MOBILIZED MATERIALS Textile Constructs

This paper investigates textiles techniques and their potential for creating ornamental and structural systems investigated through a sequence of design studios. Within the paper 3 examples of textile systems are introduced that range from a Semperian approach (wall as dress) to form finding experiments with active textile materials (Frei Otto).

Architectural Design, 2006

‘The cutting edge in architecture is not sharp, but sensuous and soft.’ As textiles begin to emerge as megamaterials, Bradley Quinn explains how architects are pioneering new possibilities for soft structures. Fabric-formed environments are fashioning tensile buildings and inflatable pavilions, while the tailoring techniques of braiding, weaving and pleating are building supple skyscrapers and bioclimatic enclosures. Copyright © 2006 John Wiley & Sons, Ltd.

This paper discusses the various strategies for micro techniques and tectonics with macro variants to design and construct ephemeral architectures. As a starting point the work of Gottfried Semper is revisited to reveal the different qualities and characteristics of textile techniques and tectonics. To create an oversight of this content a matrix is used. From there, this diagram is evolved; state-of-the-art techniques and applications are added to create a contemporary overview. As part of the research several studies and case scenarios have been executed by the authors with a focus on the following topics.

The present text is looking to the ways in which the fabrics have been conceptualized in modern times by relying on designers’ point of view. Taking into account some referential figures of modern textiles design, we have distinguished between three different conceptions: the fabric as surface (and object of decoration, as defined by William Morris), the fabric as construction (as defended by Anni Albers), the fabric as membra- ne or interface (as proposed more recently by Joanna Berzowska or Philip Beesley). Besides the historical relevance, these concepts testify of the technical and scientific advancements and last, but not least, of the paradigmatic changes that took place on the way we con- ceive the matter.

2011

In this research we examine the use of textile building elements and investigate on their potential scope of application in architecture. Other than commonly used for spanned or tent-like structures we concentrate on the use of textiles for folded, crinkled and procumbent assemblies, as these seem to correspond much better with the textiles ́ inherent properties. On closer examination of these properties it becomes obvious that textiles primarily exist in a loose, uneven and irregular physicality that can be adjusted and configured into different states that match specific criteria. That is why textiles are mainly used for covering, protecting or hiding objects, e.g. in the form of fabric as apparel for people. Only at a second glance does one recognize that textiles can be used for many other purposes such as collecting, separating, filtering or even healing. Thus, in the first instance of this research we examined customary usages and classified them into different categories that...

Entangled Histories of Art and Migration, 2024

Drawing inspiration from Jill Stoner’s concept, this writing considers three potential examples of “minor architecture” made from textiles: Kathryn Clark’s series of Foreclosure Quilts (2011–ongoing) record the extent of home loss through bank foreclosure experienced across the United States during the 2000s. Loren Schwerd’s Mourning Portraits (2007–2009) are woven from synthetic and human hair collected from the curb side of an African American hair salon after Hurricane Katrina destroyed sections of New Orleans in 2005. Finally, Igshaan Adams’ installations repurpose the flooring of domestic interiors from his childhood in the segregated Cape Flats of Cape Town, South Africa. Physically, this writing moves from the two-dimensional site plan (Clark), through small- and large-scale models (Schwerd) to 1:1 scale installations (Adams). Geographically, it roams.

2013

An emerging field of design research deals with the operationalization of materials. In this paper, we present and analyse two approaches to operationalizing textiles in architecture. In our analysis, we focus on how differences in operational design expose different kinds of resistance in textiles. Anna Vallgarda and Cecilie Bendixen define a material’s resistance as what gives us access to knowledge about it (2009). We argue that it is fruitful to compare these two approaches in order to shed light on how to produce sufficient and suitable resistance when operationalizing textiles. As a conclusion we suggest four types of resistance: a material resistance, a technique-driven resistance, a design space resistance and a programmatic resistance.

Architectural Design, 2006

A hybrid term, 'architextiles' encompasses a wide range of projects and ways of thinking that unite architecture and textiles. By way of introduction to this issue, guest-editor Mark Garcia highlights the significant rise of interest in this confluence by theorists, architects, engineers, textile ...

American Journal of Art and Design, 2018

This design experiments convert indigenous West African textile design elements from a limited application in clothing into a breadth of interior design pieces that are expected to have a wider appeal. Textile designing is an integral part of textile production in West Africa and by far the most predominant art practice in the region. Textile production techniques vary from one place to another in the region and some of the common techniques are tie-dyeing, tritik, batik, indigo dying, embroidery, patchwork, appliqué, discharge dyeing, direct printing and resist printing. Designs are developed from sources such as body paintings and tattooing, indigenous symbols, proverbs, occasions and major events, important personalities, natural and artificial objects. Other textile design forms have also evolved from textures produced by the actual processes of fabric construction and the effects of colour variations of yarns such as stripes, bars and checks. However, fabrics are designed mainly for clothing and to some extent craft items and that limits the patronage and application of those fabrics. Furthermore, the processes of designing and production are mainly manual and so reproduction or uniformity in mass productions and mass customisation is besieged with lots of challenges. These design experiments take a more comparative view of the indigenous West African fabrics and the central motifs in the design compositions are Adinkra and Adire and the background referenced Bogolanfini symbols. The human centred design approach was adopted for the practical experiments; it entails as a step-by-step guide to externalise creativity, taken cognisance of the people the designs are meant for. The background data came largely from documentation, archival records, and observation of physical artefacts. This project experiments with a breadth of materials such as lycra, canvas, soft velvet fabrics, foam, wood and techniques for a range of products such as retro chairs, cushions and wall panels.

2021