RESEARCH PROJECT
TRANSFORMATIVE TEXTILES HV ATELJÉ
TRANSFORMATIVE TEXTILES June 2012
The project was structured in two juxtaposed practice-based studies: a sketch end prototype development by CITA and HV Atelje and a studio-based workshop at KhiB. The project had a strong focus on dissemination and resulted in the following research activities - A start-up workshop at HV Ateljé with CITA (15 -08.16.2011) - Project development of common design ‘Mountain Curtain’ (15.08 - 08.12.2011) - Public seminar and work-in-progress ansigt at Konstfack, Stockholm, ‘Architectural Textiles’ (08/12/2011) - Workshop at the Art and Design School of Bergen (03 08.10.2011) - Workshop at the Royal Academy Schools of Architecture, Design and Conservation, School of Architecture (12-17.01.2012) - Project development Shadow Play, CITA (01.05 -29.03.2012) - Exhibition at Architecture House, Copenhagen, ‘Transformative Textiles’ (03/29/2012 - 06/25/2012)
Research project: Transformative Textiles The project aimed to create new interdisciplinary dialogues between architecture, design and textile crafts. The project employed a practice-based research approach focusing on the development of physical prototypes and testing.
The project aims were to: - To develop new concepts for the textile role in the architecture - To develop new hybrid technologies that combine textile craft traditions and material understanding with digital design processes - To create the foundation for a new interdisciplinary
dialogue between architecture and textile design in the Nordic Countries and to communicate this to a wide public audience.
TRANSFORMATIVE TEXTILES June 2012
TRANSFORMATIVE TEXTILES June 2012
Research collaboration: CITA and HV-AtaljĂŠ
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Design Research As an initial exercise in the research project, HV AteljĂŠ and CITA organised a workshop to establish a common understanding of the future project and create a shared field of interests. In the workshop the two groups discussed textile
material qualities and asked how a suspension system for the curtain could be devised. To open up ideas for the suspension system Jan Eriksson from Scenprodukter was invited to show a series of products used for stage curtains.
To develop a design strategy for the project we explored different traditional textile techniques and exchanged knowledge from previous projects. Throughout the workshop different materials were examined and techniques were tested out which resulted in an interest in dying techniques.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Experimenting In the initial workshop we learned that to be able to make spacious textile, we would need to work with a textile technique, which could produce a bigger size textile within a reasonable timeframe. Colouring seemed as a promising technique, which allowed us to work with pre-fabricated
textiles and allow us design freedom to create a strong and expressive design.
Shibori is a technique of making patterns with dying. Both techniques seemed promising and were further explored in the workshop. At CITA the shibori technique was further The first colour experiments were carried out in the HVA developed with digital tools. Here a series of experiments colour lab. Here we explored the dip technique, by which we tested how to fold the textile patterns in order to get the can dye gradient colours that mix different colours. We also coloured lines drawing the pattern and how to control these explored the traditional Japanese colour technique shibori. patterns digitally.
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twisted, plaited, sewn, knotted, and then dyed. The patterns and forms result from the conShibori is the Japanese term for dyeing fabrics that cealed areas that resist the dye. Often a comhave first been shaped into three-dimensional forms. bination of techniques are applied to the same The word originates from “to wring, squeeze, or piece fabric before dyeing. The piece can then press�. Material is either folded, crumpled, stitched, be dyed multiple times, resulting in extremely
intricate patterns.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Experimenting
one of the tests is shown in the last picture.
In the pictures on the previous page we see the drawn folding patterns of two shibori experiments. The big drawings show how the pattern is planned when it is unfolded and the small drawing shows how it is, when it is folded for dying. Underneath we see the textile being folded. The outcome of
On this page the picture in the middle shows an example of a laser cut wood blocks. The frame is designed for the size of In the last picture we see an example of a test piece, where the folded textile with holes that allows the colour not only both textile and wood blocks has been laser cut in order to to colour the edges but also letting dye go through to make create extra layers of patterns within the textile. a pattern. The colouring process is carefully prepared in a
dye lab, where the textile in the wood blocks is dyed in large boiling pots.
TRANSFORMATIVE TEXTILES June 2012
Digital Shibori: The workshop explored the different shibori techniques of folding and binding fabric before dying. The process begins by folding the fabric into a flat shape, keeping as many of the folded edges on the outside like an accordion.
Blocks are then placed on either side packet of fabric, tied together, and the fabric is submerged in dye. The edges become coloured and the pressure exerted on the blocks protect the inner fabric. The tighter the blocks are bound, the crisper the lines. Loosely held blocks allow the dye to seep into the bundle of fabric, creating a bleed.
The pattern results from the combination of precise folding, shape of the blocks, and degree of pressure. Depending on the techniques, the forms can range from crisp, geometric lines, soft bleeds, or mysterious Rorschach-esque forms.
Collaboration:
Production of the Mountain Curtain
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Production Transformative Textile is research collaboration between the Center for IT and Architecture at the School of Architecture (CITA), Denmark, HV AteljĂŠ, Sweden and Academy of Art and Design in Bergen (KhiB), Norway
The research project examines how to use textiles for a transformative architecture in an interdisciplinary dialogue between architecture and textile design. To establish the dialogue and collaboration between the two groups, HV AteljĂŠ and CITA made a shared design and production of the Mountain Curtain.
The close teamwork allowed an exchange of knowledge between textile craft tradition and the digital design and manufacturing processes. The project created a shared framework for exploring new concepts for architectural textiles.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Design HV AteljĂŠ and CITA working on the design and production of the Mountain Curtain. Testing the digital developed patterns in a mock up textile material and developing textile details for the curtain.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Production Production of the Mountain Curtain in the HV AteljĂŠ workshops. The colour design is developed through a series of colour test, both digital and physical.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Production
challenged the different disciplines to work in new ways.
The design scheme and sewing patterns for Mountain curtain are made with digital design tools. The production is carried out with traditional textile techniques, as hand colouring, machine embroidery and high skilled tailoring. This combining of digital design tools and textile craft tradition’s
In the pictures we see how the curtain is produced. First the premade silk curtains sewn after which they are dip collared in four different colour baths, starting with a light blue and finalising the last colour line with a black edging. After the colouring the curtains are adjusted in length and the edging
in is made with a fine line of textile glue. As a final detail the curtains are machine embroidered with red silk stitch-lines running from the floor and up the curtain hill side.
TRANSFORMATIVE TEXTILES June 2012
Developing the textile patterns Each part of the flounce is developed as individual patterns in 3D and sewn together.
Workshop:
Bergen National Academy of Fine Arts
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Student workshop In collaboration with Professor Hilde Hauan, CITA led a research workshop with textile and arts students at the Bergen National Academy of Fines Arts. The aim of the workshop was to explore how the logic of textiles challenges the way we think, design, and build architecture. The
students developed a series of spatial curtains that could suggest new ways of thinking the spaces we live.
site specific installations that challenge the traditional use of textiles in interior architecture.
The workshop was based on group work. Each group of 3 to 4 students was provided with a different curtain system and asked to investigate the logic of that system. Over the course of the five days, the students were asked to develop
The workshop introduced the skills of Shibori dyeing learnt at the HV-AteljĂŠ workshop, laser cutting textiles, and 2D and 3D modelling in Rhino. The students incorporated digital technologies with their knowledge and techniques of craft.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Student workshop Explorations in shibori developed during the workshop by students at Bergen Academy of Art and Design.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Student workshop
design strategy for digital shibori.
Together with the students we were able to explore how to combine the logic of folding and shibori with the ability to laser cut the textile. Understanding in what ways the technique of laser cutting can contrast or complement the soft bleeds created in the shibori pattern we developed a
Introducing laser cutting of the textile allowed the students to explore the play of shadows and light as well as the buildup of patterns and perforations on multiple surfaces.
The ambition of the workshop was to work with textile on an architectural scale, to test out in 1:1 the relation between textile and space.
TRANSFORMATIVE TEXTILES June 2012
Collaboration: Student workshop The student would through the making of prototypes and curtains consider what a soft and pliable cover for an architectural frame could be. By questioning what the inner lining in the spaces
we live is, new understandings of spatial partitions, curtains, carpets were explored. Dissolved and hairy soft linings were some of the proposal made by the students. But also more subtle proposal with almost invisible patterns was suggested.
TRANSFORMATIVE TEXTILES June 2012
TRANSFORMATIVE TEXTILES June 2012
Seminar:
Konstfach, Stockholm
TRANSFORMATIVE TEXTILES June 2012
TRANSFORMATIVE TEXTILES June 2012
Seminar: Konstfach The seminar Arkitekturens Textiler was hosted at Konstfack in Stockholm. Professional architects, textile designers and artists from academia and practise were invited to discuss the relationship between space, material and decoration.
The seminar presented a number of interdisciplinary presentations to a discussion of the role of textile in contemporary architecture. The seminar framed a discussion, asking how can we create new forms of dialogue between architects and textile designers to improve the understanding of each
other’s practices and what is the financial framework that can provide textile design to be an integrated and unique part of a new building culture. 51 guests and 6 speakers attended the seminar.
TRANSFORMATIVE TEXTILES June 2012
Seminar: Program The seminar was structred in two sessions with 5 talks. Session 1: What an architectural textile could be - “Soft Logic, et skulpturelt gardin” Professor Mette Ramsgaard Thomsen&Karin Bech, CITA - “Textil som Konstverk” Professor Hilde Hauan, Bergen Academy of Art and Design - “Textil i ett rumsligt sammanhang” Mette L’Orange, Bergen Academy of Art and Design
Session 2: How to plan, implement and manufacture site specific textile for architecture - “Textil gestaltning, några exempel på beställda konstverk för offentlig miljö” Ann Magnusson, Statens konstråd, Stockholm - “Produktion av unik textil för offentlig miljö” Marie Louise Sjöblom, HV Ateljé, Stockholm
TRANSFORMATIVE TEXTILES June 2012
Work in progress showing: Konstfach Library
input to the seminar provided for a present case to discuss around.
As part of the seminar HV AteljĂŠ and CITA showcased a work-in-progress in the foyer at Kontfach. To discuss the pro- Mountain Curtain was displayed in a long window to the next door library. Here the curtain was hung as one continuject concepts and techniques the audience were invited to experience and touch Mountain Curtain. The direct physical ous surface as a screen shielding the inside of the library to the outside hallway.
Above: showing how Mountain Curtain is displayed from both sides
TRANSFORMATIVE TEXTILES June 2012
Work in progress: Installation Above: Preparing for the show case of the Mountain Curtain at the seminar
Workshop:
The Royal Academy of fine Arts, School of Architecture
TRANSFORMATIVE TEXTILES June 2012
Student workshop: Shadow Play
window screens, which could suggest new ways of creating shadow and spatial transformation.
In February 2012, CITA led a research workshop with architecture students at The Royal Academy of fine Arts, School of Architecture. The aim of the workshop was to investigate the structural exploitation of material performance. The students developed a series of spatial
The workshop was based on group work. Each group of 3 to 4 students were asked to develop their own textile logics of assembly and devise ways of representing and making it. All group worked with pine veneer as a shared material
resource. Questioning how can its material flex be controlled to define spatial as well as structural qualities? And what are the means by which you can pleat, pin, tie, steam, laminate the structure so as to articulate differentiation? The workshop introduced the skills of 3D modelling and parametric design.
TRANSFORMATIVE TEXTILES June 2012
TRANSFORMATIVE TEXTILES June 2012
Student workshop: Shadow Play Working in scaled models and full size prototypes the students were asked to consider how a textile logic could suggest a material practice. By investigating structural systems that incorporate material performance the student developed a range of different weaved structures. The
aim of these structural investigations is to understand how principles of friction and self-bracing can employ internalcompressive forces to gain stiffness and thereby structural integrity. The students develop both digital design model and physical full scale models. In this intersection they were able to
explore digital design strategies and designing for material performance. Working with woven wood structures the workshop explored how self-bracing wood structure can lead to new structural systems.
TRANSFORMATIVE TEXTILES June 2012
Student workshop: Shadow Play Within a one week workshop the students had designed, developed and produced four different woven wood structures. Each structure displayed in space to create a light filter creating a dynamic shadows play into the space.
TRANSFORMATIVE TEXTILES June 2012
Shadow Play:
Curtain for Architecture House
TRANSFORMATIVE TEXTILES June 2012
Shadow Play: Production
a screen filtering the light creating a dynamic shadow play across the entrance space of the house.
The production of Shadow Play curtain has been carried out by CITA for the exhibition “Transformative Textiles� at the The installation is made of thin veneer wood in a three diArchitecture House in Copenhagen. The curtain is made site mensional textile structure. The textile structure is a weave specific for the entry space of the house. It is developed as tied together in a repeated hoops system. The wood veneer
material used for the structure employ the potential for bending. Building on prior research made by CITA into textile-based structural systems the project examines ways of encoding and describing material behaviour for architectural scale structures.
TRANSFORMATIVE TEXTILES June 2012
Shadow Play: Textile structure Shadow Play is developed and designed through a series of models exploring different weave systems. In traditional “draft” diagram for weave the “threading”, the “tie-up”, and the “treadling” presents the interlacement of the (vertical)
warp threads with the (horizontal) weft threads. These diaThe weave system in Shadow Play is from early model stage grams are ascalar and give no indication of how the resulting further developed with parametric design tools to be both a textile will look, but exist instead as instructions for fabricadigital model and an instruction for fabrication. tion. As such they are interesting models for considering architectural descriptions that incorporate with material behaviour and result in instructions for fabrication.
TRANSFORMATIVE TEXTILES June 2012
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Shadow Play: Textile structure Above: Developing structural systems of the 3D textile structure. Right: Developing the loop stitches that use the bending of the pine veneer.
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Shadow Play: Designing the system In Shadow Play each member is inherently weak, and it is only through the designed system of assembly and interconnecting looping that the structural whole is given stiffness and strength. To design the system we used simple parametric design tools incorporating an empirical evaluation of the performance of the pine veneer. The 3D model draws the
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relationships between each member allowing for mapping of the looping. The model exists as a programmed design space in which the shadow space of the installation can be tested and changed. The parametric design model incorporates the empirically defined understanding of the bending of the veneer wood. The model allow for direct feedback between designer and
the embedded modelling of material behaviour allowing an understanding of the minimum and maximum of bending. Above left: mapping the parameters of material performance and incorporating it into the digital model. Minimum and maximum parameters are defined through empirical testing. Above right: the parametric design model
TRANSFORMATIVE TEXTILES June 2012
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RÆKKE 2B
2B.4
2B.3
2B.2
1,6 CM
42.7
8A.2
+5cm
fra inde mod ude/som grasshopper model
43.3
28.6
34.6
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36.0
8A.1
RÆKKE 8A
+5cm
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36.
38.2
40.2
41.9
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2
9
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2 35.
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56.6
STICK WIDTH
1.8
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1,2 CM
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+5cm
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+5cm
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1.6
+5cm
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1,6 CM
1.5
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+5cm
39.5
fra inde mod ude/som grasshopper model
2 CM
1.4
+5cm
40.1
41.3
2A.1
RÆKKE 2A
2,5 CM
1.3
45,8
45,8
28.7
2 CM
1.2+5cm
+5cm
31.9
1.1
fra inde mod ude/som grasshopper model
29.5
1,6 CM
RÆKKE1
30.6
STICK WIDTH
48,9
39,7 48,6
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9A.4
29.0
31.5
31.7
31.8
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+5cm
8
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63
+5cm
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+5cm
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+5cm
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89 88,1
72
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52
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+5cm
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+5cm
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+5cm
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51
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6A.3
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+5cm
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9
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9B.4 +5cm
64
fra inde mod ude/som grasshopper model
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38.0
9B.3 +5cm
45.8
36.
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+5cm
RÆKKE 9B
66,6
RÆKKE 6A
39,1
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2
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69
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82
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5
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5
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1
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63
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69
73.0
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+5cm
54,1
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6A.1
57.8
2
3
+5cm
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53
45,9
fra inde mod ude/som grasshopper model
57.5
38.
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+5cm
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79,3
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5B.6
5B.5
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5B.3
52
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5
4 40.
+5cm
fra inde mod ude/som grasshopper model
61.4
37.
7
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9
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RÆKKE 5B
48 layers of
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91 65
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8
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103,1
79,4
76,8
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64,3
50,9
82,6
80,7
78,6
75,8
+5cm
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+5cm
39.
49,9
63,8
63,3
62,8
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41.1
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+5cm
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39,8
39,8
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+5cm
0
45.4
+5cm
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46.2
+5cm
78,3
78 78,3 77,6
5A.8
59,4
104 104,7
105,2
48.2
+5cm
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1
78
58,9 58,4
47.3
44.4
fra inde mod ude/som grasshopper model
5A.6
43,7 37.
50.0
54.1
57.1
52.1 +5cm
RÆKKE 5A
5A.5
+5cm
43,5
77,6
105,4
105,5
5A.4
+5cm
43,3
77,2
57,9 57,4
56,8
5A.3
9A.8
+5cm
43
76,6
56,2
105,1
5A.2
9A.7
+5cm
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75,4 77,5 75
64,2
5A.1
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9A.5
+5cm
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56.8
74,3
7 37.
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fra inde mod ude/som grasshopper model
27.9
31.9
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8
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9A.3
2
4 36.
6
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40.4
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9A.2 +5cm
RÆKKE 9A
45,7 35. 7
63,9 63,3
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52,6 52,4
45,6
36.
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36.
3
37.1
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+5cm
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4
8 39.
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4B.7 +5cm
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43.0
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44,5
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+5cm
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50,4
44
45.2
4B.4
4B.3
+5cm
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29.5
4B.2 +5cm
+5cm
fra inde mod ude/som grasshopper model
28.0
4B.1
+5cm
RÆKKE 4B
57,9 55
56,5
61.2
63.9
69,1 67
29.1
45.8 80,8
47.9
45.7
39.5
37.0
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52.2
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96,9 98,4
99,7 100,8
36.1
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8
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63,4 62,6 46.8
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38.
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34.5
10A.8
+5cm
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80,5 80,1
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67.2
80,6 67.6
80,4
79,3
42.9
10A.7
+5cm
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57.0
27.6
10A.6
+5cm
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45.2
49.8
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87,7
71.7
55,8
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63.8
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89
76.6
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51.1
53.0 52.3
10A.5
+5cm
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97,1
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45
79
60,3 102,2
100,1 99
92,8
+5cm
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59,3
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10A.3
+5cm
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1
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69,3
10A.2
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75
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3
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9
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6
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9
7
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fra inde mod ude/som grasshopper model
8
37.
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41.6
43.7
44.4
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33.9
RÆKKE 10A
36.
36. 48,7 2
48,6
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70,1
67
6B.8
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58,1
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47,6
69,9
6B.7
+5cm
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57,2
56,7
56,2
6B.6
+5cm
45.7
47.1
44.1
55,4
47,1
6B.5
+5cm
47.2
6B.4
+5cm
30.6
6B.3
+5cm
38.2
+5cm
fra inde mod ude/som grasshopper model
28.5
6B.2
6B.1
RÆKKE 6B
90 54.9
43 90,8
54.4
7A.3
7A.4
7A.5
7A.7
7A.6
7A.8
28.9
30.3
32.5
28.8
30.0
31.8
33.6
34.9
66,6
6
0
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38.5
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1
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5
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4
27.0
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100,2
98,9
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+5cm
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42.9
52,2
46.5
49.8
52.2
52.2
42.4
69,3
70,9
70,4
69,9
68,6
+5cm
40.4
40.3
40.2
40.1
39,9
+5cm
34.9
37.4
39.7
41.3
37.9
+5cm
84.0
39,6
67,6
+5cm
82.5
+5cm
63,6
42,7
42,7 +5cm
+5cm
fra inde mod ude/som grasshopper model
61.8
7A.2
42,8 70.3
7A.1
RÆKKE 7A
42,9
58.4
91,4
65,5
57.0
83,4
61.7
62.0
81,8 80,1
76,1
59.6
78,2
48,3
67.2 67,7
7B.8
40.2
51.5 39.3
42.2
26.7
32.3
41.8
32.8
66.9
68.2
65,3
74.8
43.1
82.3
66,4
67,4
51.6
68,2
45
45,9
44.0
47,2
64
35.1
73.6
69.4
64.4
61.5
53.0
47.7
36.0
54.4
58.7
44.7
35.8
28.2
31.5 30.4
29.5
29.3
29.6
30.5 38.5
61.2
45.7
54.9
55.2
32.5
35.2
38.9
42.3
44.8
45.0
35.5
48.3
38.1
9
45.1 99,1
58,4
59,2 60
60,6 61,1
46,6
47,2
Shadow Play: Production The parametric design model is interfaced with a second tier fabrication model in which the lengths of each member and the position of the loops are detailed. Both representations are purely relational outlining the coordinates of the material assembly and the project relies on physical prototyping to understand the resulting form
In Shadow Play the verneer wood is manually cut into strips of varying breadth. Varying along the depth of the installation the individual members are thinner the closer they are to the window allowing for an intensification of light play. Each member passes through the length of the installation. The installation is designed to allow people to pass under the structure and the member length is accordingly varied
2
3
56.7
100,6
59.0
63.9
54.3
56.4
40.
44.
67,7
102 103,2 104,2
105,1
70,2 69,5 68,7
10B.8
38.
69,8
54,8
95,7
95,2
68,4 69
69,4 69,8
70,1
62,1
71 70,1
3 43.
9
42.
2
49.6
44.
64.6
92,3
69,7
54,6
94,6 93,9
93,1
+5cm
+5cm
69,4
69,1
54,3 53,7
10B.7 +5cm
47.9
51.4
54.2
7
55.0
46.5
38.
61,7
53,4
10B.6
+5cm
68,8
54
45.9
47.0
48.8
52.4
50.7
54.8
107,3
61,1 60,5
69,7
+5cm
68,4
67,9
52,9
10B.5
10B.4 +5cm
67,2
fra inde mod ude/som grasshopper model
91,2
109
106,1
104,6
+5cm
RÆKKE 10B
72,4
72,3
108,3
102,9
58,5
72,1 71,7
71,4
70,8
10B.3
10B.2
8
0 39.
7
45.2
44.1
41.
43.1
70,1
40.
43.2
45.6
47.8
49.0
44.7
MDF 20mm
61,8
50,2
80,6
79,9 79,1
78,2 77,3
76,3
37.
2
35. 50,1 3
30.2
10B.1 +5cm
75
+5cm
61,5
61,1
49,9 36. 6
30.1
7B.7
+5cm
+5cm
49,7
39.2
7B.6
60,1
49,4
45.9
7B.5
+5cm
60,3
49,2
50.9
7B.4
+5cm
59,8
59,1
48,8
36.2
7B.3
+5cm
58,1
48,2
47.7
7B.2
+5cm
fra inde mod ude/som grasshopper model
34.5
7B.1
+5cm
RÆKKE 7B
from 2- 10 meters. Above: Fabrication data of the individual fibre members varying lengths.
TRANSFORMATIVE TEXTILES June 2012
Shadow Play: Production In Shadow Play the material system is organised as a series of interconnected loops. Each loop stitch binds two members together and passes the fibres forward in the structural weave. Copper ties connect each member in a series of loop-
ing stitches that gather the material and interconnect in three dimensions.
give the proper expression in the overall design of the structure.
To develop the right copper tie a series of materiel tests was carried out in order to find both right thickness and quality of the cobber material. As well as the right scale of the tie to
Picture to the left: Testing deign and material for copper tie. Picture in the middle: Developing the locking system for the cobber tie
TRANSFORMATIVE TEXTILES June 2012
Research Exhibition: Architecture House, Copenhagen
TRANSFORMATIVE TEXTILES June 2012
Exhibition: Transformative Textiles
The exhibition consists of two installations: Mountain Curtain, exploring the role of curtain as a screen shielding inside privacy from outside public life, and Shadow Play exTransformative Textiles is a research exhibition examining ploring the curtain as a light filter. Both exhibits were built the relationship between architecture and textile design. The exhibition took place at the Danish Architecture House, as site specific installations for the Architecture House. March-April 2012.
TRANSFORMATIVE TEXTILES June 2012
Exhibition: The Danish Architecture House The exhibition is presented and developed for the Architecture House, as the house is an example of modern architecture. We were interested in developing the curtains for the modern site of the glass façade.
Today we live increasingly with large windows spanning floor to ceiling. In these houses the curtain becomes an integrated part of the house – a material actor that separates us from our surroundings and protects us from the glare of the sun. In houses like the VM House by BIG Architects we live exposed to our surroundings, displaying our life style as a staged interior world.
The exhibition asks how the curtain as a spatial actor can be integrated with the way that we think architecture, how it can be site specific and how it through playful interaction can add a poetic imagination
TRANSFORMATIVE TEXTILES June 2012
Exhibition: Mountain Curtain
The curtain drapes the space in rich folds of died silk. With the imagination of the afar the curtain draws a new horizon in the space inviting its inhabitants to playful reveries.
Moutain Curtain is a playful examination of the curtain as a screen towards the outside. Using industrial suction cups, the curtain is turned upside down – allowing domestic life to Juxtaposing the industrial feel of the suction cups and highly detailed silk drapings the hanging is easy to change and be screened while still letting in light.
move. Drawing the curtain becomes to hang it on the wall. There they hang like light smocks casually awaiting their spatial role.
TRANSFORMATIVE TEXTILES June 2012
Exhibition: Shadow Play Curtain In Shadow Play the relationship is to the sun. As a filter Shadow Play shapes the light, creating soft shadows and a warm colouring. Copper joints reflect the light creating a further dimension to the filtering.
The filter is made through repeated hoops in a three dimensional textile structure. Each hoop is different in scale growing as it reaches the ground. The curtain is sited in the entry space to the Architecture House in the void between the double doors.
The curtain hangs perpendicular to the window making it practically invisible to the eye. Instead what is noticed is the change in light quality and glimmering reflections.
TRANSFORMATIVE TEXTILES June 2012
TRANSFORMATIVE TEXTILES June 2012