By Mark Garcia
Targeting the intersections among textiles and architectural layout, this name communicates the total variety of chances for a multidisciplinary layout hybrid. It examines the generative thoughts, kinds, styles, fabrics, strategies, applied sciences and practices which are riding this cross-fertilisation in modern city and architectural layout. Architextiles characterize a transition level within the reorientation of spatial layout in the direction of a extra networked, dynamic, interactive, communicative and multifunctional country. The paradigms of style and fabric layout, with their special, speeded up aesthetics and skill to include a burgeoning, composite and complicated variety of homes similar to lightness, circulation, flexibility, floor, complexity and flow have a average affinity with architecture's shifts in the direction of a extra liquid country. The preoccupation with textiles in structure demanding situations conventional perceptions and practices in inside, architectural, city, fabric and style layout. Interweaving new designs and speculative initiatives for the long run, Architextiles, brings jointly architects, designers, engineers, technologists, theorists and fabrics researchers to resolve those new methodologies of fabricating space. Contributors include:Dominique Perrault (DPA)Lars Spuybroek (NOX and college of Atlanta)Will Alsop (RCA and SMC Alsop)Nigel Coates (RCA and Branson Coates Architecture)Matilda McQuaid (Cooper Hewitt Museum)Ron Arad (RCA and Ron Arad Associates)Tristan Simmonds, Daniel Bosia and Martin Self (Arup complex Geometry Unit)David Wakefield (Tensys)Dagmar Richter (UCLA)Peter Testa and Devyn Weiser (Columbia college and Testa Architecture)Tom Verebes, Yosuke Obuchi and Theodore Spyropoulos (AA_DRL)Robert Kronenburg (University of Liverpool)Anne Toomey (RCA)Bradley QuinnMarie O' MahoneyMark Garcia (RCA)
Read Online or Download Architextiles (Architectural Design November December 2006 Vol. 76 No. 6) PDF
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Additional info for Architextiles (Architectural Design November December 2006 Vol. 76 No. 6)
Architects (myself included) have understandably been eager to apply digital working methods to rework baroque ideas of experiential flow, unity between opposites, connection, movement and antigravity. We’ve found that virtual meshes can be stretched and distorted into irregular or organic forms. The downside of the digital model is that it reduces folded forms to surfaces. But when you consider surface as a textile, it regains a conceptual depth, and upgrades to a genuine architectural condition.
He believes that ‘nature, as a stable category, does not exist. Humans create nature, an artificial nature. During the 18th century we invented the English and French parks; these are not natural, but cultural. We have accepted the situation that the planet has to change in some ways because we have built cities and huge agglomerations. But this is not negative. If we accept this vision, we should control and build a specific nature for people. ’ Common to much of Perrault’s work is the balanced assimilation and representation of contradictions, variations of control and contrasts of oppositions.
We began by taking a conventional jacket pattern and, at model scale, made a set of tiny maquettes in calico. Each one was then stiffened, and by laying them on their sides they were used to make an architectural model. The jacket of each floor was rotated in relation to the next, and various details in them given architectural roles. The sleeve on one of the jackets became a stair, and a smaller jacket standing vertically at the corner of the building became the entrance. Although the design process had started by using actual fabric, the project had certain contradictions.
Architextiles (Architectural Design November December 2006 Vol. 76 No. 6) by Mark Garcia