Knit Architexture
Crafting a Feminine
Narrative
Approval of Thesis Research
Project Book is Presented to: Michael Carroll and to the
Faculty of the Department of Architecture College of Architecture and Construction Management by Cameron Shapiro
In partial fulfillment of the requirements for the Degree Bachelor of Architecture
Kennesaw State University
Marietta, Georgia
May 7, 2024
CHAPTER 1
THESIS STATEMENT
METHODOLOGY
CHAPTER 2
LUDWIG MIES VAN DER ROHE
GEORG KOLBE
GOTTFRIED SEMPER
JENNY SABIN’S LUMEN
ALICE MARIE ARCHER
BARCELONA PAVILION
BARCELONA PAVILION INSTALLATIONS
CHAPTER 3
REFLECTION POOL
CURTAINS
COLUMNS
GREEN WALL
DER MORGAN
BARCELONA CHAIR
CHAPTER 4 REFERANCES
THESIS STATEMENT
My intention is to offer a critical reinterpretation of the Barcelona Pavilion, often celebrated as the epitome of modern architecture, by infusing the art of knitting. This endeavor presents a unique opportunity to critique and soften the Pavilion’s inherent harshness, uniting seemingly contrasting realms such as tradition and innovation, femininity and masculinity, craftsmanship and repetition. Through an installation that weaves knitting into the Pavilion’s design, the aim is to transform the space in a way that both honors its historical legacy and revitalizes its identity. In essence, this project seeks to present knitting as the conduit that unites these differing facets, rejuvenating the Pavilion with a renewed and captivating identity, all while respecting the building’s integrity.
METHODOLOGY
Research and Analysis:
Conduct a thorough study of the Barcelona Pavilion’s architecture, focusing on identifying key areas for highlighting and potential iterations to the floorplan.
Site Documentation:
Document the existing layout and architectural features of the Barcelona Pavilion through measurements, sketches, and photographs.
Concept Development:
Generate design concepts for highlighting specific areas of architectural significance within the Pavilion.
Develop alternative floorplan layouts aimed at improving spatial flow and visitor experience.
Knitted Iterations and Prototyping:
Translate design concepts into knitted iterations to visualize and evaluate different design ideas.
Prototype physical models to test the feasibility and aesthetics of proposed design changes.
Design Integration:
Incorporate finalized design ideas into the Pavilion, ensuring seamless integration with the existing structure.
Documentation and Presentation:
Document the design process, including research, concept development, and implementation, to create a comprehensive record of the project.
Prepare a professional presentation summarizing the design changes and rationale behind them for internal review or academic purposes.
Evaluation and Reflection:
Reflect on the design process and outcomes, identifying lessons learned and areas for improvement in future architectural projects.
LUDWIG MIES VAN DER ROHE
Ludwig Mies van der Rohe, born in Germany in 1886, was a groundbreaking architect and a leading figure in 20th-century modernist architecture. His architectural principles emphasized simplicity, minimalism, and the innovative use of materials, which was encapsulated in his famous phrase, “less is more.” Throughout his career, he left an indelible mark on the field of architecture, both in theory and practice.
After serving in the military during World War I, Mies van der Rohe returned to the field of architecture. One of his early milestones was the construction of the German Pavilion for the 1929 International Exposition in Barcelona. This pavilion was the first building he constructed after his return from the war, and it showcased his emerging modernist design principles.
Mies van der Rohe served as the director of the Bauhaus School of Design, an institution that played a pivotal role in shaping modern design principles. However, as the political climate in Europe became increasingly turbulent, he was confronted with challenging circumstances, including the rise of the Nazi regime in Germany. In the face of this adversity, he, along with others, fought to reopen the Bauhaus School, demonstrating his commitment to modernist principles and ideals.
In 1937, Mies van der Rohe immigrated to the United States, where he continued to shape the modern architectural landscape with his designs and teachings. His legacy remains an enduring source of inspiration for architects and designers who are dedicated to the principles of simplicity, functionality, and elegance in their work.
Mies van der Rohe’s life and work came to a close in 1969 when he passed away. In his will, he bequeathed a significant portion of his architectural portfolio to the Museum of Modern Art (MoMA), underlining the importance of preserving and promoting modern architectural heritage. Furthermore, Mies van der Rohe’s strict control over the presentation of his work, where he did not permit the printing of architectural renderings, added to the enigmatic aura surrounding his architectural creations.
GEORG KOLBE
The relationship between Georg Kolbe and Ludwig Mies van der Rohe, two prominent figures in the world of art and architecture, is characterized by collaboration and a shared creative vision. Mies and Kolbe, contemporaries in their respective fields, collaborated on several projects, most notably the iconic Barcelona Pavilion, which epitomizes their combined artistic sensibilities.
A distinctive feature of their partnership was the incorporation of Kolbe’s sculptural works into Mies van der Rohe’s architectural designs. Kolbe’s sculptures, frequently portraying the female form in various states, were seamlessly integrated into Mies’s designs, resulting in a harmonious blend of architecture and sculpture. This integration exemplified the synergy between the two artists, with the sculptures enhancing the spatial and aesthetic qualities of the architectural spaces. However, the use of naked female figures in art has been a subject of critique, often accused of objectifying women and perpetuating traditional gender roles. Critics argue that such representations can perpetuate a narrow and reductive view of women, reducing them to mere objects of desire rather than reflecting the complexity and diversity of female experiences. The presence of Kolbe’s sculptures within Mies’s architectural compositions can be interpreted as part of a broader historical pattern where women’s bodies are objectified and commodified, reinforcing stereotypes and unequal power dynamics.
Ludwig Mies van der Rohe’s incorporation of Georg Kolbe’s sculptures into his architectural designs was not an isolated occurrence but a recurring theme across multiple projects. Mies’s consistent choice to integrate sculptural elements, often featuring the female form, into his works invites ongoing discussions about the representation of women and the potential implications within the broader context of modernist architecture.
Fig.2 A cullmination of sculptures by Georg Kolbe
GOTTFRIED SEMPER
Gottfried Semper, a pivotal figure in 19th-century architecture, left an indelible mark through his innovative designs and influential writings. Born in 1803, Semper’s career spanned a transformative era in architecture, showcasing remarkable versatility in both his designs and theories.Semper’s architectural philosophy is epitomized in works like the Dresden Court Theatre, where historical and contemporary influences coalesce harmoniously. This blending of styles reflects his commitment to integrating past and present architectural elements seamlessly.
The Zurich Polytechnikum further underscores Semper’s forward-thinking approach. As an avant-garde educational institution, it exemplifies his dedication to creating functional spaces that adapt to evolving educational needs.In his seminal work, “Der Stil in den technischen und tektonischen Künsten” (“Style in the Technical and Tectonic Arts”), Semper introduced his theory of the four elements of architecture: Hearth, Roof, Enclosure, and Mound. These elements, especially “Enclosure,” resonate deeply with weaving and braiding techniques in architecture.
Within the realm of “Enclosure,” weaving and braiding techniques find profound expression. They allow for the interweaving of materials to create walls, screens, and partitions that define and shape spaces. Whether using natural fibers or modern materials, these techniques offer architects versatile tools for crafting spaces that balance aesthetics and functionality.Weaving and braiding also play a crucial role in enhancing acoustic and thermal comfort. Braided partitions control noise levels, contributing to a peaceful environment, while weaving-based insulation solutions improve thermal performance, bolstering a building’s sustainability.
JENNY SABIN’S LUMEN
Jenny Sabin stands at the forefront of architectural innovation, reshaping the landscape with her groundbreaking contributions to digital fabrication and design. Her career is a testament to her relentless pursuit of architectural possibilities, fueled by a passion for exploring cutting-edge technologies and materials.
Central to Sabin’s innovative approach is her pioneering use of knitting as a key element in architectural design. By blending this traditional craft with contemporary digital proceses, she has created a transformative force in architecture, seamlessly merging craftsmanship with technology. Her installations and structures are dynamic, adaptive spaces that harmonize art, technology, and human experience, inviting users to reimagine the spaces they inhabit.
One of Sabin’s most renowned projects is Lumen, an immersive installation that fuses art, science, and architecture. Lumen captivates observers with its intricate, knitted photoluminescent textiles, which glow softly, transforming the structure from day to night. This dynamic installation showcases Sabin’s ability to bridge cutting-edge digital design techniques with traditional crafting methods, resulting in a living architecture that responds to its environment.Beyond its aesthetic appeal, Lumen is rooted in biology and engineering, drawing inspiration from nature’s adaptive systems. Sabin’s approach embodies the principles of biomimicry in architecture, where form and function intertwine, mirroring the way organisms respond to light in the natural world. This holistic approach underscores the rich possibilities that emerge when traditional craftsmanship converges with avant-garde technology, redefining our understanding of space, form, and function.
In summary, Jenny Sabin’s innovative work, including projects like Lumen, represents an ever-evolving exploration of architectural potential. Through her unique blend of traditional craftsmanship and modern technology, she continues to push the boundaries of architecture, inspiring others to rethink the spaces we inhabit and the ways we interact with them.
ALICE MARIE ARCHER
Alice Marie Archer is a visionary contemporary artist who has carved out a unique niche in the world of textile art and contemporary knitting. With a distinct focus on incorporating plant elements into her creations, Archer’s work transcends conventional boundaries, blending traditional craft techniques with innovative artistic expression. Her artistic journey is characterized by a deep exploration of knitting as a medium, allowing her to craft intricate abstract forms and textures that captivate the viewer’s imagination. Each piece is a labor of love, meticulously created using a variety of knitting techniques that she has honed over years of practice and experimentation. Themes of memory, identity, and place resonate deeply throughout Archer’s body of work. Through her art, she invites viewers to reflect on their own personal narratives, drawing connections between the intricate patterns she weaves and the complex tapestry of human experience. Her pieces serve as visual metaphors, capturing the essence of fleeting memories, evolving identities, and the profound connection between individuals and their surroundings. Archer’s versatility as an artist is evident in the diverse range of media she explores. From sculptural installations that command attention in gallery spaces to wall-mounted pieces that invite closer inspection, each artwork showcases her mastery of form, texture, and composition. Additionally, her exploration of wearables as a form of artistic expressionfurther blurs the line between art and everyday life, challenging traditional notions of what constitutes “art” and who gets to be considered an “artist.”
Beyond her artistic achievements, Alice Marie Archer is also a passionate advocate for the revitalization of textile arts and contemporary knitting. Through her workshops, lectures, and collaborations, she shares her knowledge and enthusiasm for these crafts, inspiring a new generation of artists to explore the rich possibilities that lie at the intersection of tradition and innovation.
BARCELONA PAVILION
The Barcelona Pavilion, originally conceived by Ludwig Mies van der Rohe for the 1929 International Exposition, is a seminal work in modernist architectural history. Its design, grounded in the principle of “less is more,” has become emblematic of minimalist aesthetics and has inspired countless architects and designers. However, the Pavilion’s journey has not been without controversy. After its original construction in 1929 and subsequent dismantling in 1930, the Pavilion was meticulously reconstructed in the 1980s. While the intention was to faithfully replicate Mies van der Rohe’s design, the second iteration has faced criticism for its lack of fidelity to the original masterpiece.
One of the most glaring critiques of the reconstructed Pavilion is its perceived lack of craftsmanship and attention to detail. Nuanced differences in material quality and execution have led many to view the rebuilt Pavilion as a diluted version of the original. While it retains the architectural form and layout, the subtle deviations in craftsmanship and materiality diminish the authenticity and precision that characterized Mies van der Rohe’s original design.
Moreover, the reconstructed Pavilion’s attempt to capture the essence of the original raises questions about the authenticity of architectural recreations. Can a rebuilt structure truly encapsulate the genius of the original design, or does it inevitably fall short in capturing the nuances and intricacies that made the original a masterpiece? The debate surrounding the reconstructed Barcelona Pavilion underscores the challenges and complexities inherent in architectural preservation and reconstruction. While the rebuilt Pavilion serves as a tribute to Mies van der Rohe’s architectural vision, it also highlights the irreplaceable value of the original craftsmanship and design.
In conclusion, the reconstructed Barcelona Pavilion stands as a testament to Mies van der Rohe’s enduring influence on modernist architecture. However, its subtle deviations from the original design serve as a reminder of the challenges in recreating architectural masterpieces. As critics and enthusiasts continue to debate its merits, the Pavilion remains a captivating symbol of 20th-century architectural innovation, albeit one that invites reflection on the value of authenticity and the irreplaceable nature of the original design.
BARCELONA PAVILION INSTALLATIONS
The Barcelona Pavilion is renowned not only for its iconic architectural design but also for its historically significant installations. Throughout its history, the Pavilion has hosted various art installations and exhibitions, transforming the space into a dynamic canvas for contemporary artists to engage with its unique structural elements. These installations often bring a new dimension to the Pavilion, offering visitors fresh perspectives on the harmonious interplay between modern architecture and contemporary art. My intention is to incorporate aspects of feminine ideology into the installation, focusing on elements that convey qualities traditionally associated with femininity rather than solely feminist perspectives.
Fig 9. Mark Cottle. The cost of Money:Raft
Fig 10. SANAA, Installation in the Pavilion
Fig 8. MAS STUDIO, Geometry of Light
I have created six installation pieces that represent the feminine aspects that I integrated into the building.
FIRST IS THE REFLECTION POOL
SECOND IS CURTAINS
THIRD IS COLUMNS
FOURTH IS THE GREEN WALL
FIFTH IS DER MORGAN
SIXTH IS THE BARCELONA CHAIR
REFLECTION POOL
Materials: Travertine, Water
Features a serene water surface mirroring the pavilion’s architectural elements, inviting contemplation and introspection.
The water’s reflective quality captures the surrounding environment, integrating the pavilion with its natural surroundings.
Embodies themes of tranquility, unity, and harmony between architecture and nature.
The reflection pool enhances the pavilion’s minimalist aesthetic, adding a dynamic visual element that complements the structure’s clean lines and geometric forms.
REDESIGN
Grid: The off-centered aspect of the grid calls to the rest of the building and its off center grid layout.
Handcrafted Essence: The knitting embodies a handcrafted approach, reflecting the care and attention to detail found in the sculpture’s portrayal of humility and simplicity.
Craftsmanship and Reverence: The intricate knitting showcases skilled craftsmanship and reverence for traditional techniques, adding a layer of dignity to the pool cover.
Subdued Reflection: The pool cover mitigates excessive reflectivity, ensuring that the pool’s reflections are gentle and harmonious with the surroundings.
Veiled Transparency: The interwoven design creates tiny openings, allowing glimpses of the water below. This maintains a sense of transparency while subtly concealing the pool’s surface.
Lightestandmostfrequently usedcolorofyarn.144ofthe 26strandsarethiscolor.
Thedarkestyarnistheonly yarnthatisnotsyntheticand isused2outof26times.
CURTAINS CommunityLayout
Transparency: The extensive use of glass creates a seamless visual connection between the interior and exterior spaces, blurring the boundaries between inside and outside.
Floods space with light: The glass facade allows abundant natural light to penetrate the interior, creating a bright and airy atmosphere within the pavilion.
Emphasizes openness: The transparency of the glass symbolizes the pavilion’s ethos of openness, inviting exploration and interaction with the surrounding environment.
Reflective qualities: The reflective properties of glass surfaces enhance the perception of depth and space, amplifying the pavilion’s sense of expansiveness.
Integration with nature: The glass facade frames views of the surrounding landscape, integrating the pavilion harmoniously with its natural surroundings. Modernist aesthetic: The use of glass reflects the modernist principles of simplicity.
REDESIGN
Introduce privacy: Curtains can provide a sense of privacy and seclusion within the open-plan layout of the pavilion.
Define zones: Curtains can be used to delineate different functional areas within the space, such as seating areas, exhibition spaces, or circulation paths.
Create intimacy: By enclosing certain areas with curtains, a sense of intimacy and coziness can be achieved, contrasting with the pavilion’s typically open and expansive atmosphere.
Embedding lights within the curtains will mitigate reflectivity, rendering the glass virtually transparent and defeating its purpose.
Incorporating metal into the curtains creates a flexible and adaptable structure, lending genuine solidity to the knitted fabric.
Control light: Curtains offer the ability to control the amount of natural light entering the space, allowing for adjustments to suit different activities or times of day.
Add texture and visual interest: Curtains introduce a soft, tactile element to the pavilion’s minimalist aesthetic, adding texture and visual interest to the space.
*aspecialthankstoeveryonewhohelpedmewiththispartofmythesis,I couldn’thavedonethiswithoutyou*
Incorporating recycled grocery bags into the curtains serves as a commentary on the wastefulness often seen in architectural construction. This also pays homage to Mark Cottle’s rendition of the building, highlighting the importance of sustainability in design.
Knitting is profoundly community oriented; by bringing my community together to create a curtain, we demonstrate strength and unity, bound by love and collaboration.
Alia King
Richie Shapiro Cari Shapiro
Anna Zamolodskaya Alyssa Sauce Abby Evans Sherrie Shapiro
Tori Shapiro
Mariana Corredor Lindsey Lovvorn Kaitlyn Boyd Josh Lopez
Celine Thomas
Sophie Cronin Cece Crumbley
Josh Fuls Jennifer Perez Hai Domino
Tamia Durden
Teresa Winarski
Tyler Huskey Nicole Smith Michael Toache Olivia Rybski
Fig. 12 the exterior facade with bare windows
COLUMNS
Structural elegance: Slender and graceful proportions, exemplifying the elegance of modernist design.
Material contrast: Constructed from highly polished steel, the columns provide a striking contrast to the glass and marble elements of the pavilion, adding visual interest and texture to the space.
Spatial delineation:Subtly partitioning the open-plan layout into distinct areas while maintaining a sense of visual continuity.
Symbol of classicism: Despite the pavilion’s modernist design language, the use of marble columns evokes classical architectural motifs, serving as a nod to tradition within a contemporary context.
REDESIGN
Structural hoop around columns allows for oblong-shaped knit tubes. Five iterations of column covers add variation and interest.
One large defined column serves as a focal point. Clips support column covers without compromising integrity. Enhance aesthetics while integrating harmoniously. Reflect avant-garde spirit and modernist ethos.
Encourage exploration and engagement with dynamic design. Versatile design accommodates different spatial configurations. This unconventional approach challenges traditional notions of spatial organization and encourages viewers to perceive the space in new and unexpected ways.
CONSTRUCTION
COLUMNITERATIONS
Fig. 13 detail of bare column intersecting with travertine
‘GREEN’ WALL
Timeless Beauty: ‘Natural’ veining and texture of the marble imbue the pavilion with a timeless allure, echoing its enduring status as a modernist icon.
Reflective Qualities: The polished surfaces of the marble walls subtly play with light, casting shadows that dance across the space and highlighting the pavilion’s clean lines and geometric forms.
Spatial Definition: The marble walls serve as partitions, delineating spaces within the pavilion while maintaining a sense of openness and flow.
Craftsmanship and Detail: The meticulous craftsmanship evident in the marble’s installation underscores the pavilion’s commitment to excellence in both design and execution.
REDESIGN
Knitted Vines: Vines are intricately knitted and laid atop the marble slabs in the eastern pool, transforming it into a green wall.
Green Wall Effect: The knitted vines create a lush and verdant backdrop, enhancing the natural ambiance of the space.
Incorporated Fake Plants: Fake plants are woven into the knitted vines, adding texture and depth to the green wall.
Marble Illusion: The painted stone slabs, disguised by the knitted vines and fake plants, mimic the appearance of real marble from the original pavilion.
Artificial vs Natural: The presence of fake plants juxtaposed with the knitted vines invites viewers to question the authenticity of the marble, blurring the lines between natural and artificial elements.
Theknittedvinesarecraftedfromanorganiccotton/bambooblendyarn,ontowhichfakeplantsarewoven. Thiscombinationnotonlyaddstextureanddepthtothegreenwallbutalsoservestoemphasizetheartificiality ofthemarblewallsbeneath.
Fig. 14 marble walls in eastern pool
DER MORGAN
Date of Creation: 1925
Materials: Bronze
Style: Expressionism
Dimensions: 9’ 10”
Description:
-Depicts a female figure emerging from a block or cocoon-like form, symbolizing rebirth or renewal.
-The figure is portrayed with flowing lines and a sense of movement, capturing the dynamic essence of the bright morning.
-The sculpture embodies themes of hope, vitality, and the beginning of a new day.
REDESIGN
Purity and Innocence: A modest dress symbolizes purity and innocence, suggesting a return to a state of moral or spiritual purity as the figure emerges into the new day.
Humility: Dressing the sculpture modestly conveys a sense of humility, emphasizing the modesty and simplicity of the figure’s emergence into the world.
Respect and Dignity: Modesty in dress can is seen as a sign of respect and dignity.
Protection and Shelter: A modest dress symbolizes protection and shelter, suggesting a desire to shield the figure from the elements or from unwanted attention, thus preserving its purity and integrity.
Repression or Conformity: On the flip side, dressing the sculpture modestly could also symbolize repression or conformity, depending on the interpretation. It could imply a desire to cover up or suppress the natural beauty and freedom of the figure.
Overlappingknitandyarn comingtogethertorepresent thebeautyinchaos.
Themainyarnusedinthe sleevesrefurbishedfrom thriftedyarn.
Thejunctionoftwodifferent blendsandcolors.Contrasting butunited.
Largestscaledknitusedfor thedressportion,openweave forascandalousfeel.
Fig. 15 1929 image of Der Morgan
BARCELONA CHAIR
Year of Design: 1929
Materials: Stainless steel, Leather upholstery
Dimensions: 30”x30”x30”
Style: Modernist, Bauhaus-inspired, Minimalist and sleek aesthetic
Features:Clean lines and geometric shapes, Cushions attached to the frame with leather straps, Curved seat and backrest for ergonomic comfort REDESIGN
Chrome metals of chairs and stools are enveloped with pink fluffy acrylic yarn, altering their appearance and texture.
The yarn extends beyond the confines of each chair, creating a new visual grid that connects the individual pieces.
This newly introduced grid serves as a unifying element, linking the chairs and stools to each other within the space.
The contrast between the soft, playful yarn and the rigid structure of the chairs adds visual interest and dimension to the design.
By deviating from the existing grid of the building, the chairs and stools stand out as distinct elements within the space.
The irregularity in the grid lines, caused by the varying lengths of yarn, introduces a sense of dynamism and movement to the design.
This unconventional approach challenges traditional notions of spatial organization and encourages viewers to perceive the space in new and unexpected ways.
17 two Senro knitting machines used to make the gridlines for this aspect of the building
off centered gridlines on plan representing the off centered grid of the furniture
Luxuriouslyfluffyyarnwas intricatelywovenusingtheSentro knittingmachinetoimparta softeningtouchtotheotherwise starkmetallegsofthechairs. Theselegsgracefullyextendonto thewalls,floor,andceiling, accentuatingthedisproportionate gridpatternonwhichthefurniture isset.
Fig. 16 1929 image of the interior
Fig.
REFERENCES
Adria Goula. (2022). Pavilion Explores Timber Architecture in Barcelona. Inhabitat. Retrieved from https://inhabitat.com/pavilion-explores-timber-architecture-in-barcelona/
Archer, A. M. (Ed.). (n.d.). Alice-Marie Archer Studio. instagram. https://www.instagram.com/alicemariearcherstudio/
Bajracharya, S. (2023, September 23). Feminine vs. Masculine Architecture: Examining Architectural Language and Symbolism. Re-Thinking the Future. Retrieved from https://www.re-thinkingthefuture. com/rtf-fresh-perspectives/a11000-feminine-vs-masculine-architecture-examining-architectural-language-and-symbolism/#google_vignette
Fundació Mies van der Rohe. (2011, November 26 - 2012, January 18). Sanaa Intervention at Mies van der Rohe Pavilion, Barcelona. Retrieved from https://miesbcn.com/project/sanaa-intervention/
Jasper, A. (2015, September 18). A Virtual Look into Mies van der Rohe’s Barcelona Pavilion. ArchDaily. Retrieved from https://www.archdaily.com/773846/a-virtual-look-into-mies-van-der-rohes-barcelona-pavilion?ad_medium=gallery
Thomsen, M. R., Tamke, M., Karmon, A., Underwood, J., Gengnagel, C., Stranghöner, N., Uhlemann, J. (2016). Knit as bespoke material practice for architecture: ‘1 Tower’ at Danish Design Museum, 2015. Retrieved from https://papers.cumincad.org/data/works/att/acadia16_280.pdf
Vasudeva, C. (2018, April 3). Sean Ahlquist CNC Knits Multi-Sensory Environments for Children with Autism. School of Architecture, Carnegie Mellon University. Retrieved from https://soa.cmu.edu/ news-archive/2018/4/3/sean-ahlquist-cnc-knits-multi-sensory-environments-for-children-with-autismTagged: Lecture Series, 2018 Spring Lecture Series, Sean Ahlquist, Sean Ahlquist S18
Wang, L. (2017, February 21). Futuristic Canopy Made of Knitted Textile Solar Panels Wins 2017 Young Architects Program at MoMA. Inhabitat. Retrieved from https://inhabitat.com/futuristic-canopymade-of-knitted-textile-solar-panels-wins-2017-young-architects-program-at-moma/lumen-by-jenny-sabin-studio-2/
Zilka, L., & Underwood, J. (2022). Knitting Architecture. Future Prototyping Exhibition 2020. Retrieved from https://msd.unimelb.edu.au/future-protoyping-2020/exhibition/knitting-architecture
FIGURES
Fig. 1 -modified by author, Theredlist; https://www.widewalls.ch/artists/ludwig-mies-van-der-rohe Werner Blaser; https://archidose.blogspot.com/2018/04/mies-sitting-and-smoking.html
Fig. 2- modified by author, https://kunstmuseenkrefeld.de/de/Exhibitions/2021/Lehmbruck-Kolbe-MiesVan-Der-Rohe-Kuenstliche-Biotope
https://www.e-flux.com/announcements/402883/lehmbruck-kolbe-mies-van-der-rohe-artificial-biotopes/ https://www.flickr.com/photos/tomcosgrave/141607301
https://www.moma.org/collection/works/100114
Fig. 3-modified by author, Full Table; https://www.fulltable.com/vts/aoi/s/semper/ahtml.html
World Biographical Encyclopedia, Inc; https://prabook.com/web/gottfried.semper/3724004
Fig. 4-5-modified by author, Jenny Sabin Studio; https://www.jennysabin.com/lumen
Jonathan Hilburg; https://www.archpaper.com/2018/09/jenny-sabin-studio-high-tech-textiles-peronis-art-popup/
https://www.archpaper.com/2018/09/jenny-sabin-studio-high-tech-textiles-peronis-art-popup/#google_vignette
Fig. 6- Alice Marie Archer, Instagram; https://www.instagram.com/alicemariearcherstudio/
Fig. 7- Robin Evans, https://drawingmatter.org/mies-the-horizon/
Fig. 8-10 various authors, https://www.mas-studio.com/portfolio/geometry-of-light-barcelona-pavilion/
https://www.designboom.com/art/endless-plastic-bags-fill-mies-van-der-rohe-barcelona-pavilionthe-cost-of-money-raft-mark-cottle-07-12-2023/
https://www.wallpaper.com/art/xavier-veilhans-multi-venue-architectones-reaches-its-climax-in-mies-van-der-rohes-barcelona-pavilion
Fig. 11 - Michael Dant; https://www.flickr.com/photos/faasdant/2497620025
Fig. 12- Tiffany Chan; https://thefemalegaze.org/2017/11/19/tiny-beautiful-pavilion-visiting-mies-in-barcelona/
Fig. 13- Michael Dant; https://www.flickr.com/photos/faasdant/2498308680
Fig. 14- Tom Cosgrave; https://www.flickr.com/photos/tomcosgrave/141619132
Fig. 15- George Dodds; https://i.pinimg.com/originals/17/68/ea/1768ea048e6124d98326f53fea63adca. jpg
Fig. 16- Vizcayado; https://architectuul.com/architecture/barcelona-pavilion
Fig. 17- Sentro; https://www.amazon.com/Needles-Knitting-Conversion-PureZoneA-Efficiently/dp/ B09BNCMS6T
https://www.amazon.com/Knitting-Machine-Rotating-Suitable-Scarves/dp/B0B79WZRH5