By Mark Garcia
Targeting the intersections among textiles and architectural layout, this name communicates the complete variety of chances for a multidisciplinary layout hybrid. It examines the generative techniques, types, styles, fabrics, techniques, applied sciences and practices which are riding this cross-fertilisation in modern city and architectural layout. Architextiles characterize a transition degree within the reorientation of spatial layout in the direction of a extra networked, dynamic, interactive, communicative and multifunctional kingdom. The paradigms of favor and fabric layout, with their particular, speeded up aesthetics and skill to include a burgeoning, composite and intricate diversity of houses reminiscent of lightness, movement, flexibility, floor, complexity and circulate have a usual 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 type layout. Interweaving new designs and speculative tasks for the longer term, 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 collage 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 or Download Architextiles (Architectural Design November December 2006 Vol. 76 No. 6) PDF
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Additional resources for Architextiles (Architectural Design November December 2006 Vol. 76 No. 6)
With only 30 per cent of the surface being glazed, environmentalists will spot Part-L (energy-saving building regulations) compliance. Together with the wooden shingles that complete it, the window pattern establishes a woven character. But the view of the inner surface will always be oblique because it is masked (or added to) by a structure that hangs from the upper edge, or waist, of the building. With intermediary pink and orange fabric strips, a giant crinoline obscures the inner surface both visually and from the sun.
As our ideas gathered pace, writing spewed on to the canvas from all sides. Interestingly, in the absence of the usual pattern provided by maps or architectural drawing, the humble paper doily found its way on to the board and got used as an abstract sign for metropolitan intensity. These qualities have everything and nothing to do with the future town, and this is why they are useful. It is as though tenets on decoration have reversed. Rather than being integrated, the pattern has outgrown its constraints of scale, and can now exploit a separation from its context.
I think it could work in many places with local and precise modifications. ‘In Naples we are working on a project that is essentially a metal forest. It is not a building, it’s more of a sculpture, a canopy to design shadows. Using this approach requires the sensitivity of a fashion designer who tries to create a specific relationship between the identity, body and garment of the person. It’s not only about function, it’s about adding a twist, an emotive contradiction – more than just functional.