Monday, 28 June 2010
I have tried to use the woven strips to create spaces inside the building; they might not be solid walls but a variety of materials similar to those I have been experimenting with in earlier research. They would be varying heights, thicknesses and opacity's depending on the area they were dividing or containing. On the facade they might start to become balcony spaces or simply act as a decorative panel. At street level I have tried to use the material to encourage people into the exhibition space and create a new entrance.
Thursday, 17 June 2010
The wallpaper would be controlled by sensors and could be influenced by sound within the building. I would like the external facade to express what was happening within the interior of the building, for example, if there was an exhibit on the second floor then the wallpaper pattern would be concentrated around that area. I will create a series of storyboards and animations which will explain this proposal in more detail.
Blumen Wallpaper (2004) is an electronic wallpaper. The pattern is controllable through computer software and responds to its environment through a range of sensors.
"Blumen transforms traditional decorative surfaces into a rich, dynamic display of botanical life. It divides and ornaments space and can be seen in a wallpaper format as sliding panels. By working with traditional pattern making we have created an ornate printed design that is at the same time a working electrical circuit using electroluminescent technology. The repeating pattern allows the piece to be cut into smaller sections and even reassembled. The Blumen print is constructed from a number of addressable cells and with the use of various sensors the pattern emerges and develops in response to its environment. Based on the space the panels are presented in, and the characteristics of the sensor used, we develop an animated pattern language described in software. "
Sunday, 13 June 2010
This was the end result:
I can turn layers on and off to create different effects. This image shows the lost facade only:
I then used this weave to create a collage of the elevation. I took the elevational collage which I had done previously (generated from layering the 2 elevations) and layered over my woven facade.
I then started to cut out some of the woven squares to create a less grid like collage:
I started to weave the 2 facades by first cutting them both into 2omm strips, one horizontally and one vertically. The vertical strips of the lost facade created my base, I then wove the existing facade through in a simple under and over pattern. This first attempt was a little messy but interesting.
For the next weave I introduced my wallpaper design onto the existing facade. I wanted to try and highlight one facade over the other to make it easier to read and to bring some pattern and colour into the weave. I went back to a square pattern, both strips cut to 20mm. I think this one was very successful because all of the windows and doors etc line up correctly, it is quite neat and easier to read as a piece of architecture.
Saturday, 12 June 2010
"Weaving is most often associated with textiles, but it is also relevant to architecture. It is a construct and a craft that can purposefully and aesthetically order building systems. Just as a thread can be pulled from a woven fabric and a new one inserted in its place, so too can building and urban systems be removed, replaced, or added when the whole is conceived as an exposed woven tapestry.
In its ancient usage, weaving creates surfaces and volumes by the regular interlacing of pliable strands — the warp and the woof — passing over and under each other at right angles. Friction at every joint enforces the structure of weaving. No material is completely inert, and under pressure from the environment, all materials deform.
When deformed, many materials are elastic; they retain some memory of their prior state and will strain toward their original plane unless restrained. The bending of the strands, each of which wants to restore itself to a flat position, creates friction, between the threads at each overlap.
This three-dimensional friction among strands above, below, and to each side, restrains the individual segments and forms the stable plane of a textile. In modern architectural usage, fasteners often provide the required friction in place of the deformation of the individual strands of material at work in textiles.
The building block, or cell, of a woven surface is the joint between overlapping materials. Weaving is in essence a continuous joint. In closely spaced weaving, the pattern of intersections becomes both visually and practically subservient to the plane or volume.
Although the joint is normally an event of such physical consequence that it dominates our perception, in a densely woven form, the joint is transformed into a recessive contributor to the overall appearance of surface and shape.
Weaving, however can never be completely closed; it always has space between its strands. While the woven surface separates and contains, it breathes and connects. it is a scrim, a screen that is at once space and surface, Never quite a membrane, but part joint, part surface, part volume, part system, weaving is unique in architecture in being simultaneously open and closed.
The association of weaving with volume and system carries the craft into the deepest structures and largest scales of current architecture and urbanism. The integration of a large number of operating systems into buildings is a problem of relatively recent origin.
Indoor plumbing has been common for less than 150 years; widespread electrification and elevators for vertical transportation are little more than a century old; air-conditioning and fire-suppression systems were novelties less than 75 years ago, and today, emergency power, door operators, and security, voice, and data transmission are part of the onslaught of systems that course through our buildings.
The fundamental process and manner of conceiving architecture, however, has changed little. We still tend to organize program and space long before we integrate systems.
What is the depth of the imitative versus the authentic? One is a fictive invention, and the other is a fiction derived from necessity. In Rock Hall, an auditorium of the Esther Boyer College of Music at
The metaphor is one of tectonic reality and is drawn from the program. The acoustical requirement of 50 percent absorptive and 50 percent reflective surfaces led to a proscenium that exploits the depth and lightness offered by flat panels. It is a solution that balances the question of imitation versus invention.
The strands in this textile are typically six-inch- (15-centimeter-) wide plywood strips with a two-foot- (60-centimeter-) wide central panel. During design, we built a full-scale panel with a small millworker to test the ability of the plywood to bend and for the necessity of fasteners at points of overlap. An adjustable metal superstructure supports the woven wood panels.
In our shop, there are no matters of lesser importance. At this new middle school, architecture is structure. It is fire protection, it is codes, it is equipment. It is all design. These systems are inseparable and intrinsic to the problem of designing a school. They are part of the education of children.
Weaving provides a way to navigate what goes over and what goes under. We turn systems engineers into architects, and they turn us into engineers. Sometimes the engineers like the role reversal. Sometimes they go kicking and screaming into the world of woven systems.
We have to trace every pipe and duct. We have to know how large it is, what it is made of, and how it turns. In this small building section, below a balcony walkway, all the building trades had to come to know and work with each other, while coinhabiting three feet four inches (102 centimeters) of common real estate. If one is not willing to become a mechanic, one should not become an architectural weaver.
We love direct challenges from our architectural ancestors. The blunter the challenge, the better. Our addition for the Sterling Law School Dining Hall comes squarely up against the stone walls and elaborate windows of James Gamble Rogers's 1930s structure.
We sought direct competition with the original wrought-iron metalwork by using stainless-steel and bronze rods and straps, but the new gates in no way cancel the stone craft against which they are juxtaposed. The old stone carving and the new metal gates, while of different ages, are equal crafts.
The fabricator really rose to the task. Consider that every pair of bends in the stainless-steel bar — out, then back to vertical again — had to be made in precisely the right location so as to intersect the 3/4-inch (19-millimeter) bronze bar where the buttonhead fastener, passing through a predrilled hole, would lie flat against it. When asked what he had worked on before these gates, he replied, "Something for the space shuttle."
Viewed in relation to contemporary architecture, weaving is a conceptual and physical armature that accommodates the differential life spans of buildings and urban systems.
At the same time that weaving provides for separation and the differential removal and replacement of elements, it composes and organizes single strands of material into a deliberately visual artifact, insisting upon repetition and pattern in its placement as purpose is translated into orderly artifice. Weaving celebrates the realization that permanence is no longer a prospect nor even a desire of architecture."
I saw weaving technology similar to their inspiration at the Technical Museum in Berlin. The cards with a series of punched out holes were fed into an automatic weaving machine and this is what created the woven pattern.
To move the project forward in a more creative and experimental way I am going to look to the current site context as well as the historical. I hope that this will generate new ideas about the site and help me to integrate my social programme. I will also continue to experiment with materials but at a larger scale. For the exhibition I aim to have some 1:1 elements to display which will enhance my architectural drawing. I have started to think about what my exhibition will look like but I think the final design will be very much driven by the scale and nature of the work I produce, however I would like the way I display my work to be linked to my ideas about archiving.