Textile Explorations in Architecture: ARCH 490 by Mae Murphy

Arch 490: Textile Explorations in Architecture Fall 2021 Mae Murphy - B.Arch | Minor: Women and Gender Studies Cameron Wahlberg - B. Arch | Minor: Digital Media

table of contents

proposal spring 2022 fall 2021 history hand knitting machine knitting tension tests summer 2021 background precedents basis materials + equipment timeline culmination

ABOUT Mae Murphy is a 5th year student in the Iowa State University Bachelor’s of Architecture program. She is pursuing a minor in Women’s and Gender Studies.

Mae Murphy Cameron Wahlberg is a 5th year student in the Iowa State University Bachelor’s of Architecture program. He is pursuing a minor in Digital Media.

Cameron Wahlberg

future This semester we tested out several knitting techniques such as hand knitting and the knitting machine punch card loom. Cameron learned how to knit the basic stitch and Mae continued to further her experience in hand knitting as well. We learned that knitting is a relatively simple method, however it is not as easy as it seems. Cameron’s test knit 1’ by 1’ square provides evidence that the process is not easy. After almost double to hours is took an experienced knitted, he ended up creating a further more interesting knit piece. His work had holes and knots that tells the story of his beginner’s experience. He unknowingly added characteristics that a much more advanced knitter would do, simply by attempting his first try. After exploring the basic hand knitting techniques, we started the Knitting Machine as beginners. The Iowa State Computation and Construction Lab (CCL) has a Sliver Reed Chunky Punch Card Knitter SK 155 machine that we used this semester. The machine itself is designed and manufactured mainly for at home use. According to the instructional book, the machine is not intended for massproduction of knit wear and that become apparent to us as we were working. The knitting machine was quite difficult to set up in the beginning due to many technicalities. This required a large amount of team work and collaboration to figure out how to set it up with little to no instructions from outside assistance. We had lots of jammed rows and huge unraveling holes in the work which was discouraging at first but shows the labor and time we put into the work. The knitting machine has an infinite amount of possibilities in terms of how and what materials can be produced. We barely scratched the surface of the machine potential this semester. This idea of an ‘error’ or ‘mistake’ begins to open up inquiries into the question of intention and care. What defines a knitter’s ‘mistake’? How can we replicate the so-called mistakes and flip the narrative? What happens when we intentionally craft errors? How does this notion of labor and care change, or does it at all? Spring semester will be an exploration into the logistics and materiality focused around questions of textile error, material capabilities, re-use/preservation, care, site installations and more. Research will be conducted similar to the fall semester with a hands-on approach to learning about knitting techniques. In order to learn about textiles, on-line knowledge sourcing in order to learn specific techniques. Some of this work would not be possible if not for the large textile Internet community resources. Textiles are soft form works and can be utilized for casting practices, tension experiments, upcycling, and more. Working with textiles requires a great deal of attention to detail, teamwork, patience and willingness to let the material have its way. We are interested in the material potential of textiles through a design lens. As trained architecture students, we will continue to use our skills as documenters, creators, visual learners and communicators to produce textile research. We initially choose knitting as a place to research and investigate due to our personal experiences and tie to architecture. Mae has years of knowledge based on working with her hands with sewing, knitting, crocheting and finger knitting. Cam has experience in sewing and fashion/set design that stems from his love for theater. Working together in Shelby Doyle’s ARCH 401 studio, they created a project focused on re-use and material capability of bricks in the construction economy however due to the COVID-19 pandemic was not able to produce much physical material research. This textile study is a tangible way to understand how to conduct material research and create a final culmination of work. The team is interested in learning about the connection between textiles and architecture.

We realize that we did not ‘discover’ textiles, nor are we experts, be we are simply scratching the surface of potential within these topics by asking questions about care, work, labor. industrialization and more. In order to narrow the research down, we are proposing to create a series of workshops and the one final culmination of installation work dedicated to the semester. Some of our goals include: -learning more hand and machine knitting techniques -using digital media to draft textile potentials -hosting a textile workshop in the college of design -creating some sort of intervention in space -documenting and representing the research process -curating a successful portfolio and presentation of our final research -creating a final exhibition celebrating our work over the past year -having fun! We are fueled by questions such as: What defines a textile error? Hows does this happen and how can we re-create it? To what extent can we utilize digital technologies to create a textile installation? How does care play a role in the textile creation? How does gender play a role in the textile industry? How can textiles contribute to re-usability and the circular construction economy? Is there a efficient way to reuse textile material via digital fabrication? A final culmination, of some form, will be produced by the end of the timeline. This piece will be some sort of installation that strives to engage the public in some way. We would like to also share our process work throughout the research to depict the time and labor that went into the project. The final cumulation will be a celebration of our work and gain knowledge that can be displayed and utilized to further the conversation about textiles and digital fabrication.

spring 2022 schedule

WEEK Week 1 Week 2 Week 3 Week 4

DESCRIPTION Write an essay on textiles in application, and understand the roles of mistakes and learning. Start planning our question of proposal. Start building off of research last semester. Continue building off last semester’s research.

Week 5

Progress check-in. Start formulating a Midreview presentation- small installation, exhibition, portfolio(?)

Week 6

Begin studies of structure, and material application

Week 7 Week 8 Week 9 Week 10 Week11 Week 12 Week 13 Week 14

CNC Knitting Workshop Mid-Review Week and respond to critque

Write grasshopper scripts to simulate multiple fabric and tensile opportunities Continue grasshopper scripts to simulate multiple fabric and tensile opportunities. Hand-knitting / Grasshopper Workshop Gather Workshop tests

Production Mode for installation Production Mode for installation

fall 2021

hand knitting knitting machine tension studies

A Brief History of Knitting Knitting is the process of interweaving loops of yarn or thread with two knitting needles to create various items. It has been developed and revolutionized into a manufactured textile industry. The origin if knitting is not as clear as knitting due to the evidence being hard to come by. Knitted items are made with natural fibers, which disintegrate over time if not preserved properly. C.200 ad : The earliest pieces of evidence of knitting’s precursor, nalebinding, is dated back to c.200-300 ad in Egypt and present day Syria. Nalebinding is not the same as knitting, but knitting may have evolved from this single-needle technique. C.200 and 1000 ad : The technique of knitting is likely developed in Egypt or surrounding Middle Eastern areas. C.1000 ad : The first authentic knitting evidence, colorfully, intricately-designed socks and other fragments is dated back to 1000-1400 AD in Egypt. Because of the intricacy of designs, it is likely that the craft had already been in practice for a while. C. 1000-1200 ad : The technique of knitting spreads rapidly to Europe by way of trade routes, the Crusades, or both. In Europe, knitted items were only for royalty, the very wealthy, or the church, and consisted of decorative items like small purses, gloves, and stockings. C. 1350-1400 ad : Knitting continues to spread through Europe and paintings depicting the Virgin Mary knitting beside baby Jesus begin to appear. Mid-1500s : The first major new technique is introduced, the purl stitch. Late 1500s : Knitting became less exclusive, and demand for knitted stockings, a seriously popular fashion trend for European men, is high. By the end of the century, many exclusively male knitting guilds have sprung up to protect trade secrets

and further the craft. Men were the first to knit for a living. From here, knowledge of the techniques spread, making it possible for the common person to learn how to knit. Knitting spreads to the Americas and the rest of the world naturally via exploration and trade, and knitted items become common in the wardrobes of many. 1800s : During the rise of the industrial revolution, knitting machines are created to improve efficiency of the process and uniformity of items. Mid-1800s : Knitting becomes a hobby primarily for middle class women. Printed patterns and yarn produced for the domestic market, shifting knitting from a commercial operation to an enjoyable pastime. 1920s : Knitwear becomes a popular fashion item, and knitting as a useful hobby continues to grow. 1930s : Knitting becomes a widespread activity during the Great Depression - making knitted items at home was much cheaper than buying knitted products. 1939-1945 : Women are urged to contribute to the war effort by knitting socks for the soldiers. 1950s-1960s : Girls are taught knitting in school as a useful skill, and knitting continues to be not only a useful hobby but an art for many. 1990s : The passion for knitting is kept alive through the growth of craft fairs, release of knitting books, and a new medium of sharing via the Internet. The rise of e-commerce sites makes getting access to knitting materials more accessible. 2020s : With the recent COVID-19 pandemic and rise of middle class working from home, knitting and other domestic crafts rose in popularity. With the continued growth of the Internet and the rise of the Handmade Revolution, knitting is more popular, useful, expressive and fun.

hand knitting technique tests

Knitting Basics

Basic knit steps: 1. insert right-hand needle through the front of the stitch on the left-hand needle 2. wind the thread under and over the right-hand needle, leaving the thread at the back 3. draw the thread through the first stitch with the right-hand needle 4. take the stitch you have made onto the right-hand needle 6. and repeat.

2011 Encyclopedia Britannica, Inc.

Purl Stitch

Cable Stitch

Stockinette Stitch

Box Stitch

Hand Knit Tests

Mae’s Hand Knit 100% Acrylic Yarn, Orange 6 hours with Knitting Needles 12mm Gage 12” x 12” 12 years of experience prior to knit

With twelve years of experience, Mae’s knit --as expected-- is rather consistent. The basic pattern follows the rules of knitting in the conventional ways. There are few dropped stitches in the square. The image to the left demonstrates how one missed stitch can impact the entire textile. The entire row is rounded and follows the path in order to make up from the lost stitch. This pattern is interesting due to the disruption of the lost stitch.

Cam’s Hand Knit 100% Acrylic Yarn, Orange 14 hours with Knitting Needles 12mm Gage 12” x 12” Zero experience prior to knit

With zero years of experience, this textile has several interesting moments. The lack of previous experience is not necessarily a negative factor to the pieces. Instead, it offers a refreshing view into the beginning struggles of a first time knitter. The holes and knots tell the story of hands attempting to learn a new craft. Perhaps we can use this piece as a moment to celebrate the acquisition of a new skill and embrace the parts that create uniqueness. 17

Form Studies

Relationship with hand

Relationship with structure material

machine knitting technique tests

Scans of Sliver Reed Chunky Punch Card Knitter SK 155 User Manual

Machine Knit Test #1 100% Acrylic Yarn, Orange 4 minutes 12” x var. Tension 1

Machine Knit Test #1 100% Acrylic Yarn, Orange 8 minutes 12” x var. Tension 1

The Machine knitting equipment greatly increase our production. Compared to the hours of hand knitting, the same piece can be achieved on the Machine Knitter in minutes. However, because of the more technical equipment, set-up, process, and maintenance were factors in how much we were actually able to produce in a day. Compared to hand-knitting the “mistakes” that were made were a result of improper machine use, or even just the machine creating its own errors with in the process. The variety of tests not only were slip stitch examples but the exploration of stripe knitting, and using punch cards as pattern making across the textile surface. While these exploration are only scratching the surface of the machines capabilities it was important for us to understand the process and the industrialization benefits / cons when building upon our knowledge basis. One take of this process vs. hand-knitting that when describing “mistakes” or mess-ups we usually resorted to placing blame on the machine. This equipment does take the person out of the equation, something that textiles and the making of rely so heavily on. It puts us not in the position of laborer, but from the outside looking in. How can we start to bring our selves back into this process of making that is fine-tuned, and mechanical? 29

Our pattern knitting test had several factors to remedy in its next iteration. First is scale, while in theory the knitting machine is capable of this 3” wide band, for the pattern to really show we must increase the width. Second, while adjusting the tension wheel on the knitting we found that increase tension muddies the pattern as well. We settled on a tension of 6 when working with patterns based on trial and error. Finally this is just one pattern variation using Punch 3. There are more iterations and variations we would still need to test to understand the breadth of capability.

One of our most successful tests was the stripe knitting. Created on our first day of knitting, this iteration was to start understanding the mixing of fibers, and how one could start to see the interactions of how the machine could knit these two together. Our pitfalls come in the form of variability. This piece in itself is perfect. How could we start to introduce some flaws that we may one day replicate, and how do those flaws become notable. 31

tension tests

Machine Knit Tension Test #1 100% Acrylic Yarn, Orange 15 minutes 12” x 24” Tension 1

Machine Knit Tension Test #2 100% Acrylic Yarn, Orange 12 minutes 12” x 24” Tension 2

Machine Knit Tension Test #3 100% Acrylic Yarn, Orange 10 minutes 12” x 24” Tension 3

Machine Knit Tension Test #4 100% Acrylic Yarn, Orange 10 minutes 12” x 24” Tension 4

Machine Knit Tension Test #5 100% Acrylic Yarn, Orange 5 minutes 12” x 24” Tension 5

Machine Knit 100% Acrylic Yarn, Orange 15 minutes Tension Wheel: 1 12” x 24”

Tension test at Tension 1, proved difficult in that the yarn was on the verge of being to thick to be used at that particular setting. What is shown here is when a hook doesn’t give up its loop and it compiles on its self. In order to keep the piece from attaching to itself in future runs, we had to snip the loop and let the machine repair the piece over the next 4 runs. We found that even if these snips happen, the machine usually fixes the issue itself.

Machine Knit 100% Acrylic Yarn, Orange 10 Minutes Tension Wheel: 3 12” x 24”

Tension Test 3 is one of the best we created. However, from the backside, we noticed this missed stitch. This could be caused by a number of things, a hold as described previously, or even just how fast the machine was moving across the needles. This speed plays into the definition of each knot, as well as its hold in the rest of the system. It works well a majority of the time but one missed stitch can create this loose strand in a sea of knots. 37

background

The Four Elements of Architecture, and Other Writings Gottfried Semper (1851) (published 1989)

REFLECTION Thoughts on Semper’s Tetconic Theory in architecture and the 4 elements of construction demonstrated in the Caribbean Hut example of Roof, Enclosure, Hearth, and Mound. I find the connection between the weavings of the Caribbean Hut walls as means of shelter in parallel to tapestries hung on walls during the Middle Ages, to even now in contemporary architecture the root is always shelter and enclosure. How can we create an enclosure that is an example of our time and tools. We can see textiles as woven pieces of not just fabric and string but also of the culture and tools that were present at the time of creation. Our installation looks to create what Semper details as enclosure especially the manual craft and labor, but also what these crafts of construction looks like in this material exploration.

Unraveling the Textile in Modern Architecture: Guest Editor’s Introduction Kate Holliday (2009) Assistant Professor, School of Architecture University of Texas at Arlington.

The Truth of Architectural Matter: Textiles, Nature and the “Real Thing Anne-Catrin Schultz (2014) Wentworth Institute of Technology Boston USA

REFLECTION Relates to ornamentation and the process behind the work and how it fits within its time. This is our jumping off point for why we are looking at these practices of physical and digital methods of fabrication as means of expressing these ornamentations that occur in each process and throught the very nature of the construction. We are also looking to express things in their “true” form. Stripping the product down to its simpliest form from textile to yarn how are these materials made and manufactured. Also thinking of the implications of those materials in the final construction. Zumthor’s ideas of combination of making, human skill and primal essence create a unique opportunity for us to explore in our intial studies, especially in learning the textile, and fabricating process from a small knowledge base.

precedents

JENNY SABIN Principal and Principal Investigator @ Jenny Sabin Labs

“Jenny E. Sabin is an architectural designer whose work is at the forefront of a new direction for 21st century architectural practice — one that investigates the intersections of architecture and science, and applies insights and theories from biology and mathematics to the design of material structures. Sabin is the Arthur L. and Isabel B. Wiesenberger Professor in Architecture and the Director of Graduate Studies in the Department of Architecture at Cornell University where she established a new advanced research degree in Matter Design Computation. She is principal of Jenny Sabin Studio, an experimental architectural design studio based in Ithaca and Director of the Sabin Design Lab at Cornell AAP, a transdisciplinary design research lab with specialization in computational design, data visualization and digital fabrication.”

MoMA PS1 Lumen 2017

The main precedent of our proposal is looking at the MoMA Young Architects PS1 2017 Installation by Jenny Sabin entitled Lumen. Lumen is a “socially and environmentally responsive structure that adapts to the densities of bodies, heat, and sunlight. A lightweight knitted fabric of responsive tubular structures and a canopy of cellular components employs recycled textiles, photo-luminescent and solar active yarns that absorb, collect, and deliver light.” The team’s use of textile directly correlates to the work of Gottfried Semper in terms of enclosure and creating spatial conditions and protection. We are seeking to create space that invites users to experience the installation on multiple scales as well as looking at the environmental capabilities that can be built into said structure using digital modeling software.

Lumen@Constructo 2017 43

ERNESTO NETO Contemporary Brazilian Artist

“Ernesto Neto is a Brazilian Conceptual artist whose installations offer a chance for the viewer to touch, see, smell, and feel his artworks for a truly sensory experience. “For me, mind and body are one thing, always together,” the artist has said. “I believe in the sensual body, and it is through the movement of such body-minds that we connect the things in this world, in life—the way we touch, the way we feel, the way we think and the way we deal.” His practice explores the boundaries of physical and social space through interactive, tactile, and biomorphic structures.”

Water Falls from My Breast to the Sky 2017

Our focus here is on a variety of works that that Ernesto employs his use of fabric, yarn, and textiles. Works such as Water Falls from My Breast to the Sky. ‘Neto [has] designed a site-specific installation that offers visitors a multisensory place for rest, camaraderie, and reflection. The woven form of the hanging sculpture evokes a cocoon and other natural formations as well as a fishing net, while the enclosure’s blue, yellow, and green strands recall the colors of Neto’s native Brazilian flag. Tactility is an important aspect of the artist’s work and visitors are invited to enter the installation and sit on cushions, which are filled with scented organic materials like seeds and herbs...’ Ernesto’s work pushes our ideas towards a fully encompassing experience as well as highlighting low-tech labor intensive practices we are looking to investigate in conjunction with a fully digital model. Exploring the notions of labor and art vs. craft that textile mediums historically were perceived as especially in the context of gender.

Navadenga 1998

SEAN AHLQUIST Associate Professor of Architecture University of Michigan ‘Sean Ahlquist is an associate professor of architecture at the University of Michigan’s Taubman College of Architecture and Urban Planning. Ahlquist’s research formulates computational design frameworks where materiality functions as a primary agent in the organization of architectural systems and their spatial tectonics. In particular, his research explores and develops new technologies in highly articulated textile and composite materials. Research is developed through the use of a largescale industrial CNC knitting machine, which is part of the FabLab at Taubman College.’ Sean’s work on Sensory Playscape correlates with his research into stimulatory spaces for neurodivergent users focusing on the tactile, movement, and form of the installation. His past ACADIA research outlines many CNC knitting processes and how the digital modeling of the structure and tensile fabric work in conjunction with eachother. For our work we are looking at the processes of the CNC knitting machine and how we can start to utilitize this equipment that is offered at the Student Innovation Center at Iowa State University. Looking through Sean’s previous research we are confident we can start to learn the capabilites of the CNC knitting machine on campus as well as become a resource for future users of the machine in the Innovation Center.

Sensory Playscape 2016

Sensory Playscape Textile Hybrid Prototype 2016 45

proposal

PROPOSAL Building off research done in Arch 401 under the mentor ship of Shelby Doyle, we were exposed to different digital fabrication techniques as well as an opportunity to pursue our own passions in sustainability and the intersections of craft, art, and architecture. Building off Shelby Doyle and Olivia Valentine’s 2018 Mesophases, as well as the above outlined precedents we intend to explore the role of textile in architecture. Exploring the manual weaving, sewing, crocheting process as well as the materials that make up the current architectural industry. From there we will explore the construction possibilities of fabric, and textile either through hand created weaves and digital simulations and with the hopeful aid of the CNC knitting machine. The process will include learning traditional practices as well as the hopeful opportunity to utilize the new CNC knitting machine and become a resource for the equipment. The final outcome will be in two parts. Fall Semester will culminate in a research paper or presentation outlining the effect and impact textiles can have on the architectural industry and the role digital fabrication and modeling techniques can further its integration into “architecture” and the spring semester of fully realizing an installation showcasing the labor of manual vs digital intervention in a exhibit or scale model.

LEARNING OUTCOMES Textile Making Basics:

- Knitting - Sewing - Crochet - Weaving

Rhino and Grasshopper:

- Parametric Modeling of complex tensile structures - Weaverbird, Ladybug, Pufferfish, Kangaroo etc., - Environmental Simulations

CNC Knitting Machine:

- Pioneering education and teaching on the S.I.C CNC Knitting Machine

Academics:

- Research paper - Proposal writing - Project Presentation

fall 2021 timeline

WEEK

DESCRIPTION

Week 1

Set schedule of work, and find space. Begin grant proposals

Week 2

Continue grant proposals and finalize schedule and space.

Week 3 Week 4 Week 5 Week 6 Week 7

Compile thrown out materials and fabrics. Compile thrown out materials and fabrics. Compile thrown out materials and fabrics. Begin studies of structure, and matieral application Manual labor and craft studies of found textile

Week 8

Begin studies of structure, and matieral application as well as digital modeling of material qualities.

Week 9

Write grasshopper scripts to simulate multiple fabric and tensile opportunities

Week 10 Week11 Week 12 Week 13 Week 14

Continue grasshopper scripts to simulate multiple fabric and tensile opportunities. Shift into digital realm of production Check in on project progress. Revise original goals, and set schedule for rest of semester and start next semester schedule Set up CNC knitting workshop Finish all manual textile projects, and showcase at studio. Begin outline for second semester: digital textile. 49

materials + equipment

In order to investigate the material properties of textiles, we need to explore several forms of material. Textiles such as cotton yarn, wool, felt, and thread are a few examples that may be tested in the research. A part of the exploration is determining the most proficient material that suits the needs of the project. Along with several textiles and soft formworks, other materials such as plaster, concrete, wire and more will also be researched and utilized to supplement the forms. This combination of soft and hard materials will be a critical to investigate and find the correct relationship between the two. Tools such as knitting needles, the circular knitting machine, crochet hooks, and looms will be a part of the investigation to supplement the research. In order to understand the extent of the materials, we must learn the handwork and labor that is required to create textiles. If possible, we are determining the ability to utilize a CNC knitting machine and learn the process of creating mass-scale textiles. But in order to create this larger scale project, we must first learn the techniques of hand work.

Material exploration with the circular knitting machine with yarn

summer 2021 culmination

Our project strives to be at the forefront of materiality, craft, labor, and digital fabrication. This research is aimed to create an in depth understanding into exploring textiles. The use of hand made objects will begin the investigation into textile’s roles in architecture and the built environment. Research will be conducted using precedents such as University of Michigan Associate Professor Sean Ahlquist, architectural theorist of Gottfried Semper, and more to aid in further understanding the culture and practice of textile work. We are fueled by questions such as: Two what extent can we utilize digital technologies to create a textile installation? How does labor play a role in the textile creation? As a women-dominated field, how does gender play a role in the textile industry? How can textiles contribute to re-usability and the circular construction economy? Is there a efficient way to reuse textile material via digital fabrication? A final culmination, of some form, will be produced by the end of the timeline. This piece will be some sort of installation that strives to engage the public in some way. We would like to also share our process work throughout the research to depict the time and labor that went into the project. The final cumulation will be a celebration of our work and gain knowledge. We hope to produce some sort of piece that can be displayed and utilized to further the conversation about textiles and digital fabrication.