STUDIO 02 term 1 Alexandra GAMROT 2015/16
ARCHITECTURE AND POLITICS Finding Politics in Architecture can be approached in a series of different ways. My interest focused on a still in use aqueduct railway passage. Whilst moving through the spaces the massive structure seems to be following the spectator around. A relationship between the passenger on the train passing above and the folk moving through their everyday life below is being created. The dialog continues even with one of the active participants missing
Surrounding, materials as well as the pace of the train moving has an impact on the experience being created. While passing
through the space of the aqueduct the train slows down allowing the passengers to connect with the complex bellow.
b00 the GARMENT Introducing the Garment as an object of our exploration, it is important to mention that the jumpsuit is a very restricting piece. Either allowing the user to perform certain activities or limiting in such. Body parts of the user possess characteristics that have an impact on the activity of the garment.
Examining the dimensions and properties of folds.
In order to embrace in depth the properties and the adjustment of the folds to the body it seems important to use a medium that would adjust to the garment and leave an imprint.
The Capture of the form.
Continuation of the study of imprints and their relation to the fabric. Details like patterns move from the origin and can be captured “in motion�, allowing the exploration of the movement.
Imitation of traces left by the moving fabric.
Exploring the Garment as a whole, the side line evolved as the point of interest. Being the most active part, the section between the arm and the hips opens a wide range of explorative opportunities.
moment 1
moment 2 The Change.
b01 the CUT Leaded by the interest of individuals the garment separated. The borders were carefully chosen adjusting to the needs of the explorer.
Starting to work with the Cut, carefully taken measurements allowed an accurate investigation.
b02 the PROP So as to create a device in order to prop the Cut in the right way, the opportunity to understand the Garment in relation to the body. Substituting parts of the body to allow a movement/bend and the response of the fabric to the manipulating movement.
The design development mostly focused on conceiving and looking through the body as well as allowing a motion.
A rib cage similar prop has been developed. The idea behind is led by the possibility of ribs coming together and/or opening up.
Finalising the design.
Simulating the motion of the horizontal condition.
Simulation of the motion of the arm.
Exploration of two opposite movements and their impact on each other.
In order to enable the desired motion the right material had to be chosen. Exploring the properties of wire, wire mesh and a thermoforming plastic strip after heat application through a heat gun.
As a result, the plastic allows an easy way to adjust the form to a template.
Taking the body measurements, horizontal sections through the body were created.
Using those as templets, it became possible to bend with the help of heat acrylic around.
Final proposition.
The Prop and the Cut coming together.
b03 the GRID In order to bring the individual cuts of the garment back together. A grid evolved containing a vertical as well as a horizontal piece, the relationship between the cuts could be retrieved.
The construction.
Placing the props in relation onto the grid
Simple connection point.
The final proposal of the Grid.
Sketch developments of the joints.
Joins stabilizing the connection between the horizontal and the vertical piece.
The Prop is fused within the horizontal piece of the Grid, treating it as the 0-condition.
The “transparency� of the Prop and the 0-point allows evolution of the relationship between the individual cuts, props and the grid.
The hollow inside of the Prop adds dimensions to the fusion with the Null-Punkt.
The motion.
The movement of the folds within the motion.
b04 the SURVEY After a series of physical representations, consisting only of drawings, the Survey deals with the interaction between the movement of the Prop, the motion of the folds, journey through space and the idea of keeping a continuous zero condition throughout the studies. The Cut and the Prop within the Grid alter the viewer’s perspective. They may no longer been seen as the individual parts, but as a landscape who’s topography is being interrupted through a machine
Elevation of the moving rear part of the prop, interrupted through a section of the journey of individual within the topography of the garment.
The frontal part of the prop, shown in elevation, is being fused with the sections through folds again approaching the journey through the fabric.
Elevation representing the prop as a continuous object, on a simulation of the grid, interrupted by sections of the movement.
The active point restricting the movement of the prop. Through the addition of external forces the cut is being extended enabling more freedom.
A space-time diagram placing the prop on the zero condition. The active point, which restricts the movement, of the garment being cut through the grid is being treated as the 000 coordinate, expanding in all dimensions.
Development of the space-time diagram. Blocking parts of the cut, separating it into individual time sections, which may be developed further at a later time.
Ill. 1 In depth illustration of the frontal part of the prop, the arm as well as the on it positioned garment. Using a method of projection a grid evolved enabling the construction of the folds on a bigger scale. Sections of the elevation of the folds are set in motion. Through simple cuts and overlay one can read the changes of the topography.
Construction of folds.
Cutting section through the before constructed folds as well as through the prop.
The ribs start to be perceived as distorted as the observer is moving with the cut.
Changes of the topography in section.
Ill. 2 In depth illustration of the rear part of the prop, the “active point� and the relationship between the garment borders and the prop structure and its materiality.
Focusing on the already mentioned “active point�, as this one is being teared apart through the external force.
Sections through the fabric in front of the active point, demonstrating the relation between the garment and the “coming together� with the ribs.
As the spectator moves the relation of the borders changes. An overlap of those section reveals the differences.