Exploring Indigenous Craft Materials and Sustainable Design—A Case Study Based on Taiwan Kavalan Banana Fibre
Abstract
:1. Introduction
2. Literature Review
2.1. Value of Indigenous Craftsmanship and Sustainable Designs
2.2. Material Designs in Material Driven Design
2.3. In-Depth Analysis of Grounded Theory and Practical Significance of the Research-Through-Design Method
3. Methodology Framework
4. MDD-Based Design Intervention for Banana-Fibre Craft
4.1. Action Step 1: Material Understanding
4.2. Action Step 2: Material Vision
In learning to extract banana fibre as a material, I observed, through the community craftsmen’s demonstration, how they retained the fibre that is suitable for weaving. The fibre did not possess the quality of a twist thread for weaving because of its inferior strength due to insufficient growth. Consequently, the core material and the split that remained after the fibre was drawn were generally used to make fertilisers (natural agricultural waste) or soy sauce. The natural structural texture of the banana’s core material, the split that remains after the fibre was extracted (the banana plant has no trunk because it is not a tree; the appropriate term is pseudostem; the structure that supports the pseudostem is referred to here), and the combination of its edibility (chewing) with the fibre residues from chewing (natural organic matter) inspired me to think of the material as something that can be “broken down and used for repairs”. Therefore, I designed a banana fibre–based repair glue to incite users to reflect on object regeneration on the basis of reusing the fibre.(Quoting from participant’s words)
4.3. Action Step 3: Material Pattern
4.4. Action Step 4: Material-Tinkering Loop
5. Grounded Theory Analysis
5.1. Evaluation Standard and Method
5.2. Coding Results
5.3. Key Point Analysis
6. Applying Material Exploration Samples in Design Implementation
6.1. Design Implementation of Material Exploration
6.1.1. Case 1: Using Drying Shrinkage Characteristics of Banana Fibre for Design Shaping
6.1.2. Case 2: Applying Material Shredding and Mixing in the Design of Disposable Tableware
6.1.3. Case 3: Continued Application of Creative Composite Material Design
6.2. Applying Material Exploration to Generate Sustainable Benefits
7. Conclusions and Discussion: Continued Use of the Design Implementation Method
Author Contributions
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Acknowledgments
Conflicts of Interest
Appendix A
Category of Participants | Code | |||||||||
---|---|---|---|---|---|---|---|---|---|---|
The stakeholder of Kavalan Xinshe Village | BA (manager) | BB (nature fibre master craftsman) | ||||||||
Craftsman | CA | CB | CC | CD | CE | CF | CG | CH | CI | |
Designer | DA | DB | DC | DD | DE | DF | DG | DH | DI | |
Non-Taiwanese industrial design student interns | FD (team of two) |
Appendix B
Category of Design Concept | Code | Prototype | Sample Material | Design Prototype Development Brief |
---|---|---|---|---|
Lampshade | DA | The possibility of 3D banana-fibre formation: designer Kuan-Cheng Chen made use of the shrink ability of dried banana thread fibre and fitted banana threads into moulds for sun-drying/baking, thereby allowing the fibres to be shaped in accordance with the shapes of the moulds. | ||
DB | 3D structure of banana fibre: designer Cheng Yu Chung preserved the banana fibre’s original colour and structure as well as its transmittance. | |||
CA | The network beyond weaving: craftsman Chiung Ju Chen used the stem, which is the leftover material from the traditional extraction method, as the main material and found ways to present its beauty. | |||
CI | Banana-fibre translucency test: craftsman Liang Ting Ye conducted an experiment on the transmittance of banana fibres and found new possible usages for this non-economically valued material. | |||
CF | Use of discarded banana stems: woodworker Jing-Teng Lin began by thinking about bark from which no thread could be drawn. Lin then re-deconstructed various banana-tree compositions (including waste banana skin and discarded structures that were not used to draw threads), which were subsequently used to develop fibre paper. | |||
FD | Flesh of banana trunk: designers Cordelia Faure and Dorian Etienne selected the waste part of banana fibres as conceptual in the presenting condition. | |||
Daily necessities | DF | Natural fibre: by compounding composite materials, designer Chung-Han Lu developed material applications based on the concept of repair. | ||
CH | Combination of peel and banana silk: craftsman Ben Hui Wu aimed to discover the possibilities for banana trees, in addition to the bark fibres; the experiment also obtained the pulp of the bark layer, and sheets were acquired using different methods of cutting. | |||
CD | Accelerated fibre-spinning program: craftsman Jeffrey Lin attempted to weave dry banana fibre in the same way as bamboo chips and hoped that the natural fibre, similarly to banana silk, could be applied to the bee’s wrap. | |||
CB | Banana silk fibre and soap: craftsperson Ching-Yi Chou sun dried the thick fibre in a banana stem and used it to produce cleaning tools or added it into handmade soap. The tissue of used fibre can be reused, and it degrades naturally. | |||
CG | Banana-silk buffer insulation: craftsman Wei Cheng Sung tried to produce a material to replace plastic that is disposable or a reusable insulating substitute. | |||
Accessories and artistic creations | DG | How to eat banana fibre? Designer Hsin Ting She conducted tests with dried shell-flower fibre, yarn, and bark fibre. | ||
DD | Banana-silk soft plastic lampshade: designer Benson Liu sliced away entire banana-leaf sheaths and removed the outer skin, retained the grid structure at the centre of the banana stem, and then performed interlaced weaving with metallic fibres. | |||
CE | Combined with bamboo weaving: in the experiment by Ya Ching Lee, the fine bamboo battens were inserted into reticular fibres, which allows not only shoring up the original soft fibre sheet but also retention of the handmade texture. | |||
DE | The movement of banana fibre: designer Kai Ping Liu thought of banana fibre as a structural material and conducted a series of physical and chemical tests. | |||
CC | Alternative beauty of banana: craftsman Shang Lien Hsu tried to retain the quality of fibre and found that the combination of wire and banana silk would bring out a unique style due to their colour and brightness. | |||
DH | Fish is dreaming: craftsman A. Wei Hsu learned the traditional Kavalan way of lengthening banana silk by tying one piece to another. | |||
DI | Land and roots: designer Ching-En Yeh utilised the materials and method of pottery firing and fired a combination of banana threads and Taiwanese endemic materials into bricks. | |||
DC | Reticular fibres: Designer Shin Hua Lin adopted the reticular layer left after the skin was shaved and tried to retain this reticular fibre by adding in other material that would result in maintenance of the banana silk’s three-dimensional structure after dehydration. |
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Category of Design Concept | Code | Sample Material | Design Prototype Development Brief | Material-Tinkering Techniques |
---|---|---|---|---|
Lampshade | DA | The possibility of 3D banana-fibre formation: designer Kuan-Cheng Chen made use of the shrink ability of dried-banana thread fibre and fitted banana threads into moulds for sun drying/baking, thereby allowing the fibres to be shaped in accordance with the shapes of the moulds. | Moulding and drying | |
CF | Use of discarded banana stems: woodworker Jing-Teng Lin began by thinking about bark from which no thread could be drawn. Lin then re-deconstructed various banana-tree compositions (including waste banana skin and discarded structures that were not used to draw threads), which were subsequently used to develop fibre paper. | Smashing and adding (pulp) | ||
Daily necessities | DF | Natural fibre: by compounding composite materials, designer Chung-Han Lu developed material applications based on the concept of repair. | Smashing and adding (paste and agar) | |
CB | Banana-silk fibre and soap: craftsperson Ching-Yi Chou sun-dried the thick fibre in a banana stem and used it to produce cleaning tools or added it into handmade soap. The tissue of used fibre can be reused, and it degrades naturally. | Drying and adding (handmade soap liquid) | ||
Accessories and artistic creations | DD | Banana-silk soft plastic lampshade: designer Benson Liu sliced away entire banana-leaf sheaths and removed the outer skin, retained the grid structure at the centre of the banana stem, and then performed interlaced weaving with metallic fibres. | Drying and adding (composite weaving) | |
DI | Land and roots: designer Ching-En Yeh utilised the materials and method of pottery firing and fired banana threads combined with Taiwanese endemic materials into bricks. | Adding (black soil and sand) and firing |
Axial Code | Open Code | Node Amount | Example of Open Code |
---|---|---|---|
|
| 16 | Example of Open Code (1) Simplifying procedures while obtaining the largest pieces of the material is crucial to the material selection process. |
| 10 | ||
|
| 18 | Example of Open Code (5) Banana fibre is an essential weaving material for clothing and daily necessities in the Kavalan community. The material is sourced from an indigenous species; it is a native, natural, environmentally friendly, local, and traditional material for the community. |
| 31 | ||
| 43 | ||
|
| 11 | Example of Open Code (8) The material is a smooth, flaky fibre with low cohesion (i.e., degree to which the fibre can be twisted and stuck together). |
| 9 | ||
| 11 | ||
| 2 | ||
|
| 11 | Example of Open Code (10) In Kavalan tradition, banana fibre is woven into straw mats, nets, coats, and belts that are worn with their traditional hemp clothing. |
| 5 | ||
|
| 4 | Example of Open Code (13) Traditionally, the discarded section of the banana split, specifically the stem, is used as a crucial material for non-weaving purposes. |
| 85 | ||
| 39 | ||
| 70 | ||
Total 5 | 15 | 365 |
Axial Code | Research Participants (Craftspeople) | Research Participants (Designer) | Stakeholder Interview | Literature Data | Total Percentage |
---|---|---|---|---|---|
1. Problems and recognition | 5.38% | 2.82% | 14.29% | 33.33% | 7.31% |
2. Value of banana fibre | 22.31% | 14.79% | 67.35% | 23.81% | 25.73% |
3. Essence of banana-fibre material | 5.38% | 16.2% | 2.04% | 9.52% | 9.65% |
4. Lifestyle applications | 6.92% | 3.52% | 2.04% | 4.76% | 4.68% |
5. Development of new design thinking | 60% | 62.68% | 14.29% | 28.57% | 52.63% |
Total | 100% | 100% | 100% | 100% | 100% |
Open Codes | Research Participants (Craftspeople) | Research Participants (Designer) | Stakeholder Interview | Literature Data | Total Percentage |
---|---|---|---|---|---|
(1) User-oriented design | 1.22% | 3.16% | 0% | 0% | 2.09% |
(2) Material-processing-oriented design | 43.9% | 44.21% | 57.14% | 14.29% | 43.46% |
(3) Creative attempts to use physical properties of material | 17.07% | 18.95% | 28.57% | 14.29% | 18.32% |
(4) Innovative applications for composite materials | 37.8% | 33.68% | 14.29% | 71.43% | 36.13% |
Total | 100% | 100% | 100% | 100% | 100% |
Open Code | Research Participants (Craftspeople) | Research Participants (Designer) | Stakeholder Interview | Literature Data | Total Percentage |
---|---|---|---|---|---|
(1) Value of indigenous traditions | 9.28% | 9.09% | 36.36% | 20% | 19.57% |
(2) Cultural continuity and inheritance | 12.5% | 27.27% | 54.55% | 60% | 33.7% |
(3) Naturalness and environmental friendliness | 78.12% | 63.64% | 9.09% | 20% | 48.74% |
Total | 100% | 100% | 100% | 100% | 100% |
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Lin, Y.-S.; Lin, M.-H. Exploring Indigenous Craft Materials and Sustainable Design—A Case Study Based on Taiwan Kavalan Banana Fibre. Sustainability 2022, 14, 7872. https://doi.org/10.3390/su14137872
Lin Y-S, Lin M-H. Exploring Indigenous Craft Materials and Sustainable Design—A Case Study Based on Taiwan Kavalan Banana Fibre. Sustainability. 2022; 14(13):7872. https://doi.org/10.3390/su14137872
Chicago/Turabian StyleLin, Yi-Shiang, and Ming-Huang Lin. 2022. "Exploring Indigenous Craft Materials and Sustainable Design—A Case Study Based on Taiwan Kavalan Banana Fibre" Sustainability 14, no. 13: 7872. https://doi.org/10.3390/su14137872
APA StyleLin, Y. -S., & Lin, M. -H. (2022). Exploring Indigenous Craft Materials and Sustainable Design—A Case Study Based on Taiwan Kavalan Banana Fibre. Sustainability, 14(13), 7872. https://doi.org/10.3390/su14137872