Mingna Hu

Mingna HuMingna HuMingna Hu
  • Home
  • About
  • Forming Silk I
    • Introduction
    • Pleating
    • Shrinking
    • Curling
    • Shrinking and Felting
  • Forming Silk II
    • Introduction
    • Natural Elasticity I
    • Natural Elasticity II
    • Natural Elasticity III
    • Non Origami
  • SELF-FORMING
    • Tublar Forms
    • Flat Forms
  • ART to USE
  • Contact
  • More
    • Home
    • About
    • Forming Silk I
      • Introduction
      • Pleating
      • Shrinking
      • Curling
      • Shrinking and Felting
    • Forming Silk II
      • Introduction
      • Natural Elasticity I
      • Natural Elasticity II
      • Natural Elasticity III
      • Non Origami
    • SELF-FORMING
      • Tublar Forms
      • Flat Forms
    • ART to USE
    • Contact

Mingna Hu

Mingna HuMingna HuMingna Hu
  • Home
  • About
  • Forming Silk I
    • Introduction
    • Pleating
    • Shrinking
    • Curling
    • Shrinking and Felting
  • Forming Silk II
    • Introduction
    • Natural Elasticity I
    • Natural Elasticity II
    • Natural Elasticity III
    • Non Origami
  • SELF-FORMING
    • Tublar Forms
    • Flat Forms
  • ART to USE
  • Contact

Forming Silk II / Non Origami

A woman dressed in a black and white outfit poses confidently against a plain background.

Drawing on the concept of Non-Origami Forming, introduced by Jackson (2011), this research investigates how curvature can emerge through the interaction of high-twist silk and minimal interventions—using no crease or a single “break” rather than multiple folds. The break acts as a point of disruption within the surface, allowing complex curves to develop through the release of energy stored in the high-twist yarns.

* High-twist Silk, Cotton  / Jacquard Weave

Various abstract shapes formed by folding white paper on a plain background.

The key of “break” lies in generating complex curves that can shift from convex to concave and back again when the surrounding surface rotates around it. “In this way, a simple Break – surely the most elemental of all manipulation techniques – creates not one form but many.”(Jackson, 2011)

Various small fabric pieces folded into different shapes on a plain surface.

High-twist silk yarns were combined with varied bindings, structures, and densities to translate this forming principle into weaving. 

Close-up of a weaving loom with black and white fabric in progress.

Working on a Jacquard loom, the project focuses on generating form through directional curling and material behavior rather than imposed shaping. Although woven as flat textiles, the works can transform into multiple three-dimensional forms through material activation.

A folded two-tone black and beige woven fabric on a plain surface.
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