Blend: Senses

Deep Space Learning Curves

Innovating at 20

A different interaction

Turning 20 doesn’t make you old

Idea Generation: Playing with Pratt Yielding a cohesive effort

With the creation of interactive experiences, architects are no longer sculptors of form, but rather a hybrid mix of storytellers, designers, programmers, choreographers and engineers, crafting something that is always in flux. ~Tali Krakowski, Director of Experience Design for Imaginary Forces

“It’s not where you take things from – it’s where you take them to“

Editor, Chief Mischief-maker and Design Mixologist

Jean-Luc Goddad.

Early this summer I had the distinct pleasure to attend one the our design industry’s unique graphics and architectural annual meetings in the hopes that my spirit would be lifted and my eyes opened wide to a way of thinking that I had not yet participated in or practiced in my own design-fu way. However, coming away from this gathering of industry leaders and trailblazers, I was left with more burning questions, but no real solution. So for the last couple of months I have been on a quest. The answers I seek to find I hope will illuminate my path to what true collaboration in the design world means. It was suggested by many a professional that was attending that no one person can possess the entire answer to a design problem. Solutions come from many influences and from multiple directions. But in today’s landscape future designers are coming to the table armed with a variety of design disciplines. So is the answer in the tactical result or the strategic thinking. Or is the idea to only be REALLY good at one thing, and find others that you can “collaborate with” (tolerate) during a project till its completion. I guess that is what I wanted to find out.

As a fellow creative I have been afforded the opportunity to work with some really great designers, win a lot of awards and be recognized by my peers. But was I collaborating or just fitting into a team environment that needed to be filled for those specific projects? The definition of collaboration is the action of working with someone to produce or create something. Teamwork is something different - The process of working collaboratively with a group of people in order to achieve a goal. So maybe I was collaborating at a certain level, but my role within the team was to dress the experience and develop the channels to enlist participants to engage with the environment/space.

So you might argue that these two definitions are really one in the same depending on your perspective. They might be, but I think my exploration for answering this fundamental design management

observation runs deeper into how we design today. Grant McCracken said `Designers are interested in Culture. But sometimes they treat it in a way corporations used to treat design: something consulted too little, too late… its odd when we consider how often designers have shaped Culture.’ I see Grant’s viewpoint as the sub-soil of my quest.

How do we view design? The development of designed solutions has become so watered down that the expectation of creating has been transformed into some fast food mentality that already permeates all walks of life. Now design too! It seems to me that we have thrown the baby out with the bath water and for what but getting one more client to keep your doors open.

The problem with so-called collaboration is that design attributes of different ideas and diversity in opinion have been fundamentally weakened and watered-down by some crazy sense of aggressive sales; like some ego maniac that has undergone a radical facelift looking for an upgrade to something that was beautiful to begin with.

The result is a facsimile vaguely familiar but disturbingly without a true sense of identity. It is everyone’s and no one’s, and belongs in no single place more than another. This is what I see happening in the design world today. Maybe I was hoping to find a Nirvana of design collaboration somewhere along this quest. It could be out there, I just haven’t stumbled upon it yet.

So to end my rant, I would ask you to ponder an idea influenced by trendspotters David Carlson and Brent Richards. A return to designcentered fundamentals as a key business channel is essential if we are to reengage our successes of the past to our present design culture. A traditional business fusion may be good for the status quo, but it creates cultural confusion for the soul of design and design management.

Think Big, design bigger and live life to the fullest.

Content INSPIRE Deep Space Fabric Playing With Pratt 5 fabric considerations

EXCITE Broadcasting the Olympic Spirit In the Know - Materials Material Spark

EDUCATE Innovating @ 20 Chameleon in Nature DYB - A touch of fabric Fabric & Flame Cleaning Your Investment

In this

Deep Space Fabric Broadcasting the Olympic Spirit Eco-spread

Material Spark

Playing with Pratt

You control the sun.

This outdoor chaise is the next wave in resort, hospitality and spa outdoor comfort. No more fighting for shade from the heat of the day or trying to find a comfortable position on a wooden or hard plastic lounger. Those days are gone. This new generation of lounger is designed for optimal comfort and lasting durability. Constructed from the latest in sun-resistant textiles that are milled for comfort and sustainability, the Lounge Around grants the participant a one of a kind experience in outdoor contentment and coziness.

Email: info@theloungearound.com Phone: 847.289.5898

exposed

partial

shaded

IMAGINE if...

We call aluminum structure the backbone of tensioned fabric displays. Lets assume that aluminum has a max tensile strength of 18,000 psi (125 MPa), max yield strength of 8,000 psi (55MPa), and elongation (stretch before ultimate failure) of 20%.

What if our spine could have the same characteristics?

Then I wouldn’t have had my recent spinal surgery. I have no earthly idea what that would mean, but it makes me wonder. If you figure it out email me: info@fabricimages.com

The inner workings There are many techniques and fabrication styles in creating a tensioned fabric display or architecture. Many designers love the overall aspects that tensioned fabric architecture offers because it allows their imagination to aim for the moon. One of the most important functional aspects is portability.

This characteristic allows for the most complex and dynamic solutions to be constructed once and transported and set up in as many locations as desired.

At Metal Images, a division of Fabric Images, Inc., they have engineered the expanding sleeve as the focal point of what makes our tensioned fabric solutions superior to many of our industry’s competitors.

Our expanding sleeve mechanism gives your design two key attributes when you are creating a structure that you are specifying as tensioned fabric. The first key feature is structural integrity. This means that the fabric skin is NOT a tensioning aspect of your design. This is important because many other manufacturers’ construction techniques require the fabric skin to act as the tensioning device, thus giving the display strength and rigidness. The 2nd key feature is complexity of design. The expanding sleeve lets an architect or designer create highly complex architecture without sacrificing design intent. If you happen to be a creative visionary and see the importance in the ability of a structure to stand on its own or transport economically, keep this in mind.

Your designs will thank you.

Deep Space

Learning Curves A technology fueled experience that is delivered on a rocket of fabric & frame As part of its first major renovation since 1967, the Adler Planetarium enlisted Fabric Images, Inc., to engineer and construct a tensioned fabric space portal and gallery area for its new “Deep Space Adventure� exhibit. The Clark Family Welcome Gallery is a futuristic, intelligentlyilluminated tensioned fabric environment that introduces visitors into the Grainger Sky Theater.

Client: Adler Planetarium Designer/Architect Thomas Architects Fabric Rain Drop, Black Mesh, Celtic Integration Reactive projection system

Planetarium visitors are able to interact with the exhibit via multimedia presentations, given by contemporary space explorers, in a dynamic environment of light, sound, and fluid architecture.

“Fabric is an ideal material and solution for dressing an environment with personality and uniqueness. Adler’s newest experience captures this point in dramatic fashion,” said Leo Boczar, Director of Communication for FI. “The use of fabric architecture in permanent installations like the Deep Space Adventure is becoming more common, thus elevating fabric architecture as a viable construction methodology in interior design and interactive experiences,”

The gallery entry way, which is also

comprised of Fabric Images, Inc. tensioned fabric and aluminum frame architecture, serves as a backdrop for the recently upgraded interactive stations within the waiting area. The fabric skins that covered the interior structure serve as a canvas for the attendees to actively participate with a host of interactive presentations in the staging area.

Opened to the public in July 2011, the exhibit was an immersive space experience touted as being “second only to actual space travel,” as it takes visitors on tour of the universe.

The Adler Planetarium offered a few unique challenges when the project began. Fabric Images was given several criteria to incorporate into the overall solution in order for the design to take shape. Perhaps the most critical obstacle was that none of the structure could be attached to the Adler interior. Because of the age of the planetarium, and its historical standing, the “Deep Space Adventure” exhibit had to be self supporting and a encapsulate all of the HVAC, electrical and projection equipment inside the fabric structure.

Fabric selection was one of the other challenges.

The experience would be in place for an extended period of time. The material would also serve as the projection platform for the interactive experience that was the prelude to the large story taking place inside the viewing arena. The fabric needed to be durable, offer a good projection surface and be able to enhance the internal backlighting and surface front lighting of the experience.

The centerpiece of Deep Space Adventure is the Grainger Sky Theater, which offers audiences the most immersive, technologically advanced theater experience ever developed.

The Adler Planetarium offered a few unique challenges when the project began. Fabric Images was given several criteria to incorporate into the overall solution in order for the design to take shape. Perhaps the most critical obstacle was that none of the structure could be attached to the Adler interior. Because of the age of the planetarium, and its historical standing, the “Deep Space Adventure� exhibit had to be self supporting and a encapsulate all of the HVAC, electrical and projection equipment inside the fabric structure. Fabric architecture was really the only viable architectural solution to capture the Adler vision. The construction and installation will leave zero impact to the overall Adler Planetarium once the exhibition is cycled out, and a new experience is created.

Vivid images of planets, stars, galaxies and other celestial objects are shown in the highest resolution and quality possible to evoke the feeling of being in deep space. The on-screen imagery will expand beyond the traditional 180-degree dome and surround the visitor. Special lighting effects in the floor complete the 360-degree experience. The fabric architecture was the canvas for the success of the overall experience.

“The theater technology and computational power used to store and access celestial images differentiates Deep Space Adventure from anything out there. Using 20 separate projectors - powered by 45 computers - to create one seamless image is unprecedented. With the ability to create and present scientific data using images that are as good as the human eye can perceive, Adler visitors can explore deep space as if they were there.�

Doug Roberts, PhD

Adler chief technology officer and project director for the new Grainger Sky Theater

EXPERIENCE OVERVIEW

With a $14 million overhaul, the Adler’s Grainger Sky Theater lets viewers experience the universe as though they were traveling on the observation deck of a starship. The exhibition lets visitors experience a black hole tear apart a star, witness the collision of two galaxies, and encounter a dramatic supernova explosion.

This entire experience is preluded by a state-of-the-art interactive engagement area that primes the space traveler for the out of this world journey in which they are about to embark. Visitors are immersed in projections of outer space as their shadows on the gallery wall are enveloped by a glowing aura. When they move through the gallery they will notice that their shadows interact with elements within the projections and that they can unlock features such as videos and a magnifying lens. The gallery is divided into four themed sections, in which the visitors’ shadows will trigger different features; the sections are astronomer, astronaut, engineer, and theoretician. Each section gives insight into that occupation’s contribution to the study of space and highlights how each relies on the other.

The welcome gallery adds depth to the informational displays by immersing the visitors in images of space and creating a connection between their movements and the cosmos.

These recent materials would be cataloged under the “interactive” realm of textiles because incorporating their use within an environment would allow a entry-level journey of interaction to take place between the material and the participants. The reaction of each is dependant on the sense of touch and how sensitive the influence of touch is on the individual that is connecting with the display or experience.

In The Know Trending Materials

Naturals

A. B. C. D.

Performance Jersey, Bamboo based 62” wide Available in 10 standard colors Cesta 52” wide Available in Beige Terry, Organic Cotton 55” wide Available in natural white Poly Flax 118” wide Available in white, printable

Textures

E. F. G. H.

Precision Cut Felt 70-72” wide Available in 48 colors Big Hole Mesh 60” wide Available in 13 colors Outdura Awning 60” wide Available in 42+ colors Canvas 600 Duck 120” wide Available in White, printable.

Lustrous

I. J. K. L.

ElastiLuster 55” wide Available in 12 standard colors Shattered Glass 60” wide Available in 16 colors Mystique Satin 60” wide Available in 145 colors Crushed Gem 106” wide Available in 12 colors

A.

B.

C.

D.

E.

F.

G.

H.

I.

J.

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Trends

In Environments

little ideas why fabric-based designs are the next architectural solution.

No matter what

consumer-driven industry you’re in, the latest developments in retail and shopping need to be on your radar. After all, retail is about that very crucial connection that makes consumers actually PURCHASE some sort of goods and services in person. If this article isn’t worth your time, hell, I don’t know what is ;-) While traditional retail is facing serious challenges and hiccups in consumer behavior like: bland brand environments! e-commerce, environmental impact, the financial crisis, shifting demographics and Anti-consumerism!), MOST people do continue to enjoy going shopping in the real world because of the natural need for contact. From Oxford Street to Nanjing Road. In fact, rather than witnessing RETAIL RUIN, a RETAIL RENAISSANCE is in the making.

Experienced Connection Why these trends reach out and touch someone In order to maintain a leadership role in this new retail renaissance Brands are looking at a host of engagement tools to entice and keep their audience coming back for more than just discounted deals and impersonal technology-driven mechanisms. We are naturally curious creatures - so we get freakin’ bored easily. Retailors understand this behavior and short attention span. In order to be effective, leading brands are focused on the ways their brand is tangibly brought to life— the spaces in which their brand really lives with its customers and prospects.

This can be a challenge for service providers, whose products and benefits are intangible. However, even service providers are creating experiential environments to stimulate engagement.

It is much more difficult to engage a consumer with a product that can’t be touched, savored, sniffed, or heard. By using experiential design, these brands can help create a distinctive customer experience that in turn can optimize their network and provide a foundation for sustained growth. So how? That is the question. Well here is a thought...

The Starbucks, Apple, BMW Blueprint: Or whatever you feel like calling it Over the last several years the emergence of outstanding experiences has moved past traditional rigid materials as the palette for store decor, messaging and way finding. Instead, this new bar is about creating a unique and engaging environment that the consumer feels a part of, like those of us who like Starbucks. We love to go sit and read the morning paper or surf the

web, all the while sipping on a yummy overpriced grande mocha. Engagement on this level allows for a consumer’s connection to create their own experience time and time again. This connection keeps me paying for overpriced coffee every chance I can - this is my user experience. The UX Network (www.uxnet.org) articulates a clear definition, emphasizing the umbrella function offered by User Experience: “User Experience (UX) is an emerging field concerned with improving the design of anything people experience: a web site, a toy, or a museum.

UX is inherently interdisciplinary, synthesizing methods, techniques, and wisdom from many fields, ranging from brand design to ethnography to library science to architecture and more.”

The UX Network definition also emphasizes “people experience anything and everything.” So what is “experience”? Experience is not a thing or a quality of a designed space or product; it is a subjective, conscious activity. Until we reflect on experience it remains transparent, invisible inside the performance of the activity.

When we talk about the user’s experience, there is no real experience “outside,” instead it shows up “inside,” within the person or person(s) that have interacted with the environment.

People have an experience of a product, a device, an activity --but these experiences are not isolated examples of interaction or “real” experiences.

Our experience or “appreciation” of an experience shows up within a larger context of activity. Experience is driven by motivations and goals

(wanting to get the latest Iphone), and constrained or tied down by all sorts of other factors (costs, time, availability).

This motivation can be seen in a host industries, like exhibitions, museums, retail flagship venues or a product launch event.

From Strategy To Tactics In the consumer world, the product may be the experience. People seek out products for their experience or interaction, and people consume products for their satisfying experience.

Consider the example of BMW’s historic tagline claims “the ultimate driving experience,” the driver is not a user, but a driver and experiencer of the ultimate driving machine. Imagine Adidas, Nike or Rebook designing for the “shoe user experience” instead of a specific athlete with specific goals.

Industrial designers in these domains intimately know their end customer, their lifestyle, their objectives with the product. These are the types of experiences toward which we must learn to empathize to move design toward experience.

With all that said the fact remains, brands still need an outlet to showcase, involve, experiment and participate with those folks that are advocates or disciples of their products and their brand. This is where the selling environment becomes part of the experience - hence the discipline of experiential design. The best experiences let the stakeholder participate in the journey- thus creating his own memory or connection to the brand experience.

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Mesmerising

MURALS

Urban landscape can be drab and featureless. The same can be said about bland brand environments - but not when artists are spicing it up with spectacular wall coverings. Some murals can be considered realistic illusions, some have educational and historical meaning, some can be labeled as “kitsch�, but all of them are unexpected and welcoming, adding splashes of color and bringing life to an ordinary palette that a wall provides.

Optical Illusions

Visual Surround (sound?)

Super ART XL

For Real? The new graffiti in 2013 is being utilized by big and small biz to draw attention to their places of biz.

Grand format and highly detailed art are providing an alternative skin to brick and mortar

Visual emersion of brand and message.

Display surfaces are not just what is at optimal eye-level. Experiential designers are incorporating continuous messaging on the floor, ceilings, surrounding walls, partitions and doors to envelop the participant (or maybe overload them) in a non-digital format.

Printing custom art or even large scale brand statements on a soft, durable fabric (not vinyl) is made possible with the tech advancements of Superwide XL dye sublimation printing. This output maintains rich vibrant color and saturation at 5m wide

ORGANICALLY

Enchanting

The world of 4 walled box construction is being substituted with highly organic, textile and framing based methodologies. These ideas bring functional flexibility to a brand and provide eye-candy or in some cases touch candy to participants in the brand experience.

Nature Friendly

Simplistic Cutouts

Larger-then-Life Product

The beauty of this type of solution is the perspective that is gently forced onto the viewer or participant.

Material selection is key when mimicking nature and her attributes or entities. This material was translucent up close, but opaque when viewed from a distance

In our digitally over-saturated, visual society, brands are utilizing every means at their fingertips ( I am not talking about tweets or FB posts) to create a memorable connection with the customer. Simple patterns, either printed or cut out, are providing a refreshing break from the normal visual noise.

Bigger can be better, especially when you wan to debut the new running shoe by the world’s fastest man. Transportable, temporary and interactive-friendly is mandatory when replicating a large-scale version of this type of product demo.

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Morphology

Morphology is influenced by technology developments in fabrication methods and computational strategies to create architecture that has a nature-inspired personality. This is created with forethought that allows for exploration in shape and function. The outcome is a result of practical experimentation with digital fabrication technology and other, more traditional, materials and methodologies.

Messaging Walls

Patterned Organics

Projected Patterns

Utilizing current technology to yield a different result was used to create this message wall. No projected words, but the layering for dimensional effect allowed the viewer to process the hidden message within the textile skin.

The tubing served as the right depth to create both a pattern and a message based on the position of the viewer.

nonLin/Lin Pavilion by Marc Fornes is an interesting case on a variety of levels. But it’s the precise execution of the patterned pieces forming the shapes that creates this visual effect scenario. This is a perfect example of what can be achieved when mathematics collides with fabrication to construct a single idea.

Fabric-based message architecture isn’t so new, but layering it with tactile textiles that solicit the response of touching is enhancing the world of reactive projections within interior applications. The projections are a rotating scenario of patterns that, when a participant enters the space, envelop the fabric canvas.

WARPING Architecture

A marvel of modern architecture, these contemporary curvilinear structures redefine traditional building customs. These stunning architectural pieces exemplify the power of modern technology and the engineering feats that have made complex contemporary building techniques possible.

Swirling Stage Presence

Hipster Dome

Wimsical workspace

Who says presentations must have dull, boring 2D shapes as the visual back drop. Not happening here! This twisting display solution offers multiple projection surfaces and angles to create a wonderfully fun-natured focal point for an event, meeting or product showcase.

The Step Inside a Creative Mind installation was created by Prodigium for the Zagreb Fashion Industry Days.

At once inexpensive and hip, the pavilion does justice to the creative mind in a way that will captivate passersby. A clever concept that was simply executed, it is a must-see attraction for tourists and locals alike.

The Tisettanta Nu-Ovo design is an encasement created for both indoors and outdoors that acts as a mini modern privacy pod to help give the illusion of an expanded space. The room within a room capsule concept can be turned into a home office, a peaceful patio accessory, an outside shower covering or a little-shelled lounge.

Other

INSPIRED ideas from www.blendconcepts.com

This pop-up museum delivered a series of multifaceted and interactive sensory experiences that go beyond just sniffing fragrance testers.

The Sensorium was a history lesson and scientific experiment surrounded around perfume. The multimedia pop-up, was a collaboration between Sephora and one of the world’s largest fragrance companies, Firmenich. The purpose of the environment was to present fragrance as a composition of emotional alchemy: the complex interaction of impressions conveyed by various ingredients and how they blend together.

rial Alternative Mate

[C] Space Pavilion

Adding Scent:

Sensorium

RIVELI refines the classic utility of shelving in its traditional role as a platform for the display of objects and art, transforming the shelving, itself, into an object of art. The modular, interactive design of RIVELI allows the simultaneous exhibition of twodimensional art and three-dimensional objects on any wall space in any configuration. Each sleek recycleable aluminum shelf pivots with a smooth dropresisted movement to reveal its underside, featuring interchangeable, customized artwork.

The “Design Research Laboratory (DRL)-10 space pavilion” was built in early 2008 in Bedford Square, London, for the 10th anniversary of the DRL Department at the Architectural Association Architecture School. The pavilion consists of 850 individually cut fiber reinforced panels and over 2,000 joints.

The design’s complex geometry was controlled by architects Alan Dempsey and Alvin Huang using a highly intense digital model. The model was utilized to cut the cement panels with a CNC router.

The beauty of this architectural solution having multiple conversation points could be debated, but I see this more of an inspirational icon of form, not function. This is a perfect example of what can take place when designers and architects look at materials from a different viewpoint. The [C] Space Pavilion is made from a proprietary fiber reinforced concrete panels by the Rieder Co.

Art or Shelving?

Architecture without architecture This Welcoming Pavilion for the Museum of Modern Art in Lille was created by 2hD, an architectural design practice based in Nottingham, UK. The pavilion needed to be functional and easily accommodate up to 350 people of all ages. By integrating adaptability and allowing for quick erection, the pavilion would house public ceremonies, dining, conference and theatre/ cinema uses. The design additionally allows for break out space, or for combinations of the above functions, with easy level access from the surrounding sculpture park.

What IF...

Reforming Spaces BOXPARK is a retail revolution – a pop-up mall and home to more than sixty carefully chosen fashion, arts and lifestyle brands. BOXPARK aims to become part of the fabric of local life.

Wherever it pops up, it fits in, joins in and contributes to the community.

Swoosh Pavilion This serpent- like creation made from wood was realized by two instructors at the AA school located in Bedford Square in merry old England. Charles Walker and Martin Self tutored the 2008 AA Summer Pavilion which is annually built by the 2nd and 3rd year students of Intermediate Unit 2 Architectural Association school. It was called the “Swoosh Pavilion”.

Using the timber workshop at Hooke Park, they fabricated the pavilion components which were then transported to London for erection in Bedford Square. Each year, the ambition is to explore architectural effect through innovative construction.

Ad va nt ag es

you participate Freestyle Rental. This custom rental program cuts costs up to 40% by allowing rental on custom solutions for a 1 to 3 use application, regardless of complexity, size or project scope.

The Freestyle program has an ecofriendly approach, with all materials, including frame and fabric, being recycled or reused in the Fabric Images recycling program.

the purpose

40 %

“we never would have imagined the significant amount of materials that we would be recycling to date. We started the program because we felt it was our duty to reduce our carbon foot print.

We now see that it has proven to be not just an added value to ourselves, but affords our clients the opportunity to be mindful of their waste.�

y

+ 10

Marco Alvarez, President & CEO of Fabric Images

e

a

r

s

Eco Stewardship initiative program was introduced in 2001, encompasses numerous aspects of FI production & postproduction processes.

what does it go back to?

2011 paper, fabric & metal in lbs.

203,289

metal

paper

fabric

68,208 lbs

117,146 lbs

17,935 lbs fabric

transfer paper

2011 set the record for pounds of materials for recycling from the program

metal

What do we recycle?

cardboard

Transfer press paper:

This becomes paper pulp which is then turned into box board material, as used in cereal boxes, back covers of notebooks, paper shopping bags, calendars, books and posters.

Polyester fabric:

Packaging, carpet fibers, plastic containers and toys.

Cardboard Aluminum: and Kraft paper: As with transfer paper, this too becomes paper pulp, which is turned into box board material.

Scrap aluminum is melted down. The alloys are then re-used in new aluminum and aluminum products.

A profile in creativity...

With a true flair for the passion of the games and their athletes, one of the most dramatic, fun-inspired broadcast sets in London was the TV set designed

by Mexico’s Televisa. Together with their fabrication and installation partner, the Central American division of Fabric Images, Televisa created a one-of-a-kind broadcast booth that was as fun as the games themselves.

One ingredient in this memorable environment was the center broadcasting element. It was designed as a layered component with the ability to expand and contract as the broadcasters required more room for face to face conversations.

Due to the space being somewhat confined, the Fabric Images team engineered a telescoping triangular flat screen container which lowered to rest on the center podium and then raised back up when it was not in use. The fabric specified in the design was engineered to reduce wrinkling while in the contracted state. This material also enhanced the effectiveness of the solution due to its inherent traits to stretch, contract and maintain its starting memory.

Olympic Broadcasting A GOLD STANDARD IN FABRIC ARCHITECTURE FOR SPORTS

As medals are won and records broken the success of the world’s athletes is made public by the various countries’ networks broadcasting back to their millions of viewers.

Few broadcast entities exhibited as much pride in their broadcasting as they did their athletes.

Surrounding the central element was an array containing 153 triangles that snaked throughout the space like the tail of a dragon. These white tension fabric shapes ranged in scale and spacing to give a greater sense of movement and excitement for the viewer watching at home. Although the space consisted of materials and unorthodox structures, these were not the only interesting aspects of this broadcast environment. The real scene stealers were the two 4 feet tall character icons that came to life on screen during the broadcast of the day’s events and highlights. The characters added to the personality of the space as they fronted the LED backdrop seen on-screen during times of broadcast.

Fabric Images, Inc. has had a long standing success-based partnership with Televisa which led to the creation of this 550sq. ft temporary architectural experience. Jam packed full of eye candy with the latest in fabric architectural treatments, injected molded characters and technology, this was a truly winning environment.

central element was an array containing 153 triangles that snaked throughout the space like the tail of a dragon

Due to the space being somewhat confined, the Fabric Images team engineered a telescoping triangular flat screen container which lowered to rest on the center podium and then raised back up when it was not in use.

Crushed Gem Description:

Woven with crushed texture 100% Polyester, .75lbs / linear yard 106� wide material

Characteristics:

Medium weight.

Semi-Translucent.

This material has no stretch.

Because it is a woven product, the edges and any openings must be finished to prevent unraveling.

Uses:

Pole pocket banners, face covers and Groove panels.

If used as a pillowcase, a more elastic material may be good to pair with it for easier assembly.

Layering.

Due to the texture, the material catches up lighting and down lighting well.

Suggested for indoor use.

Notes: Available in 11 colors.

Drizzle Description:

Novelty satin material with a contrasting stripe pattern.

100 % Polyester ·58” wide material

Characteristics:·

Base material has free form pin stripes throughout in dark grey color.

Drizzle has luster on both faces and nicely reflects front lighting.

This material is firm; there is no stretch in either direction.

The stripes run “up the roll.”

Uses:

·

Banners, Zipper Pocket construction, Curtains The edges will unravel if not finished.

Washing of this material will remove some of the Flame retardant treatment, so topical retreating is recommended after washing.

Notes: Available in 7 color combinations.

Elastiluster Description:

Knit Fabric with coating 90% Poly / 10% Spandex 55� wide material

Characteristics:

Medium weight.

Semi-Translucent.

This material has a medium stretch.

Uses: Pillowcased, slipcover, zipper pocket and Groove application.

Incorporate front lighting for a higher-gloss effect Suggested for indoor use.

Note: Available in 12 colors.

Silver Spandex Description:

Knit Fabric with a silver coating 80% Nylon, 20% Spandex 58� wide material

Characteristics:

Spandex fabric with a high shine coating on one side The backing is a medium weight spandex This is not a fabric to use with dye sublimation printing.

When stretched too far, the fabric face crinkles and looses luster.

Uses: Organic shapes. The stretchy nature of the fabric works on compound curves Zipper pockets or borders around pillowcase covers. It has the appearance of exposed metal.

Use with Square tubing to produce a sheet metal look.

Can be sewn with a number of other fabrics to create effects (ex. Phil tex) Fingerprints will show up on fabric easily especially when used at ground level.

Use in the following constructions: Pillowcase, Zipper Pocket, Slipcover Note: Available in copper and gold. Other colors offered (may be seasonal) include, Red, Royal, Kelly, Black, Peacock, and Light Purple.

Checkout

the sexiest material on earth in action

Turn the page if you are

CURIOUS.

Fresh Fabric

TV

Designed By Televisa Metal: 2� round Aluminum tubing Materials: Stock Red Poplin, Celtic Cloth This first of its kind Television studio set was developed as part of the launch of a new 24 hr sports network for Mexican Television. The design incorporated the latest in broadcast technology partnered with the latest design trends in flexible, modular tensioned fabric architecture.

The Televisa set was comprised of three main “ribbon-like” elements, each approx. 70ft in length and varying in complexity and organic nature. The elements were fabricated in the same manner, using 2” round tubing and the proprietary connection sleeve developed by the experts in our metal shop in Elgin, IL. Each of the pieces of the design proposed their own individual tasks and objectives to maintain in order to reach a successful conclusion.

An interesting challenge that was one reason why fabric architecture was specified for the project was the ability to create and engineer the large pieces to be collapsible and easily transportable from the production facility to the Televisa set.

This was accomplished by utilizing our over 20 years of fabricating tradeshow and exhibit displays for the design/ build community. Each component was welded, cut and sleeved to be rebuilt and skinned on site.

Working in such a tight area proved to be somewhat challenging as the elements were coming together.

Staging and teamwork among our professional installers kept the installation on task and on time, with dramatic results and a polished final project in the end.

The Televisa design team’s vision was captured by the use of fabric elements that were incorporated with other established design highlights. The purpose of the design was to bring to life a fresh brand perspective on a traditional television viewing experience. The set design highlighted the high-scale festive experience taking place in the 4 different viewing and broadcast areas that made up the overall set.

offering by

Call 847.488.9877 Find out what this will mean for your next experiential design

Since growing from modest beginnings in a 5500 square-foot facility in 1992 to today’s mammoth warehouse production campus that’s just shy of 200,000 square feet, you could say that Fabric Images, Inc. has found its niche in the world. With roots as a producer of carpet bags and marching band flags, Fabric Images has evolved into one of the foremost global manufacturers of innovative fabric architecture. Equally impressive, though, is that they’ve done it all while continuing the love affair with the raw materials that has built the brand.

Building Globally Excelling Locally

A HISTORY OF FIRSTS!

Fabric Images measures its success partly by counting their firsts.

“We were the first in the world to do 10-foot dye sublimation printing.

In 1995 we were the first company in the United States to do all our sewing, printing, and metalwork in-house. Now in 2012, as far as we know, FI is the only company in the entire world to do not only all our own printing, sewing, metalling in-house, but also all powder coating through our subsidiary, Palapa Coatings,” said Marco Alvarez, CEO of Fabric Images, Inc. Another first presented itself in 1997 when FI built the largest fabric based trade show booth ever constructed by that time. The client was Heidelberg, a German printing press manufacturer, and they had grand expectations. Measuring a full square mile in total size, and with a completion deadline of only four weeks, the project cost $125,000 to execute. “At that time, that was equivalent to over a month’s work for us, in a single project,” said Alvarez. “This was a milestone for us, and really helped to put us on the map.”

The Heidelberg project followed the heels of FI’s first large-scale project using electrostatic printing, a project completed for Pontiac.

Alvarez marks this accomplishment as significantly elevating FI’s demand. “It got us on the cover of several magazines and really put us on the radar when it came to producing digitally printed graphics.”

“Prototypes helped us have the mindset of “anything’s possible. We just have to figure it out,” THE VALUE OF PERSEVERANCE

But the successes didn’t always come easily, or quickly. On more than one occasion Alvarez and FI founder Pat Hayes were denied the purchase of printing machinery due to their lack of experience in the industry. “We had a check in hand, ready to buy, but the national sales manager wouldn’t do it because they didn’t want the machine to come back to them,” Alvarez recalls, not with disdain but rather with a sense of positivism that was present throughout the adolescence of FI.

2001

2000 FI has Monti Antonio build the world’s first 10’ (3.2M) Transfer Heat Press for Dye Sublimation.

With production facilities already operating in both Mexico City and Piacenza, Italy, FI now has its sights set on Sao Paolo, Brazil, and hopes to begin production there by the end of 2012.

1995 March of 1995 Marco joins Fabric Images.

“Our mission statement from the very beginning was for FI to be the most sought-after producer of printed and non-printed fabric architecture in the world. The dream was to be able to expand this organization on a global basis. Now we have literally received inquiries and done quotes for six continents across the globe...our little speck of a company!”

1996

FI co-develops with NUR Company the 1st in the world 10’ (3.2M) Dye Sublimation printer.

1992

“We work the fabric like an artist, learning how it moves and reacts down to the molecular level. We have a spirit of exploring and trying to do things that people don’t know how to do and figuring it out. We still have that loving feeling for the fabric--both literally and figuratively,” muses Alvarez, clearly still enamored with his life’s work.

FI becomes the first company to offer printing, sewing and metal fabrication all under one roof.

Fabric Images, Inc was incorporated in the state of Illinois.

Trial and error has been a constant throughout FI’s existence, and one that ultimately proved beneficial; Hayes and Alvarez once used up 20,000 yards of fabric attempting to perfect the first print on a new machine.

Taking chances on creating prototypes was a key component of finding out just what they could do.

“Prototypes helped us have the mindset of “anything’s possible. We just have to figure it out,” said Alvarez.

“As we continued to study materials and fabrics and what they could and could not do, we tested new ideas and failed, and so we tried again. Through those experiences we were able to get to what we do today.”

This willingness to “let’s try” is what has sustained FI and propelled its continued growth.

2009 2010

NUR printers with new HP/Scitex printers 3 – 10’ wide and 1 – 16’ wide.

FI, MI and Palapa Coatings move into a new 200,000 sq. ft. facility.

2008

NUR printers with new HP/ Scitex printers 3 – 10’ wide and 1 – 16’ wide.

April Fabric Images Internacional incorporates in Mexico. FI – Purchases Palapa Coatings to start a new powder coating business.

2006

As we look at the future, FI’s vision moving forward is to continue growing the graphics and print side, and continuing to look at technology and how these materials can be fused together to create unique things in print and create different effects. Growing the metal side up to the level of the fabric side will in part be accomplished with the recent acquisition of a state-of-the-art laser cutter.

“Our goal from the outset was to change the language of an industry. We are trying to expand the industries we’re involved in...and within the tradeshow industry, to be able to expand the flavor and diversity of what we can bring in our other facilities and countries. We can make our work an event, not just something to look at.”

2012

The official launch of Superwide XL 5m dye sublimation printing for textiles

“We work the fabric like an artist, learning how it moves and reacts down to the molecular level. We have a spirit of exploring and trying to do things that people don’t know how to do and figuring it out. We still have that loving feeling for the fabric--both literally and figuratively,”

Playing with Pratt Fresh Produce Series

the flat pack pop-up Leah Brisby, Judy Hsieh, Seonah Oh, Nikola Soen Interior Design Undergraduate Department Sierra Seip, Alison Uljee Industrial Design Graduate Department Francine Monaco Advisor Sam Lugiano, Ken Stratton, Semios Studios Sponsor

The Design Exchange Union, or DXU, is a collaborative project between Pratt students from the Industrial Design and Interior Design departments working alongside industry professionals. The project is driven to establish a bridge between the two disciplines. The process of design was initiated from the senior design studio Collaborative Prototype Lab – 2 to 2 – with the aim to produce deployable, transportable, sustainable and temporary environments.

Sponsored by Semios Studios, the Flat Pack structure was developed as a temporary pavilion to provide opportunities for social interaction with design. The project encourages movement, self-expression and idea exchange.

Continuing the commitment to promote collaboration in creating innovative design and products, Fabric Images has once again partnered with Pratt Institute in New York City.

By sponsoring an upper-level studio lab through the Semios Studios by Fabric Images division, FI not only taps into the next generation of design talent, but also proves that expanding our network of design interaction broadens our creative horizons.

This year, FI challenged senior interior design and graduate-level industrial design students to develop new lightweight, transportable, deployable structures for use in retail, special event, and other temporary environments. What resulted was the DxU Flat Pack, a group of columnar structures built entirely from flat pieces of interlocking

cardboard that can be custom printed and dressed with fabric. At approximately one-tenth the weight of a similarlyconstructed wood structure, the Flat Pack can be erected for use by a team of two to four people in less than an hour, and requires no tools for assembly.

Sustainably sourced, the Flat Pack is 100% paper-based Falconboard, made from certified renewable resources, and is itself recyclable. Durable enough to be reused for multiple applications, the structure is entirely self-supporting and leaves zero impact on its location. This alternative to tents, kiosks, and other temporary structures allows for endless customization and varied configurations. LED lighting, textured fabric draping, and sound elements as well can be custom-fitted.

where form meets function

VISIT THE GALLERIES www.fabricimages.com/materials.html Printing is only the beginning of the Superwide advantages. Sourcing fabrics that will meet your design objectives is another added value that Fabric Images has created for you. We have one of the most comprehensive libraries of printable and non-printed fabrics in the world. We are constantly investigating and testing fabrics that will meet or exceed our standards for quality, durability and cost. Our efforts allow you to rest worry-free that your fabric is exactly what you and your clients are demanding.

CALL YOUR MATERIAL RESOURCE LIAISON TO TALK ABOUT YOUR OPTIONS Valerie Cuchna: 847.289.5860 or vcuchna@fabricimages.com

Cleaning &Fabric Option 1: Mr. Clean Magic Eraser

• Always use distilled water to minimize rings around cleaned areas. The sooner a stain is addressed, the better the chance of removal.

• • • • •

Gently brush off standing dirt.

Wet one corner of the Eraser sponge with distilled water Blot sponge over soiled area If necessary, rewet and repeat With use, the sponge will break down and should be discarded after several use

Option 2: 303 Fabric Cleaner • • • • • •

Gently brush off standing dirt.

Rinse surface with water Spray on 303 Fabric Cleaner and gently agitate to loosen soiling.

Let stand Rinse area with distilled water If necessary repeat with additional agitation, taking care not to pill the material

Option 3: Woolite • • • •

Apply full strength woolite to a damp cloth and dab onto fabric.

Let stand for 5 minutes.

Use distilled water and soft, clean cloth to rinse out.

Continue rinsing until there are no more “suds”.

Flame &Fabric Fabric that is certified as FR has been topically treated in an immersion process with a chemical fire retardant after the fabric has been woven. So when that freakin fire marshal is hounding you during install tell him this about your fabric display or exhibition component. All cottons and other natural fibers certified as flame retardant are FR topically treated. Some synthetic fabrics are also topically treated. Because the treatment is topical, it will wear out in time, and repeated cleanings will cause the flame retardancy to dissolve sooner. Most flame proofing chemicals are water soluble and will also dissipate through dry cleaning. So for Pete’s sake don’t dry clean your investment. Displays made from FR fabrics should be re-tested periodically for flame retardancy, as retreatment may be required.

For this reason, “FR” flame retardancy is certified for only one year.

A Certificate of Flame Retardancy is furnished to customers upon request. Retreating isn’t a big deal so don’t loose your lunch.

Fabrics used in most public spaces are required by law in many states to be certified as flame retardant, according to standards developed by the National Fire Protection Association (NFPA).

NFPA has various standards depending on how the fabric will be used. In the case of draperies, curtains, and similar hanging textiles, the standard that applies is NFPA 701: Standard Methods of Fire Tests for Flame Propagation of Textiles and Films. This test measures the flammability of a fabric when it is exposed to specific sources of ignition.

NFPA 701 (Small Scale) testing measures the ignition resistance of a fabric after it is exposed to a flame for 12 seconds. The flame, char length, and flaming residue are recorded. The fabric will pass the test if all samples meet the following criteria:

• • •

An after flame of less than 2.0 seconds a char length of less than 6.5” the specimen does not continue to flame after reaching the floor of the test chamber

hot, so hot

Factoids, IF YOU GIVE A DAMN! FPA = national Fire protection Association FR = Flame Retardant IFR = Inherently Flame Retardant Inherent means existing in someone or something as a permanent and inseparable element, quality, or attribute Melting rate of aluminum = 1220(F) 660 (C) Most house fires start in the kitchen.

So be careful in attending the kitchen and bath show

P U S H M O R E To fully understand the influences of textiles you must embrace the love affair with them. This is such a wide spread romance that it permeates all aspects of our being whether we know it or not. Fashion, industrial design, product development, automotive innovations and architectural advancements are just a few of the arenas that intersect to form the bric–a-brac aesthetics of this affair. This overlap can be classified as a collage of sorts. So lets call it Collage Design. Collage design flirts with the artistic while attempting to address the deeper issue of sustainability.

C O N T A C T What other innovation embodies collage design more than textiles.

Layering for dimensional expression, solution integration, artistic freedoms of choice, or organic development for human interactions are a criss-cross collage of what textiles can do for any branded environment or experience. This is the reason why fabrics are the physical application of any fabric architectural experience, not the architecture. Fabrics bring design to life. Fabrics are the interactive bond that creates a memorable experience.

E V E R Y D A Y

Something to consider.