes to create a platform. Thus our ancestors, cultivated weaving
technique by looking at them into making of functional needs.
Weaving is an activity rooting back to beginnings of man’s cultural history. It was done in
primitive stages of man as a solution to communal needs. These needs were, containers for storage and
carrying purposes, items for providing warmth in form of mats and carpets etc. The materials found
nearby were used to entwine, twist, knot, interlace and loop to make the forms stable and strong. With the
development of knowledge and skill, exploration of weaving craft has happened with different materials
in different applications like textiles, baskets, mats and covers etc. and different types of weaving like
bundling, interlacing, braiding, knitting were developed.
The weaving techniques could produce two kinds of systems depending on use of materials. They
can either be structurally stable baskets, or non-structural forms like textiles, mats, carpets, etc. In order
to understand the behavior and characteristics of woven systems, recent architectural research studies
are revisiting the weaving craft whether it be structural baskets, or non-structural textiles. Researches
done by anthropologist, historians, who were trained in deciphering the technical variations of the cloth
has opened the modern day textile artist to experiment new ideas in design, form and technique. It is
shown that application of weaving techniques in architecture gives wide opportunity for exploration
through new materials, patterns and techniques.
In India, baskets made with bamboo, cane, wicker, rattan, twigs, palm leaves have wide variety
with different techniques, based on function and application of baskets, material properties which allows
particular technique to employ, and scale of baskets required. Among all the materials, availability of
Surabhi Hebbar 2
bamboo in abundant in some region has made crafts people in evolving structurally stable baskets.
In spite of use of inherent structural techniques in baskets, only few have been employed in
construction. These crafts techniques have been limited to small scale baskets and other products. The
reason being limited use of techniques in large space making elements are identified as, less knowledge
transfer from craft generation, ignorance in identifying structural qualities as basket are considered
under crafts.
Considering the potentiality in the weaving principles practiced in basket weaving, the research
aims at analyzing weaving procedures and understand the methodology which could be used in space
making elements. Since India is rich in basketry weaving, the study focusses on understanding weaving
principles in various techniques employed in traditional and conventional craft forms
1.2 Research question
Central Research Question
Does Computational technique help interface crafts in new form of spaces, taking an example
of basket weaving?
Sub Research Questions

1) How does computational techniques help in understanding weaving knowledge to develop new
forms?
2) What are the possible ways in which digitalization can interpret weaving technique?
1.3 Scope and Limitation
Scope
»» The study is to explore systems at the scale of interior architecture.
»» The study is to look at a technique which has inherent structural qualities.
»» The study uses digital computational techniques and hands on experiment to develop
forms.
Surabhi Hebbar 3
Limitation
»» Study looks at weaving techniques of basket limited to materials bamboo, palm
leaf and split cane, out of which only few parameters of weaving are considered for exploration as
mentioned in Chapter 5
»» Technique used for the exploration is restricted to plaiting.
»» Considering the time limitation, only two systems were chosen randomly for
exploration.
»» Explorations are done using digital media like Rhino, Grasshopper definition.
»» It is assumed that materials used for exploration has flexibility in bending and they are
in form of strips.
Surabhi Hebbar 4
Basket weaving
History
Underlying computation
Scope of basketry in Achitecture

Surabhi Hebbar 5
Exploring Bsket Weaving Techniques Basket weaving
2. Basket weaving
2.1 History
Baskets are in the form of containers
made of interlacing or binding of linear
material. Generally the linear materials used
for this purpose are made of local materials.
Although several types of local materials
exists in deformed or continuous changes in
cross-section, they are cut to make uniform
cross-sectioned elements. A variety of
cross-sections are used and in many cases 1. Pomo Baskets (Image Source:http://en.wikipedia.
bundles of multiple elements either parallel org/wiki/Basket_weaving)
or in twisted rope forms as a single structural
element.(M. P. Ranjan, 1985)Basket weaving is differentiated from Textile weaving, because of use of
rigid materials.
Twigs, grasses and reeds were used
to make baskets by Indian women along
western coastal areas of America. The
heritage of these basket making peoples goes
back to thousands of years and indicates
a great resourcefulness in the use of local
materials as well as an admirable ingenuity
and patience in evolving complex designs.
(Belfer, 1975) Earliest hunter-gatherer 2. Palm leaf Basket (Image source: Leier, R., Peters, J.,
societies made baskets for the immediate use. & Wallace, K. (2000). Baskets: Tradition & Beyond. GUILD
Hence they used local materials which were Publishing)
immediately available to their hand and were
light weighted. As Bryan Sentence (2001) says, the Aborigines of Australia’s Northern Territory and
Surabhi Hebbar 6
Samoa made baskets from palm leaf frond with plaiting, which could be disposable after use.
“The craft of weaving baskets intended for long-term use was most probably developed
around 12,00 years ago,…..”(Sentance, 2001) Before the weaving process were realised, twining
construction was existed. Thin reeds and branches were twinned around the tree trunks which was used
to make baskets. Then later it was adapted for softer and pliable materials. With the development of
knowledge and skill, exploration of weaving craft has evolved with different materials. Also different
forms of weaving like bundling, interlacing, braiding, knitting were developed.
Basket has remained as familiar of our daily life, throughout many cultures, because of which
innovation that challenge our perception of what a basket is or what it should be made of, are often quite
surprising.(Leier, Peters, & Wallace, 2000) If we look at basket productions among the regions producing
objects, skill is often associated with factors like people’s perceptions of environment, material available
in the region, conceptions of self and modes of economic interaction, social hierarchy and division of
labour.
Surabhi Hebbar 7
2.2 Underlying computation
Basketry involves specific patterns of growth which are specific to raw materials employed.
Thus different basket weaving techniques and forms evolved are related to inherent characteristics of
raw materials. Patterns generated in basket weaving sometimes are misunderstood for decoration, rather
considering it as mechanism of articulation
adapted in the sense of engineering
involved to generate form. This patterning
involves computation knowledge, which 3. Base weave patterns(Image Source:(M. Ranjan et al.,
man has evolved since the weaving has 1986)
been practiced.
Computation in basketry is always
linked to generation of regular pattern with
irregular natural materials. Historically
regular pattern-formation of plaits, coil 4. Base weave patterns-Circular base(Image Source:(M.
and weaves that has predominated to date. Ranjan et al., 1986)
Often, computation is also used to create
structurally stable forms for specific
function from flexible, pliable materials,
which involves specific techniques
employed within same structure. For 5. Side weave pattern(Image Source:(M. Ranjan et al.,
example, a basket required for storage 1986)
of grains, made of soft grass materials,
involves twining of these materials, densely packed to make the container stable enough to retain its
form and not let off grain.
Surabhi Hebbar 8
2.3 Scope of Basketry in Architecture
Researches done by anthropologist, historians, who were trained in deciphering the technical
variations of the cloth/basket has opened the modern day designers to experiment new ideas in design,
form and technique. It is shown that application of weaving techniques in architecture gives wide
opportunity for exploration through new materials, patterns and techniques.
In the article Skin/Weave/Pattern, Nigel Coates shows that textiles can be used as a metaphor
for architectural envelop, which has only supporting role in interior. The author describes textiles as
skin, weave and pattern operating at every scale from the individual body to the urban plan. He says that
textiles in their many woven forms, are seen as conceptual tool for dynamic new kind building. (Coates,
2006).
“Architectural design is not about having ideas, but about having techniques, techniques that
operate on material level. It’s about making
matter think and live by itself.” – Lars
Spuybroek of NOX. In the article Textile
Tectonics, Maria Ludovica Tramontin
interviewed Lars Spuybroek, reveals his
engagement with work of textile tectonics
or soft constructivism where textiles
are transformed into tectonics through 6. Frie Otto Experiment(Image Source: Tramontin, 2006)
conventional textile techniques like
weaving, bundling, interlacing, braiding,
knitting, or knotting, effective building
structure through softness and flexibility.
As he says, NOX is interested in textiles
on basis of explorations done by Frie Otto
and Gottfired Semper. They operate with
mixture of analogue and digital, where
textile techniques become computing 7. Semper illustration on Knotted fabric(Image Source:
techniques, surface becomes structure, and Tramontin, 2006)
Surabhi Hebbar 9
structure becomes geometry. Thus establishing relationship between systems and surface, integration
of toughness with flexibility. This is evident in Nox’s building projects, where textiles intervenes at
different levels, either at aesthetic level of undulating surfaces, or at the structural level of weaving
and braiding of steel members, or at methodological level of using techniques to generate architectural
forms. Through this interview, Lars Spuybroek argues that, architectural form can be made from soft
constructivism, and not necessarily made from hard forms(Tramontin, 2006).
In the article Woven surface and Form, examples for system development using Computational
techniques have been explained. Pompidou Metz roof done with Shingeru Ban through a simpler surface
mapping technique to investigate basket weaving techniques on a large scale. Along with Surface mapping,
exploration of application of the topology
of weave to large-scale structural systems.
This Macro weaving using timber planks
and bamboo were also used in works done
with Shigeru Ban and the 2005 Serpentine
Pavilion by Alvaro Siza and Eduardo
Souto de Moura with Cecil Balmond. Siza 8. Figure 7 Frie Otto Experiment(Image
and Eduardo Souto de Moura with Cecil Source: http://www.archdaily.com/490141/
Balmond. The aim of this project was to centrepompidoumetzshigerubanarchitects)
exploit the structural benefits afforded
by woven components through which
weaving’s network mutually stiffens to
produce new forms of geometric freedom
of the surface through the articulation of
the woven elements. Thus these projects
explains that material, pattern and
geometry are threads that interweave in a
complex semi dependent way, converging 9. Chinees hat(Image source:http://milimet.com/2010/05/
on multiple viable solutions(Simmonds, the-metz-centre-pompidou-nearing-completion.html)
Self, & Bosia, 2006).
Surabhi Hebbar 10
In writings of Semper (1989), it can be found that wickerwork which are used to produce baskets
today, were originally used as space divider prior to clay tile, brick or stone walls. And hanging carpets
were used as visible boundaries of space, supported by solid walls in exterior. Seeing the similarities
between weaving and Architectural design process, Craig S, Griffen, in the paper “Weaving as an
Analogy for Architecture”,(Griffen, 2000) has compared the weaving and architectural design from the
analogical/conceptual view point.
This analogy of weaving as an instructional device in the design process to demonstrate how
it can apply to various situations was investigated through his studio projects. The projects included
three topics of weaving and architecture that range from the literal to the theoretical i.e. actual creation
of woven wall, abstract conception of weaving, and relationship of weaving to building construction.
Through these projects, author draws conclusion that, weaving as an analogy helps in extending thoughts
to the interlacing of ideas, place, space and construction, as well as how they themselves are woven
together in the process of design.
Muslimin (2010) framed weaving
as a system of interlacing objects into a
structurally interdependent pattern. He
found out in his research that weaving
object can be parameterized with various
material properties. Through his study
Muslimin reconfigured the structure
with different loading configurations and
patterns, which were embedded with other
adaptable geometry for given material
properties and structural configuration.
10. Muslimin Research (Image source: Muslimin, (2010))
Surabhi Hebbar 11
In their study, Akleman et al.
(2011) introduced theoretical framework
for constructing twill woven objects, and
to develop general technique to obtain
triaxial woven objects from an arbitrary
polygonal mesh. The motivation for this
research was taken from twill weaving 11. Biaxial twill woven forms ( image source: Akleman et
pattern of textile weaving which provides al.,2011))
strength, durability and water resistant,
along with varied patterns, according
to authors. The main argument of the
research is that classical textile twill
weaving are biaxial in nature that there
are no more than two strand passing each
other and these strands pass each other at
right angles. And also these twill pattern
is cyclic in nature. Hence Taking Cyclic

13. Triaxial twill woven forms (image source: Akleman et
weaving through graph rotation system
al.,2011))
as base, polygonal mesh surface was
converted in to triaxial twill woven surface
through developed algorithms digitally.
In 2013, Kamath worked on
project using the process of weaving as a
means to communicate the design to the

12. Shell structure by Ayodh Kamath (Image source: Ka-
crafts persons in constructing the structure
math, 2013)
and enable them to construct the complex,
doubly-curved reticulated shell forms
resulting from computational design processes in a manner that enabled its manual fabrication. As
explained in the paper ‘Digitally designed architectural form built using craft-based fabrication’(Kamath,
Surabhi Hebbar 12
2013), author outlined the methodology to
construct digitally designed form, through
craft based fabrication.
Architect Andrea von Chrismar
has resarched wicker weaving at the scale
of architecture and has created surfaces.
These wickerwork surfaces are based on
the properties of weaving which provides 14. Wicker surfaces by Anrea von Christmar
rigidity given by the flexibility of fibes
when used in building complex structures.
(Chrismar, 2013)
Project by David Garcia,
‘weaving pavilion’ in Beijing is an another
example for system development done

15. Pavillion by David Garcia (Kim, Smith, & Wu, 2012)
using weaving technique. It uses long
split bamboo weaved together to form a
pavilion. (Kim, Smith, & Wu, 2012)
Jukbin Pavilion, Barcelona is an
example for the structural system used is
of traditions of weaving and basketry,to
make rigid structural fabric from flexible
elements. The project was designed by 16. Jukbin pavillion by CODA (Image source: Jukbuin
CODA, erected with students of ETSAV, Pavillion Erected,” 2012)
and collaborators. (“Jukbuin Pavillion
Erected,” 2012)
From all these examples it is evident that to understand the behavior and characteristics of woven
systems, recent architectural research studies are revisiting the weaving craft whether it be structural
baskets, or non-structural textiles. In basket, each strand is important as its neighbour. They span entire
length or width of structure, distributing structural properties evenly through the form. The structure
Surabhi Hebbar 13
of basket is circular, holding itself in balance. Thus basket is an example for alternative construction
system for architecture, whose structural elements interact with each other reinforcing whole structure.
“Baskets are important reference to architecture, as they are flexible but don’t collapse; they ‘can accept
several local disruptions without collapsing globally’.”(Mitchell, 2013)
Surabhi Hebbar 14
Weaving Techniques
Introduction
Types of Basket Weaving Techniques
Surabhi Hebbar 15
Exploring Bsket Weaving Techniques Weaving Techniques
3. Weaving Techniques
3.1 Introduction
In basketry, classification of weaving construction has been a question mark due to its complexity
and thousands of variations in weaving techniques. Many authors have classified basket weavings based
on techniques, patterns and methods of doing it. According to Mason (1901, p.109), there are two types
of weaving. They are, hand-woven or plaited basketry and sewed or wrapped basketry.
Hand woven basketry is built on warp foundation, which is further divided in to checker work,
diagonal weaving, twined or wattle work. Sewed or wrapped basketry is further divided in to six
categories namely, single rod foundation, two rod foundation, rod-welt foundation, three rod foundation,
splint foundation and grass foundation. A.K.Das in his book ‘Tribal art and craft’ argues that wrapped
basketry does not fit in context of sewed basketry due to its absence of true core. According to him,
classification made in Notes ad Queries on anthropology is appropriate where wrapped technique is
included in plaited basketry. ‘On other hand Crow foot (1954,p.418) classified basketry into coiled
basketry, twined basketry, wrapped work, matting work, plaited work, wicker work or stake frame’.
(Das, 1979)
As explained in the Notes ad Queries on anthropology, basketry weaving is classified into
Plaited work and coiled work. Plaited work is further divided in to -checker work, twilled, wrapped,
twined, hexagonal. And coiled work divided into simple one sewn where each stich passes over the new
portion of the foundation coil and pierces a portion of coiled below. Figure eight coiled work in which
each stich encloses two coils in a figure of eight. Lazy squaw sewn where by stich passes over two coils
at once, the sewing passes in front, up and over new coil. Knot work, stich crossed figure of eight and
Cycloid.(Das, 1979)
On comparing above discussions on classifications of basketry, basket weaving can be broadly
divided into 5 distinct categories as follows:
Plaited work, Coiled work, Twined work, Wicker work, Braided work
Surabhi Hebbar 16
3.2 Types of Weaving Techniques
Plaiting
It is a simple weave consisting of one strand going above and under the other strand. Weaving
can be closed or open depending on the purpose of the basket to be done. There are 3 types namely plain
weave, diagonal weave and cross warp or
hexagonal weave.
Plain and diagonal weave consists
of checker work and twill weave work. In
checker work, warp and weft are of uniform
size and pliability, and each element passes
over one and under one of the other, thus

17. Left: Checker weave-plain; Right: Checker weave-
forming square or rectangular checks.
diagonal.
Closed checker work gives compactness
and strength to the baskets. Twill wave
consists of two or more weft strands pass
over two or more warp elements, but not
the same in adjoining rows.
Diagonal weave is a variant of
plain wave, where propagation of warp
and weft elements are diagonal to normal

18. Left: Twill weave-plain; Right: Twill weave-diagonal
direction. When square base is made of
diagonal elements, side wall tends to move
diagonally, making warp and weft indistinguishable.
Cross warp weaving is done using inclined warp elements interlinked by horizontal wefts passing
over and under the inclined warps. These horizontal wefts can be separated co-axial rings or continuous
weft spiraling forming rhombic structure. Variations could be achieved in hexagonal weaving by
a) Changing ratio between elements and spaces between them;
Surabhi Hebbar 17
b) Changing the inclination of warp elements;
c) Introducing additional
elements parallel
to basic elements.
(Ranjan, Iyer, &
Pandya, 1986)
19. Left: Open Cross warp; Right: Closed cross warp
Coiling
23. Cycloid
As mentioned by Kamaladevi
Chattopadhya in “handicrafts of
India” coil basketry is earliest
form of production and has affinity

20. Wrapped coiling 22. Knotted coiling
with weaving. In coil basketry the
foundation is laid by coiling cane round
and the central core at the base and then
building spirally, gradually widening

24. Lazy sqaw
until the desired height and form are
25. Braided coiling
attained. Each coil is fixed to another
by sieving strips.
Coiled baskets consists of

21. Beeskep
single strand and bundled coils, around
which different coiling are done. For 26. Furcate coiling
Surabhi Hebbar 18
single stranded coiling system, wrapping of weft, knotted weft around spiralling coil, and a cycloid
weaving are possible variations.
But bundled coils need to be sewed in order to keep the basket strong. Under this category,
there are four variations possible. They are, lazy squaw sewed, sewed braid coiling, beeskep coiling
and furcate or split stich coiling.
Twining
Twining is the twisting of two or more linear elements to warp elements. When passing from
warp to warp these elements are twisted
in half turns on each other so as to form
a two-ply or three-ply twine of braid.
It produces a dense weave, with ribbed
and distinctive diagonal twist to wefts. In
closed twining baskets, Warps usually get
concealed by wefts.
Twining of basket consists of 3 27. plain twining, twill weave twining, lattice twining,
major categories. They are two strand wrapped twining and cross warp twining, Three strand plain
twining, three strand twining. Two strand twining
twining can be further divided into four
variations namely, plain twining, twill weave twining, lattice twining, wrapped twining and cross warp
twining. Three strand consists of plain twining. These twinings can be done open or closed depending
on the purpose of the basket.
Simple two strand twining are most commonly used, both “open” and “closed” depending on the
spacing between the weft rows. Materials for twining usually consists of grass, fibres or cane materials.
In case of bamboo, it is split into very thin
split so as to get the flexibility in while
twining.
Wickerwork
28. Wicker work
Wicker work are the oldest
Surabhi Hebbar 19
weaving technique practiced from earlier times for making space divider in interior spaces as well as in
fences. In wickerwork the warp is rigid; the smaller and more flexible weft passes under one and over
one of the former. Wicker work can be divided in to two types, namely strand varient and stake varient.
Further they are divided into round strand and flat strand wicket works. Round strand wicker work
can be further divided into plain and twill stake and strand. Stake are referred to wraps and strands are
referred to wefts in the basket.
As a variation of strand based wicker work, single strand or multiple strands are possible
depending on strength and radius of
strands used in baskets. Single sided and
double sided stakes are variations in stake
wicker work. In flat strip wicker work, two
variations can be found. They are, thinner
strip and thicker strip wicker work.
Another kind of wicker work
practiced in most regions are framed

29. Framed wicker work
wicker work basket. They are built
from the bottom and shaped as the work
progresses. In a frame basket the form is set from the outset by the initial arrangement of the hoops and
ribs. There can be one hoop or two hopes places at right angles to each other. The ribs are placed along
hoop in a semicircle directions which is then covered by wicker work or twining of reeds or flat bamboo
strips.
Braiding
Braiding is identified by the
growth of surface along only one axis.
Braiding could be flat or tubular. These
are made from multiple elements which

30. Madeira border and three strand braiding
interlace in two directions each forming
a mutually opposite helix.(M. P. Ranjan,
1985)
Surabhi Hebbar 20
Braiding is mostly done on rim of the baskets as a finishing touch. There are many variations of
braiding possible depending on the number of strands used in it. There is one variation called Madeira
border in which the stakes which are upright from the base in wicker work, are bent and again braided
into to base to form decorated border around the rim. Circular or oval rims are formed in this weaving.
Surabhi Hebbar 21
Surabhi Hebbar 22
Structure of the Basket
Components of Basket
Case sudies
Summary
Surabhi Hebbar 23
Exploring Bsket Weaving Techniques Stucture of Basket
4. Stucture of Basket
4.1 Component of Basket
In every basket, whether it be storage basket or carrying basket, weaving starts with The Base
to Side wall to Rim. In this chapter, components of baskets and various techniques involved in their
construction have been explained. Case studies of some baskets have been discussed further in detail,
in order to understand the integration
of materials with techniques for certain
function of basket.
Rim
Weft elements Side
Warp elements
Base
31. Component of baskt
Base of basket
Base of the basket is starting point,
from which whole structure of the basket

32. Concave base
is built upon it. It gives a solid foundation,
upon which the basket must stand.
There are 2 kinds of bases depending on the beginning of the base point. Firstly, base terminated
on point having concave shape and does not all the basket to stand on it. This results from warp elements
assembled radiating from the centre of the base and moving vertically up the sides of the basket with the
weft elements weaving through these forms a growing spiral. Usually, the shape of the bases consists
circle or conical shape.

Surabhi Hebbar 24
Second types are the base with
flat end, on which basket can stand. This
results either from plaiting of elements, or
from stake and strand weaving techniques.
The origin point which leads to convex

33. Flat base
base also can be made into flat base, by
pushing them towards ground.
Depending on the use of the material in the base, strength of the basket can be determined. In
some baskets, which cannot stand on itself in spite of having flat base, consists of supporting elements
like foots made of bamboo stems.
Side walls
Side walls of the basket are woven using different techniques depending on the function and
strength required for the basket. If the base is square woven by using plaiting, the side walls can continue
in same plaiting or wicker work depending on the material used. If the surface required is open, hexagonal
weaving can be used. Likewise if the surface requirement is close densely packed, combination of
twill weave or compact plain weave could be used. Detailed explanation on weave structure has been
explained in Chapter 6.
Rim of basket
Rim of the basket is finished using
braiding technique. Basically there are
two kinds of rim. They are:
Self-strengthened rim-it is used
in most of plaited baskets, where warp
elements are folded back to weave into
plaited side walls. Several variations of
braiding can be used depending on desire

34. Self strengthened rim
of finishing. Variation in self-strengthened
rim as identified are
Surabhi Hebbar 25
a) Folded rim- the elements from the side weave fold into weave structure.
b) Twisted braid rim- linear elements emerging from side weave are split in to 2 parts to braid
horizontally.
c) Looped rim- Warp elements emerging from side weave are formed into circular loop to
accommodate remaining ends of the elements
d) Knotted rim- one of the end element are knotted to neighbouring element to anchor elements
emerging as warps from side weave.
Strengthened rims-in these baskets, rims are strengthened using additional elements of cane or
bamboo split, where by side walls are sandwiched and bound firmly between them.(Ranjan et al., 1986)
The variations in this type are
a) Applied elements- the additional
elements to strengthen the rim are applied
to weave edge which are bound by flexible
binding elements.
35. Applied strength rim
b) Integrated elements- the
additional elements are integrated in to
woven surface either by interlacing the weave elements or by being enclosed inside a folded or looped
rim.
Surabhi Hebbar 26
4.2 Case studies
Through Site visits
Ramanathapuram, Tamilnadu
Function:
Baskets made of palm leaves are used for various
small purposes like storing of vegetable, grains, tobacco
leaves, etc. Some baskets which are large in size are used
for carrying grass from the field for cattle feeding and
carrying other agro based products.
Material used:
Palm leaf. Generally palm leaves are obtained from
neighboring villages. They are harvested after 3 months of

36. Square basket
germination of seeds. The first 2 fronds coming out from
germination are of white in color. They are used for delicate
designed products. After these leaves, matured leafs are
harvested to make mats and large baskets. One bundle of
palm leaves consists of 30-40 fronds which are used to
make one basket.
Base weave: 37. Base weave
Most of the basket made are of 2 parts. Bottom and
lid, woven on same principle as follows. Shape of base is
square due to interlacing of palm leaves at right angle to
each other. The weave structure follows diagonal pattern,
from which side walls erect diagonally to normal.
Side weave:
38. Base showing corners
Most of the basket made follows checker pattern in
diagonal angle. There is no binding at the edge of the base.
The elements from the base, erect diagonally making 4 vertices at corners to define the square base.
Surabhi Hebbar 27
Rim:
All the baskets made are self-strengthened. The
weave elements from the side weave return back to side
wall by folding. These elements get interlocked in-between
the side weaves giving circular finish to the rim. Some of
the decorative baskets have additional rim binding, dyed in

39. Self strengthened rim
different color to enhance the look.
Surabhi Hebbar 28
Bangalore, Karnataka
Function: It is used to carry grains, Fruits and Food items during the ceremonial functions.
They are also used to store vegetables, which are sold in markets.
Material used: The material brought from Belgaum are Bambusa Bamboo, Dendrocalamus
stocksii, Dendrocalamus Strictus.
Properties of Bamboo: Culms are solid at base and hollow towards the tip of the culm.
Dendrocalamus Stocksii culm height is about 9m, diameter is about 25 to 58 cm, and internode is 15 to
30 cm. They are ready to harvest at the end of 4 years, harvested every year from fifth year onwards.
Maximum crushing stress is 386 kg/m2. Bambusa Bamboo has maximum crushing stress 572kg/m2.
Before Weaving, bamboo is cleaned and outer layer is removed. 32 spits are cut from single
bamboo. Outer skin is peeled and soaked in water, as they are easy to weave.
Type 1 Basket:
Size and Shape:
Base is circle in shape with 11 inch Dia, gradually forming into circular rim of 20 inch Dia.
Height of the basket is 13 inch.
Basket Base Dia( inch) Rim Dia (inch) Height (inch)
Basket 1 15 23 19
Basket 2 14 21 14
Basket 3 11 20 13
Basket 4 8 13 8
Table 4-1 Dimension of Type 1 Baskets
Base weave:
Base part is made with 1 inch width bamboo
overlapping radially to form circular base. Conventionally
base is made of 10 or 16 strips overlapping one another.
Thin strip of metal sheet is inserted to the base along with
bamboo to give strength. Four rounds of wefts are made
with thin flat bamboo, to give flatness to base.

40. Type 1 basket
Surabhi Hebbar 29
Side wall:
After four round of flat wefts, thin round shaped
bamboo splits of 5mm are used spirally, continues line of
strip is weaved around the warps. Three pairs of wefts run
continuously from base to rim, twining around the wider
strips of warps. Baskets of these types have same height as
the base diameter.

41. Base weave
42. Base with metal strips
Type 2 Basket:
Basket Base Dia (inch) Rim Dia (inch) Height ( inch)
Basket 1 8 18 8
Basket 2 8 15 4
Basket 3 6 11 4
Table 4-2 Dimension of Type-2 Basket
Base and Side wall construction remains same as Type-1 baskets. But base results in convex
form, due to bending variation. Rim is self-strengthened,
made of folding warps, stuck with neighboring warps.
These baskets are generally used for displaying products
for selling purpose in market.
43. Type 2 basket
Surabhi Hebbar 30
Type 3 Basket:
These baskets are prepared for rough use carrying
fruits. After the delivery of fruits from one place to another,
these baskets may be disposed. Hence bamboo strips used

44. Type 3 Basket
for this purpose are split without any precision. Warps are
made of bamboo splits which are remained aftr the fine
splits are made for other baskets.
Basket 1 10 21 16
Basket 2 12 26 20
Type 4 Basket:
It is a shallow carrying basket with Square base. It
consists of 2 parts, Bottom and top of the basket (lid).
Base weave:
Base is square, with plain weave, woven from flat
bamboo split of 2 inch width. Corner of the base is bent
and flared out about half of the height and narrowed down
near the rim. 45. Type 4 Basket
Side Weave:
Side is woven with thin round splits of bamboo,
running around the flat wide strips. Three sets of weft
passes continuously twining around the warps. To make
the Basket strong enough to carry load, there are additional
wefts at three levels as shown. Base consists of four piece
of bamboo, acting as stand as well as giving strength to the 46. Base weave of type 4 basket
base of the basket.
Surabhi Hebbar 31

Basket Bottom 12 15 12
Basket Lid 12 16 4
Surabhi Hebbar 32
Through Literature
Dhamas, Uttarakhand (Baral, 2015)
Function:
It is used for storing grains and agricultural product.
Shape of the basket is circular with Shallow depth.
Material used: Bambusa tulda
Properties of bamboo:
Culm height of Bambusa tulda is 8 to 20 m.
Diameter of culm consists 5-10 cm with internode spacing
30-60 cm.
47. Circuclar base
Base weave:
Strips of bamboo are arranged in circular
overlapping one another and weaved alternatively and run
through arranged strips.
Side weave:
Warps are slightly bent to make side weave, until
height is achieved. Weaving technique used is wicker work,
where warps are kept constant and weft elements go over
and under the warps.

48. Detail of Rim
Rim:
It is added with thick bamboo pole, locally called
kunela. This pole is slightly bent and made as ring which is attached to bamboo basket.
Surabhi Hebbar 33
Village Khonoma , Nagaland Source:(M. Ranjan et al., 1986) and (Baral, 2015)
Function:
It is used to carry grains, water, Vegetables and
other harvest products from the field. They are designed
with very minute details, which is unique from tribe to
tribe. They are also given as a symbol of commitment to
woman by man (Baral, 2015; M. Ranjan et al., 1986). Mode
of carrying is on back with a head strap attached to base of
basket. 49. Woman with Basket on back
Material used:
Cane and Bamboo. Bamboo species are Bambusa
balcooa (Vuteya), Dendrocalamus hamiltonii (Aotsü),
Melocanna baccifera (Turiah).
Properties of bamboo:
Culm height is 12 to 20 m with 8-15 cm diameter.
Internodes are about 20-40 cm long.
Size and shape:
Basket is made of narrow square base with wider

50. Top view of Basket
circular rim. Base is 6inch, with rim diameter 18inch.
Height of the basket is 17 inch.
Base weave:
Base part is made with thin strips of cane, woven together to form square by interlacing strips
in a plain weave. Then it is placed on a mould and body is woven, which has three layers of elements.
Extensions of the base are divided into two sets, where alternate strip are bent to create rhombic pattern.
Side weave:
A strip of cane is spiraled around the basket, whose thickness is maintained by inserting cane
strips through metal plate punched with certain sized holes. Since the rim of basket is wider than base,
additional warp elements are added to maintain even distance between adjacent strips.
Surabhi Hebbar 34
Strengthening of basket:
A portion of bamboo culm ending in a node with
branch protruding is used to strengthen the side of the basket
along with base. Four bamboo elements are placed at corner
of the basket and branches overlap along base diagonals.
A thin cane strip braiding is done around the base for its
strengthening which is anchored to legs of basket.
51. Side weave
52. Side strenghtening element
Surabhi Hebbar 35
4.3 Summary
From the above study of basket construction it is evident that, basket weaving involves:
1. Proportion of the basket
2. Construction techniques
a. Base variation
b. Base transformation
c. Twisting
d. Binding elements
e. Supporting elements
3. Weave structure
Proportion of the basket
Based on case studies it is found that, shape and size of the basket depends on function for
which basket is being is used and mode of carrying by the person. Most of the baskets are used for
carrying and storing particular commodity. Existing mode of the carrying are as follows.
a. On the back- where a person leans forward to counter load at the back.
b. On the head- where a person balances on the top of the head.
c. On the waist- where a person holds it with hand keeping the base on the waist, usually
carried by woman. For this purpose, the top diameter of the basket needs to be of arm length.
53. Different sizes of baskets
Surabhi Hebbar 36
Shape of the basket to be carried on the back has
tall structure with small base and rim being double the size
of base. To accommodate these baskets on back, they are
provided with strap on back, starting from the half of the
height of the basket. When carried on back, there is a counter
balance from the basket to person and he has to bend little
forward. Thus size of the rim is kept as long as the height of
the basket, to counterbalance the weight carried by person. 55. Holding on back
To carry the baskets on head, they must be having
flat base to accommodate to sit on the head and diameter
of the base is kept as width of the person head dimension.
Since the load on the person is vertical in this case, the
basket height is kept as long as diameter of the base to
balance.
Sometimes baskets are carried around the waist by
women by holding the rim of the basket along one arm.

54. Holding on head
Most of the basket made, have diameter of the rim as long
as length of one arm to two arm length.
Base variation
Base variation occurs due to difference in beginning
point and pattern variation achieved through weaving.

56. Holding on waist
Pattern variation involves three types of primary base
variation. They are
1. Square/rectangle base
2. Circular base
3. Polygonal base
Surabhi Hebbar 37
Square and rectangular base can be formed using
plain plaiting or diagonal plaiting. Hexagonal plaiting
usually leads to hexagonal or triangular bases, from which
side walls are constructed. These hexagonal bases can also
lead to form octagonal or star shape, eventually leading to
circular base.
Circular bases can be generated from any of coiling 58. Square base
or wicker work or twining. The resulting bases from each of
the weaving are different in nature. Circular base in which
warp elements are assembled radiating from the center of the
base and moving vertically up the sides of the basket with
the weft elements weaving through these forms a growing
spiral. This construction results in a base terminating in a
point which does not permit the basket to rest flat on the
ground except when this point has been pushed in upwards 57. Circular base
to generate a concave surface at the bottom of the basket.
(Ranjan et al., 1986)
Another kind of circular base can be generated by
placing four pairs of warp elements, placed at right angles
to each other to form a square interlocking system, from
which radiating elements are emerged as shown in figure
beside. Oval bases are another variation of circular base,
generated from wicker work or twining leads to cylindrical

59. Polygonal base
form of baskets are flat at base. Those which are woven
using coiling technique takes pointed form at base.
Surabhi Hebbar 38
Base transformation
Shape of the basket to be achieved is determined by transformations from base to side weave.
By changing the length of weft elements, the shape of the basket acquired can be different. There are
mainly 5 kinds of base transformations.They are
1. 900 bending
2. 900 bending with curved sidewall
3. Bending with an angle
4. Concave bending
5. Curved bending
60. 90 dergree bending 61. 900 bending with curved 62. Bending with an angle
sidewall
63. Concave bending 64. Curved bending
Surabhi Hebbar 39
Twisting
At certain points in baskets twisting of bamboo strips or cane strips becomes necessary for the
strengthening of woven structure. Twisting occurs in self-strengthened rim, Base and side wall where
bamboo strip changes its directions. There can be full twisting or half twisting as shown below. In some
baskets, additional strips make loops by twisting upon itself adding strength to basket.
65. Full twist 66. Half twist 67. Looping
Binding Element
Baskets are also strengthened by binding elements made of thin cane splits. They can be seen
a) Around the corner of the square base,
b) Along the side wall attaching to strengthening elements, or
c) In-between the weaving elements
68. Binding around base 69. Binding around side and 70. Binding inbetween
rim weave elements
Surabhi Hebbar 40
Supporting elements
Some baskets woven with thin spits of bamboo, need supporting elements in order to make them
stand. They act as strut for the base or the side of the basket. Supporting elements can be
1. Whole bamboo legs,
2. Split bamboo sticks on base bonded with binding elements or extending from the base
to rim.
3. Strengthened rim made of thick bamboo splits giving shape to rim.
71. Side supporting 72. Base supporting 73. Rim supporting
Weave structure
It depends on following parameters. They are
1. Direction of elements
2. Spacing between elements
3. Thickness of strips used in each direction
4. Number of strips used in each direction
5. These parameters have been explained in detail in further chapter 5.
Surabhi Hebbar 41
Surabhi Hebbar 42
Exploration
Methodology
Conclusion
Surabhi Hebbar 41
Exploring Bsket Weaving Techniques Exploration
5. Exploration
5.1 Methodology
The thesis prefers to choose weaving technique as a knowledge to derive computationally
enabled form finding procedures. A specifically structured methodology is derived to support and
suffice the pace of research. The investigation is conducted to achieve following objectives
Objective 1: To understand different parameters which are used in various basket weaving
techniques.
Phase 1: A study to find out various weaving structures in plaiting used in various baskets
prevailing in traditional and conventional practices.
Phase 2: Analysing and organising collected data to extract parameters which form weave
structures, which can be used for the experimentation to derive methodology.
Objective 2: Deriving computationally enabled digital coding system using extracted
parameters.
Objective 3: Investigating derived code system through physical models analysing behaviour
of the achieved form.
Phase 3: Listed parameters are applied over various iterations mentioned in table.
Phase 4: The achieved forms are analysed to answer below questions:
Realisation of digital model to physical:
Has the physical form been achieved derived through digital coding?
What are the issues faced during transition between digital model and physical model?
Future Scope of the research:
What are the future possibilities/ scope research?
What are the possible ways to modify the module?
Probable application:
Where can be the similar methodology used?
Surabhi Hebbar 42
Objective 1:
To understand different parameters which used in various basket weaving technique.
Phase 1: A study to find out various weaving structures in plaiting used in various baskets
prevailing in traditional and conventional practices.
Basket Form Weave structure
Paikawng Basket: Used for fire wood carrying. Basket has very strong resistance against vertical
loads. Reason for this is weaving pattern and thick elements.
There are three elements in the weave structure, in 3 direction. Bamboo strip used is 7mm wider
and 3mm thick. Usually outer splits are used for strengthening of basket.
Two pairs of elements intersect each other at inclined angle, forming outer and inner surface.
Between them horizontal element passes through above and under the outer and inner element to make
them rigid enough to resist the deformation due to vertical load.
Surabhi Hebbar 43
Jamatia Fire wood Basket: The basket is used for carrying wood. The elements used for weave
structure are of outer splits of bamboo, having 7mm width and 1.5mm thickness. Since thickness is less,
hexagons are smaller with less spacing. Every consecutive ring consists of horizontal element passing
under and over the two inclined elements.
Kophi Basket: The basket is used to carry things. It is made of cane strips.Warp elements
consists of two pair as previous bas baskets, with less spacing.Horizontal elements consists of two types
of cane. One going inbetween the two warp elements, thicker in dimension. Another type is very thin
strip, going above and under those warp elements. Triangle patterns are formed in weave structure due
to these elements unlike other hexagonal weave.
Surabhi Hebbar 44
Dikhangra Basket: Basket is used for carrying. Weaving elements used are cane strips of 8mm
wide, 2mm thick. Inclined elements are inclined almost 300 from vertical axis. Hence regular hexagons
are generated by three elements. Since all three elements are of same dimension, rigidity towards
bending is more.
Khiyamngan Basket: Used to carry fire wood by men of Khiamngan Naga tribe. Made of very
thin 3mm wide cane splits having 1 to 1.5 mm thickness. Hence spacing between the elements are also
less compared to other baskets. Since elemetns used are very thin, base weave consists of 3 pairs of
elements in each direction which then divide to become single elements in side weave. For strenghtening
of base, additional twined cane splits are used.
Surabhi Hebbar 45
It is used by women of Khiamngan Naga tribe doe carrying woods. Similar king of weave
structure is followed as mentioned earlier. But this basket has slit on one side, for which weave structure
is slightly modified to accommodate form. The inclined elements upon reaching slit, returns back into
weave structure and horizontal elements are tied to slit boundary made of thick, bamboo split.
Basket is used for marketing purpose, which is why the bamboo splits used are very thin with
0.5mm thickness and 2mm wide. Since strips are very flexible in nature, side strengthening and rim
strenghteining is done.
Weave structure consists of hexagonal patterns with additional horizontal elements passing
inbetween the two inclined elemets divinding hexagonal shape into trapezoids. At the rim, inclined
elements return back to fill the spaces beween them, by increasing number of rhomus. This kind of
weave structure gives ridgness to the form against deflection when used with thick strips.
Surabhi Hebbar 46
The basket is used to carry grass from field. It is made of thick bamboo splits. Inclined elelemts
consists of pair of bamboo spits of 12mm wide, 1.5mm thick, while horizontal elements used are of
15mm wide, 2.5mm thick. Weave structure is clearly hexagonal grid as seen in above image. Inclined
elelemts bend over thick, rigid rim in opposite direction. Horizontal elements are inserted in co-axial
rings to interlock the inclined elements.Despite of minimal use of strips but thick and wider, strength
has been achieved.
The basket is used to carry grass from field. It is made of thick bamboo splits. Inclined elelemts
consists of pair of bamboo spits of 12mm wide, 1.5mm thick, while horizontal elements used are of
15mm wide, 2.5mm thick. Weave structure is clearly hexagonal grid as seen in above image. Inclined
elelemts bend over thick, rigid rim in opposite direction. Horizontal elements are inserted in co-axial
rings to interlock the inclined elements.Despite of minimal use of strips but thick and wider, strength
has been achieved.

Surabhi Hebbar 47
It is used by women of Khiamngan Naga tribe doe carrying woods. Similar king of weave
structure is followed as mentioned earlier. But this basket has slit on one side, for which weave structure
is slightly modified to accommodate form. The inclined elements upon reaching slit, returns back into
weave structure and horizontal elements are tied to slit boundary made of thick, bamboo split.
Basket is used for marketing purpose, which is why the bamboo splits used are very thin with
0.5mm thickness and 2mm wide. Since strips are very flexible in nature, side strengthening and rim
strenghteining is done.
Weave structure consists of hexagonal patterns with additional horizontal elements passing
inbetween the two inclined elemets divinding hexagonal shape into trapezoids. At the rim, inclined
elements return back to fill the spaces beween them, by increasing number of rhomus. This kind of
weave structure gives ridgness to the form against deflection when used with thick strips.
Surabhi Hebbar 48
Phase 2: Analysing and organising collected data to extract parameters which form weave
structures, which can be used for the experimentation to derive methodology.
Parameters of weave structure, as conclusion can be derived as follows,
Direction of elements
If we consider the woven
structure in reference of rectangle
panel, in most of the baskets studied,
elements woven consists of 3
directions
1. Vertical direction
2. Horizontal direction
3. Inclined to vertical
74. Direction of elements
pacing between elements
Spacing between the
elements depends on angle of inclination of inclined elements and thickness of the strips. For a specific
strip width, spacing can be reduced by increasing the angle of inclination between inclined elements.
More details has been explained in further section Objective 2.
Surabhi Hebbar 49
In baskets, general spacing can be as follows:
75. Spacing between elements
Surabhi Hebbar 50
Thickness and width of strips used in each direction
Rigidity of the form depends on thickness of the strips along with spacing between them. Width
of the strips in conventional basket weavings involves following variations
76. Warps wider than wefts 77. Wefts wider than warps
Number of strips used in each direction
From the study it is evident that, in baskets
number of elements in each direction determines the
strength and rigidness in the form of basket. It is
also evident that, number of strip used is more when
strip width and thickness is very less compared to
spacing between the elements.
All these parameters mentioned above are
considered for the exploration of woven system
through computationally enabled digital coding
system. For further exploration in digital media,
Rhino and grasshopper definitions are used which

78. Number of elements in Weave structure
is explained in next phase.
Surabhi Hebbar 51
Objective 2:
Deriving computationally enabled digital coding system using extracted parameters.
For deriving computationally enabled coding system, hexagonal woven structure is chosen.
Computation is done using Rhino and grasshopper definitions. Spacing between the all the three
elements are considered 1:1 and thickness of the strip is considered negligible. Width of strip is derived
along the exploration. This coding system gives a methodology to derive the woven structure for any
complex form.
The Hexagonal weave structure is taken for creating computational algorithm. This grid is
projected on to a target surface in order to get specified numbers of elements in each direction with
specified spacing and strip thickness.
Based on these ideas, 2 types of algorithms generated in Grasshopper as follows.
1. Point based grid
2. Line based grid
Generative definition 1:
1. Hexagonal grid is generated through set of points. The initiative points are created on
XY plane through <series> of points with specific distance which determine the <spacing> between the
elements.
Surabhi Hebbar 52
2. These initial points in series are duplicated and <moved> along Y-axis, at 600 as
shown below.
3. After generation of grid, Points are sorted to generate lines in 3 direction of
hexagonal grid. Before sorting points for generating lines, the points are <projected> on to
surface to plot the points on <target surface>. These points represent horizontal line of hexagonal
weaving.
Surabhi Hebbar 53
Surabhi Hebbar 54
4. For obtaining inclined lines of hexagonal grid, the points are <flipped> to get
second set of lines inclined to horizontal lines at 60 degree. Lines created through these points
are seen as below.
Horizontal lines
Inclined lines
Surabhi Hebbar 55
5. Third set of inclined lines are generated through set of algorithm, as shown
below.
6. Distance between intersections are calculated for each set of points through
another an algorithm as explained below.
Surabhi Hebbar 56
7. After finding distance between them, they are added through <mass addition>
to get strip length of each element in each direction separately.
8. Strip width is calculated as percentage of minimum distance between points in
grid
9. After achieving length and width of the strip, rectangle is drawn to the same
dimension to get the specific strips of specific length and width. The distance between the
intersecting points are obtained by drawing circle to those points having specific radius to
define those points.
Surabhi Hebbar 57
Surabhi Hebbar 58
Generative definition 2:
1. To start the hexagonal grid as mentioned before, a point is plotted on a XY plane with
a Direction.
2. Line 1 is created by connecting starting point with <Line SDL>, whose length is
controlled, defined by <number slider> which is connected to length input of <line SDL>.
3. Line 1 is rotated <VRot> about Z axis defined
by <unit z>, with an angle of 60 degree to get Line 2 of same
length as Line 1.
4. Same step is applied to Line 3, which is moved
with an <amplitude> at a distance of A/tan (π/3), where A is
spacing between elements. Thus 3 set of lines are generated in 3
direction, 60 degree inclined to each other.
Surabhi Hebbar 59
5. After obtaining these lines in position, they are multiplied to number of lines
controlled by <number slider> to define number of elements on grid.
Line extended by
connecting to <number
slider> length of line
79. Grid lines on plane
Surabhi Hebbar 60
6. The hexagonal grid generated is now projected on <target surface>
80. Projected lines on surface
7. These lines on the surface represent the elements direction to be weaved. In order to
get spacing between each element intersections, <cluster> of points are generated by <grafting> the
projected lines. Curve intersection points between Line 1 and Line 2, and intersection between Line 1
and Line 3 are found using <CCX>. Similar step is applied to find intersection point between Line 2
and Line 1, Line 2 and Line 3 and so on. The points obtained from these intersections are used to find
distance between overlapping elements.
81. Gerated points on surface
Surabhi Hebbar 61
8. The distance is calculated to find
the strip length to be achieved in each strip in
each direction through previous algorith used in
Grasshopper definition 1
9. Width of the strip is calculated using
Formula
Spacing between center of elements
(A)=Distance betwen strips (2h)+Strip width (d)
Where
In this case, θ = 60 degree, sin (30) = 1/2
Hence h= d, Spacing between centre of 83. Spacing between elements
elements = 3d
Therefore,
Strip width<or=Spacing between center of elements (A) /3
Thus always strip width will be less than or equal to 1/3rd of spacing between the elements in
hexagonal grid. If the width of strip exceeds this value, would cause problem through overlapping and
would not be compatible to weave.
The strip can be changed by inserting <number slide> for calculating percentage of maximum
strip width, by which different width dimension is achieved.
Percentage of
maximum strip
Maximum strip width
width
82. Strip length and width calculator
Surabhi Hebbar 62
10. After achieving length and width of the strip, rectangle is drawn to the same dimension
to get the specific strips of specific length and width. The distance between the intersecting points are
obtained by drawing circle to those points having specific radius to define those points.
84. Generated strips
Surabhi Hebbar 63
Objective 3:
Investigating derived code system through physical models analysing behaviour of the achieved
form.
Phase 3: Listed parameters are applied over various iterations mentioned in table.
Among the four parameters, Spacing and thickness are taken for investigating through physical
model. Considering three variations of spacing and width of strip, following table of iterations are
possible, among which only one iteration is considered for the explorations.
Width of strip Even Uneven Gradual increase or decrease
Spacing
Even Even/Even Even/uneven Even/Gradual
Uneven Uneven/Even Uneven/Uneven Uneven/Gradual
Gradual increase/ Gradual/Even Gradual/Uneven Gradual/Gradual
decrease
Case 1: In this case, a physical model is built with spacing at 15 and thickness of 10mm is
maintained. Scale of the form taken is 200x 200 mm. Units of the model is in millimetres.
Strip sizes were generated using Grasshopper definition type 1.
An arbitrary surface is choses as target surface, on which grid points were projected.
85. Target surface
Surabhi Hebbar 64
Input controls are taken shown as below
86. Input control points
Projected points are then sorted for strip width calculation.
87. Points on surface
Strips obtained are then laser cut on paper sheet for building physical model.
Surabhi Hebbar 65
88. Horizontal lines
89. Inclined lines 1
90. Inclined lines 2
Surabhi Hebbar 66
Physical model 1: Spacing at 15mm
Observation
Physical form has been achieved with
the provision of anchor points
During transition from digital model
to physical model, issues were faced regarding
spacing and strip width. Due to insufficient
spacing, 10mm strip could not accommodate in
horizontal direction
Modification should be done for joints
and connections at intersection points. 91. Top view
As the horizontal line passes through
the center of the intersection of inclined lines,
weaving was not possible with given strip width.
92. Front view
Intersection
points
94. Detailed view 93. Side view
Surabhi Hebbar 67
Physical model 2: spacing at 20mm.
Observation
the provision of anchor points. But covering
elements has become less compared to previous
model.
spacing and strip width.
Edge conditions are not defined by
digital tools, hence lack of form as seen in digital 95. Top view
model.
and connections at intersection points.
weaving was possible with given strip width.
96. Front view
Loose boundary
97. Side view
Surabhi Hebbar 68
Observation
the provision of anchor points. But not exact as
digital model due to more spacing.
spacing and strip width.
Edge conditions are not defined by
digital tools, hence lack of form as seen in digital
model.
98. Top view
and connections at intersection points.
weaving was possible with given strip width.
99. Front view
100. Side view
Surabhi Hebbar 69
Case 2: In this case, a physical model is built with spacing at 15 and thickness of 6.159 is
maintained. Scale of the form taken is 200x 200 mm. Units of the model is in millimetres.
Strip sizes were generated using Grasshopper definition type 2.
An arbitrary surface is choses as target surface, on which grid lines were projected.
101. Target surface
Input controls are taken shown as below
103. Lines on surface 102. Input controls
Projected points are then sorted for strip width calculation. Strips obtained are then laser
cut on paper sheet for building physical model.
Surabhi Hebbar 70
104. Horizontal line strips
105. Inclines lines 1 strips
106. Inclined lines 2 strips
Surabhi Hebbar 71
Observation
Physical form has been achieved with the provision of anchor points
During transition from digital model to physical model, issues were faced regarding spacing
and strip width. Due to insufficient spacing, 10mm strip could not accommodate in horizontal direction.
Hence some strips have been omitted to retain the form.
Modification should be done for joints and connections at intersection points.
Regular hexagons are created by woven structure.
107. Top view 108. Side view
Surabhi Hebbar 72
Physical model 2: spacing at 20mm.
Observation
Physical form has been achieved with the provision of anchor points
During transition from digital model to physical model, issues were not faced regarding spacing
and strip width since strip width is 1/3rd of spacing 20mm.
Boundary condition has not been achieved only through weave structure.
Surabhi Hebbar 73
Observation
Physical form has been achieved with the provision of anchor points. But not similar to digital
model.
During transition from digital model to physical model, issues were not faced regarding spacing
and strip width since strip width is 1/3rd of spacing 20mm.
Boundary condition has not been achieved only through weave structure.
Surabhi Hebbar 74
Phase 4: The achieved forms are analysed to answer below questions:
Realisation of digital model to physical:
Has the physical form been achieved derived through digital coding?
Yes. Forms can be achieved through derived digital coding. As spacing between elements
increases, possibility of achieving exact form decreases. Hence need for boundary condition becomes
necessary.
15mm spacing 20mm spacing 25mm spacing
What are the issues faced during transition between digital model and physical model?
Following issues were faced during transition from digital model to physical model
• Spacing and strip width are dependent on each other.
• Intersection points had to be tied with external binding elements. Hence modification
should be considered while building physical model.
• As the spacing increases, points on surface decreases, because of which boundary
conditions are not defined appropriately.
Future Scope of the research:
What are the future possibilities/ scope research?
Surabhi Hebbar 75
This methodology has been explored over only one technique. Other techniques can be
considered for further scope of research.
The physical model has been explored for one type of iteration. There are possibility of
considering other iterations explained in Table 51
What are the possible ways to modify the module?
Intersection points are joined through binding elements. But there is possibility of modifying
connections through digital as well as physical exploration based on basket weaving technique.
Probable application:
Where can be the similar methodology used?
Similar methodology can be applied in exploring other forms of crafts.
For this research, only plaiting has been explored through digital computational tools. There are
other types of basket weaving techniques which can be explored through similar methodology.
Surabhi Hebbar 76
5.2 Conclusion
Basket is an example for alternative construction system for architecture, whose structural
elements interact with each other reinforcing whole structure. Elements in basket can span entire length
or width of structure, distributing structural properties evenly through the form. Through various research
studied, it is shown that application of weaving techniques in architecture gives wide opportunity for
exploration through new materials, patterns and techniques.
Through case studies done on site, it is evident that limited use of techniques due to lack of
knowledge transfer from craft generation, ignorance in identifying structural qualities.In spite of use of
inherent structural techniques in baskets, these crafts techniques have been limited to small scale baskets
and other products. Hence there is a need for research into looking at these techniques, which could help
in larger context of design field. Through the exploration, the research has attempted to take basketry
technique to next level through digital technology.
Parameters of Basket weaving
Through literature and field studies, it has been concluded that basket weaving involves following
parameters in consideration for its stability and structural rigidness.
Proportion of basket
Construction techniques
Weave structure
Exploration:
Methodology of exploration is developed using weaving technique as a knowledge to derive
computationally enabled form finding procedures. It has opened up new possibility for designers to
collaborate with crafts people utilising their craft techniques for design. The research has attempted
to digitize the basket weaving technique in achieving computationally enabled forms with precise
dimensions.
Exploration done in this research offers two kinds of form finding procedures, through projection
of grid points and through projection of grid lines of woven structure.
Surabhi Hebbar 77
Physical realization of digital model:
Transition from digital model to physical model has faced issues as the arbitrary form doesn’t
have any start and ending like basket. Issues found are
Spacing and strip width relationship. It has been shown that there is relationship between
spacing and strip width, as Strip width<or=Spacing between center of elements (A) /3
Connections and joints used to keep the elements in place. As digital model, does not determine
the connections between intersection points of each element, alternate way of joining them through
binding element has been achieved, which could be further improvised through digital model.
Modifications should be done in order to define boundaries of form, which can be utilized from
the parameters explained in chapter 4.
Future scope of Research:
As methodology of deriving computationally enabled forms, is applied to only one technique,
plaiting, other techniques mention in chapter 3 can be possible to explore. Also in plaiting, number of
possibility can be achieved through iterations from Table 51
Many parameters are restricted which are mention in chapter 4, for computationally enabled
coding system, which can be explored as future scope of research. As arbitrary surface chosen is
restricted to only two kind, many forms can be explored for further research.
As the methodology derived is an attempt develop complex form using craft techniques in
approximation, these design experiments indicate potential future contributions and a new design and
research.
Surabhi Hebbar 78
Appendix
Understanding technique with material
Exploration of weaving started with desire to
create a system using simple plaiting plain weave, which
is used in base of the basket. As explained earlier, plain
weave consists of simple weave, one strand going over
and under another strand. Materials used to achieve

113. Base weave bent upwards
this weaving should have properties like flexibility,
bending, and it should be able to achieve in form of
longitudinal strips. Thus, materials like thick paper,
bamboo and PVC form sheet is used for the study.
Exploration 1
The reason for using thick paper was that, the 114. Paper strips
material should have some structural strength. To start
the exploration, size of the paper strip is kept minimum.
Width of strip being 5mm, length of the strip is kept 30
cm. Initially 4 strips are interlaced with another set of 4
strip to get a square shape.
Main aim of this exploration was to blur the edge
condition between base ad side weave. As said before,
in existing baskets this square base is extruded directly 115. Interlacing
upwards to make warps. But in this exploration, idea was
to keep the elements as it is, and take form as the weaving is progressed
To achieve behavioural natural bending, it is found that, there has to be additional elements in
the direction inclined to previous elements. Hence another set of 4 strips were added to these, in the
direction 450 to both of preceding elements.
In order to keep all the elements in 900 to each other, strips in the inclined direction are pulled
from both side. It resulted in gradual bending of first 2 sets of elements.

Surabhi Hebbar 79
To keep the form stand on itself, it is found
that more of these strips were needed. Thus additional
strips were inserted in all three direction, until specific
parabolic structure is obtained.
Observation:
• The parabolic structure obtained from
the paper strip were structurally stable on 3 points as

117. Addition of strips at 45 degree angle
shown in figure.
• The additional strip added in inclined
direction could be manipulated in order to get desired
shape of parabolic.
• Since paper strip was made of particles,
it was non fibrous in nature. Hence slight difference in
pulling force were creating folding at some points, which
were irreversible.
116. Bending
118. Load transfer points 119. Direction of elements
120. Top view 121. Manipulated system
Surabhi Hebbar 80
Exploration 2
Idea of exploration followed is same as paper strips. Size of bamboo strip were scaled up to
4 times the paper strip size. There were modification in method, since material was heterogeneous in
nature. Thickness of the strip taken was 2mm, which offered rigidity in bending, compared to paper
strip. Hence Bamboo strip had to be kept in moisture in order to get flexible bending.
When started, the strips were weaved and then tried to bend with addition of inclined elements.
But behavioural bending as seen in paper strip was not possible. Hence Strips were bent with the aid
of heating and cooling with moisture, and weaved in order to get the form. After the form is achieved,
the system becomes rigid as the moisture is removed. Following figures show the different forms of
systems. The angle of pre-heated bending are 60 degree and 90 degree respectively.
122. Side view 123. Top view
124. Side view 125. Top view
Surabhi Hebbar 81
Exploring Bsket Weaving Techniques References
References
Books:
Belfer, N. (1975). Weaving: design and expression. London,U.S.A.,Massachusetts Davis Pub.
Jaitly, J. E. (1990). Crafts of Kashmir, Jammu and Ladakh. Ed. by Ayesha Kagal Book.
Ahmedabad: Ahmedabad Abbeville Press Inc. New York & Mapin Pub
Krishna, N. (1992). Arts and crafts of Tamilnadu. Photographs by V. K. Rajamani Book.
Ahmedabad Mapin Pub
Ranjan, M. P., & Ranjan, A. (2007). Handmade in India. New Delhi: Council of Handicraft
Development Corporations.
Semper, G. four elements of architecture and other writings. (1989). The four elements of
architecture. In H. F. Mallgrave & W. Herrmann (Eds.), The four elements of architecture and other
writings (pp. 74,101–129). Cambridge, England: Cambridge University Press.
Iwamoto, L. (2009). Digital fabrications: architectural and material techniques. New York:
Princeton Architectural Press.
Saraf, D. N. (1982). Indian crafts: Development and Potential. New Delhi: Vikas publishing
house PVT LTD.
Ranjan, M., Iyer, N., & Pandya, G. (1986). Bamboo and cane crafts of northeast India (p. 361).
New Delhi: The Development Commissioner of Handicrafts, Government of India.
Das, A. K. (1979). Tribal art and craft (p. 190). Delhi: Delhi : Agam.
Mason, O. t. (1901). The technic of aboriginal american basketry.pdf (pp. 109–128).
Navajo, S. of I. B. (1903). Indian Basket Weaving (p. 116). Los Angeles, Calf.: Los Angeles,
Calif., Whedon & Sprend co.
Dunkelberg, K. (1985). Bamboo as a Buidling Material. In S. Gaβ, H. Drüsedau, & J.
Hennicke (Eds.), IL31 Bambus Bamboo (pp. 45–256). Stuttgart: Institute of Lightweight Structures.
Leier, R., Peters, J., & Wallace, K. (2000). Baskets: Tradition & Beyond. GUILD Publishing.
Ranjan, M. P. (1985). Structure of bamboo baskets. In S. Gaβ, H. Drüsedau, & J. Hennicke
(Eds.), IL31 Bambus Bamboo (pp. 356–367). Stuttgart: Institute of Lightweight Structures.
Sentance, B. (2001). Art of Basket (p. 215). London: Thames and Hudson Ltd.
82
Journal Articles:
Harris, P. (1991). The Kashmir Shawl: Lessons in History and Studies in Technology. Ars
Textrina, 16.
Muslimin, R. (2010). Learning from Weaving for Digital Fabrication in Architecture.
Leonardo 43.4, 340–349.
John, S. S. (2010). Traditional knowledge of folk crafts in Tamil Nadu. Indian Journal of
Traditional Knowledge, 9 (3)(July), 443–447.
Rathakrishnan, T., Anandaraja, N., Ramasubramanian, M., & S, K. S. (2008). Traditional
products and practices of indigenous people inhabiting Ramanathapuram district of Tamil Nadu.
Indian Journal of Traditional Knowledge, 7 (1)(January), 23–26.
Master Thesis:
Baniya, D. (2011). Digital process : Integration of digital fabrication in architectural craft of
Nepal. BALL STATE UNIVERSITY.
Kamath, A. V. (2009). Integrating Digital Design and Fabrication and Craft Production. MIT.
Wigglesworth, R. (2010). Architecture and Textiles. Unitec Institute of Technology. Retrieved
from http://hdl.handle.net/10652/1534
Seely, J. C. K. (2004). Digital fabrication in the architectural design process. MIT. Retrieved
from http://www.mit.strathmore.edu/NR/rdonlyres/Architecture/4-510Fall-2005/D031955D-02AA-
4AC8-8786-6D7C8DFFBA17/0/seelythesis.pdf
Proceedings:
Collier, R., Esquivel, G., & Tomaso, M. (2011). Spulenkorb : Utilize Weaving Methods in
Architectural Design. In Bridges 2011: Mathematics, Music, Art, Architecture, Culture (pp. 163–170).
Kamath, A. vasant. (2013). Digitally designed architectural form built using craft-based
fabrication. In R. Stouffs, P. Janssen, S. Roudavski, & B. Tuncer (Eds.), 18th International Conference
on Computer-Aided Architectural Design Research in Asia 2013 (pp. 623–632).
Tracy, K., & Yogiaman, C. (2013). Strand Porosities : Mixing Traditional Textile Techniques
with Digital Craft. In I. Berman & E. Mitchell (Eds.), 101st Proceedings-New Constellations New
Ecologies (pp. 392–399). Washington DC: Association of Collegiate Schools of Architecture.
Roelofs, R. (2010). About Weaving and Helical Holes. In Bridges 2010: Mathematics, Music,
83
Art, Architecture, Culture (pp. 75–84).
Project Report:
Joseph, O. (2011). Processing and weaving of different local materials on-loom for basketry
products (pp. 1–95). Kumasi.
Magazine Articles:
Coates, N. (2006). Skin/Weave/Pattern. In H. Castle (Ed.), Architecture + Textiles =
Architextiles (pp. 44–49). Wiley-Academy.
Tramontin, M. L. (2006). Textile Tectonics: An Interview with Lars Spuybroek. In H. Castle
(Ed.), Architecture + Textiles = Architextiles (pp. 52–59). Wiley-Academy.
Simmonds, T., Self, M., & Bosia, D. (2006). Woven Surface and Form. In H. Castle (Ed.),
Architecture + Textiles = Architextiles (pp. 82–89). Wiley-Academy.
Web page:
Chrismar, A. Von. (2013). Wicker Membranes / Andrea von Chrismar. ArchDaily. Retrieved
March 2, 2015, from http://www.archdaily.com/201304/wickermembranesandreavonchrismar/
Kim, J. J., Smith, E., & Wu, V. (2012). Weaving in Architecture. The tricycles. Retrieved
March 2, 2015, from http://thetricycles101.blogspot.in/2012/08/weavinginarchitecture. html 1
Jukbuin Pavillion Erected. (2012). CODA Academic.
Techniques- Panel - 1. (n.d.).
Doster, B. (2013). Weaving. Retrieved from Blog. https://brettdoster.files.wordpress.
com/2013/10/weaving-paper
Mitchell, V. (2013). Tangles and Tectonics : basketry as prototype of “ slow ” design. Norwich
University of the Arts. Retrieved March 18, 2015, from http://f.hypotheses.org/wp-content/blogs.
dir/1538/files/2013/12/TanglesAndTechtonics.pdf
Baral, B. (2015). Bamboo Basketry Dhamas. D’source. Retrieved from http://www.dsource.
in/resource/bamboobasketry/ process/index.html
Camazine, S. (2003). Self-organization in Biological Systems (p. 29). Princeton University
Press. Retrieved from http://books.google.co.in/books?id=zMgyNN6Ufj0
84
Exploring Bsket Weaving Techniques List of Figures
List of Figures
1. 1. Pomo Baskets (Image Source:http://en.wikipedia.org/wiki/Basket_weaving) 6
2. 2. Palm leaf Basket (Image source: Leier, R., Peters, J., & Wallace, K. (2000). Baskets: Tradition & Beyond.
GUILD Publishing) 6
3. 3. Base weave patterns(Image Source:(M. Ranjan et al., 1986) 8
4. 4. Base weave patterns-Circular base(Image Source:(M. Ranjan et al., 1986) 8
5. 5. Side weave pattern(Image Source:(M. Ranjan et al., 1986) 8
6. 6. Frie Otto Experiment(Image Source: Tramontin, 2006) 9
7. 7. Semper illustration on Knotted fabric(Image Source: Tramontin, 2006) 9
8. 8. Figure 7 Frie Otto Experiment(Image Source: http://www.archdaily.com/490141/centrepompidou-
metzshigerubanarchitects) 10
9. 9. Chinees hat(Image source:http://milimet.com/2010/05/the-metz-centre-pompidou-nearing-completion.
html) 10
10. 10. Muslimin Research (Image source: Muslimin, (2010)) 11
11. 11. Biaxial twill woven forms ( image source: Akleman et al.,2011)) 12
12. 13. Triaxial twill woven forms (image source: Akleman et al.,2011)) 12
13. 12. Shell structure by Ayodh Kamath (Image source: Kamath, 2013) 12
14. 14. Wicker surfaces by Anrea von Christmar 13
15. 15. Pavillion by David Garcia (Kim, Smith, & Wu, 2012) 13
16. 16. Jukbin pavillion by CODA (Image source: Jukbuin Pavillion Erected,” 2012) 13
17. 17. Left: Checker weave-plain; Right: Checker weave-diagonal. 17
18. 18. Left: Twill weave-plain; Right: Twill weave-diagonal 17
19. 19. Left: Open Cross warp; Right: Closed cross warp 18
20. 20. Wrapped coiling 18
21. 24. Lazy sqaw 18
22. 21. Beeskep 18
23. 23. Cycloid 18
24. 22. Knotted coiling 18
25. 25. Braided coiling 18
26. 26. Furcate coiling 18
27. 27. plain twining, twill weave twining, lattice twining, wrapped twining and cross warp twining, Three strand
plain twining 19
28. 28. Wicker work 19
29. 29. Framed wicker work 20
30. 30. Madeira border and three strand braiding 20
31. 31. Component of baskt 23
32. 32. Concave base 23
33. 33. Flat base 24
34. 34. Self strengthened rim 24
35. 35. Applied strength rim 25
36. 36. Square basket 26
37. 37. Base weave 26
38. 38. Base showing corners 26
39. 39. Self strengthened rim 27
40. 40. Type 1 basket 28
41. 41. Base weave 29
42. 42. Base with metal strips 29
43. 43. Type 2 basket 29
44. 44. Type 3 Basket 30
45. 45. Type 4 Basket 30
46. 46. Base weave of type 4 basket 30
85
Exploring Bsket Weaving Techniques List of Figures
47. 47. Circuclar base 32

48. 48. Detail of Rim 32
49. 49. Woman with Basket on back 33
50. 50. Top view of Basket 33
51. 51. Side weave 34
52. 52. Side strenghtening element 34
53. 53. Different sizes of baskets 35
54. 55. Holding on back 36
55. 54. Holding on head 36
56. 56. Holding on waist 36
57. 58. Square base 37
58. 57. Circular base 37
59. 59. Polygonal base 37
60. 60. 90 dergree bending 38
61. 63. Concave bending 38
62. 61. 900 bending with curved sidewall 38

63. 64. Curved bending 38
64. 62. Bending with an angle 38
65. 65. Full twist 39
66. 68. Binding around base 39
67. 66. Half twist 39
68. 69. Binding around side and rim 39
69. 67. Looping 39
70. 70. Binding inbetween weave elements 39
71. 71. Side supporting 40
72. 72. Base supporting 40
73. 73. Rim supporting 40
74. 74. Direction of elements 49
75. 75. Spacing between elements 50
76. 76. Warps wider than wefts 51
77. 77. Wefts wider than warps 51
78. 78. Number of elements in Weave structure 51
79. 79. Grid lines on plane 60
80. 80. Projected lines on surface 61
81. 81. Gerated points on surface 61
82. 82. Strip length and width calculator 62
83. 83. Spacing between elements 62
84. 84. Generated strips 63
85. 85. Target surface 64
86. 86. Input control points 65
87. 87. Points on surface 65
88. 88. Horizontal lines 66
89. 89. Inclined lines 1 66
90. 90. Inclined lines 2 66
91. 94. Detailed view 67
92. 91. Top view 67
93. 92. Front view 67
94. 93. Side view 67
95. 95. Top view 68
97. 97. Side view 68
86
98. 98. Top view 69

100. 100. Side view 69
101. 103. Lines on surface 70
102. 101. Target surface 70
103. 102. Input controls 70
104. 104. Horizontal line strips 71
105. 105. Inclines lines 1 strips 71
106. 106. Inclined lines 2 strips 71
107. 107. Top view 72
108. 108. Side view 72
109. 109. Top view 73
110. 110. Side view 73
111. 111. Top view 74
112. 112. Side view 74
113. 113. Base weave bent upwards 79
114. 114. Paper strips 79
115. 115. Interlacing 79
116. 118. Load transfer points 80
117. 120. Top view 80
118. 121. Manipulated system 80
119. 117. Addition of strips at 45 degree angle 80
120. 116. Bending 80
121. 119. Direction of elements 80
122. 122. Side view 81
123. 124. Side view 81
124. 125. Top view 81
125. 123. Top view 81
Surabhi Hebbar 87

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EXPLORING BASKET WEAVING TECHNIQUES FOR SPACE MAKING ELEMENTS

THROUGH COMPUTATION TOOLS

International Master of Interior Architecture and Design

followed by identification of parameters involved in conventional basket weaving techniques practiced

in various parts of India.

guidance and support throughout the semester.

Krishna shastri for their extended support.

would not have been possible without the help of him.

also for my well-wishers for their support.

To my Parents and Sisters

Scope and limitation

using simple tools.

technique by looking at them into making of functional needs.

bundling, interlacing, braiding, knitting were developed.

through new materials, patterns and techniques.

principles in various techniques employed in traditional and conventional craft forms

1.2 Research question

Central Research Question

Sub Research Questions

1.3 Scope and Limitation

»» The study is to explore systems at the scale of interior architecture.

»» The study is to look at a technique which has inherent structural qualities.

»» Study looks at weaving techniques of basket limited to materials bamboo, palm

»» Technique used for the exploration is restricted to plaiting.

Scope of basketry in Achitecture

Baskets are in the form of containers

made of interlacing or binding of linear

material. Generally the linear materials used

for this purpose are made of local materials.

Although several types of local materials

exists in deformed or continuous changes in

cross-section, they are cut to make uniform

cross-sectioned elements. A variety of

bundles of multiple elements either parallel org/wiki/Basket_weaving)

or in twisted rope forms as a single structural

Twigs, grasses and reeds were used

to make baskets by Indian women along

western coastal areas of America. The

heritage of these basket making peoples goes

back to thousands of years and indicates

a great resourcefulness in the use of local

materials as well as an admirable ingenuity

and patience in evolving complex designs.

Hence they used local materials which were Publishing)

immediately available to their hand and were

forms of weaving like bundling, interlacing, braiding, knitting were developed.

2.2 Underlying computation

considering it as mechanism of articulation

adapted in the sense of engineering

involved to generate form. This patterning

man has evolved since the weaving has 1986)

Computation in basketry is always

linked to generation of regular pattern with

irregular natural materials. Historically

regular pattern-formation of plaits, coil 4. Base weave patterns-Circular base(Image Source:(M.

and weaves that has predominated to date. Ranjan et al., 1986)

Often, computation is also used to create

structurally stable forms for specific

function from flexible, pliable materials,

which involves specific techniques

example, a basket required for storage 1986)

of grains, made of soft grass materials,

form and not let off grain.

2.3 Scope of Basketry in Architecture