Wearable Architecture: Cloth as Shelter
(adaptable, portable, transformable) Margaret Sobrino Almanzar
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
This document has been presented to the University of Florida, College of Design, Construction and Planning in partial fulfillment of the requirements for the Master of Architecture degree.
University of Florida, 2020 Margaret Sobrino Almanzar Committee Members: Huang, Lee-Su Huang, Lisa 3
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Acknowledgments
For more than one and a thousand life situations we think it is not possible to continue. Arriving at this point represents that although things are not necessarily going to be simple, it is possible! I would like to thank my family (especially my mother and my sisters), because they have been there for me since day one. For always giving me words of encouragement and supporting me unconditionally. Also, my friends and studio partners for their compression. I want to thank all my teachers throughout the years that have been part of my career development. Especially my thesis directors Lee Su Huang and Lisa Huang for their advice, try to imply critical thinking in me and for help me to bring this project to what it is today. I hope I have not left anyone out. In general, I would like to thank everyone who has been part of this journey. Thank you God and life, for letting me continue doing what I like to do. This thesis project has allowed me to express my love for design and try to unify two of my passions: fashion and architecture. Last but not less important, thanks to the architecture and its role for the human being. Sincerely, Margaret Sobrino Almanzar 5
Content
Introduction
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Chapter 1: Movement
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Temporary vs Permanent
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Space vs Place
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Chapter 2: Form and Volume
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Soft vs Hard
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Tactility vs Intransigence
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Chapter 3: Space
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Light vs Structure
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Protection vs Exposure
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Chapter 4: Body
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Skin vs Bones Content vs Container Case Studies
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Explorations
242
Interstice
256
Conclusion
334
Bibliography
346
146 166
“We need houses as we need clothes, architecture stimulates fashion. It’s like hunger and thirst — you need them both.” -Karl Lagerfeld
Introduction
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Introduction
Figure 1. Plastic tarps over damaged roofs are seen on houses a year after Hurricane Maria devastated Puerto Rico in San Juan, Puerto Rico, September 18, 2018. Source: Carlos Barria
Having a place worthy or refuge is not possible for everyone, whether because of economic or social needs. There is a constant larger population of nomads or people on the move by force of circumstances (homeless, refugees and displacement people), that are constantly exposed to weathering conditions. In different scales, fashion and architecture provide enclosure to the body. Textiles are the basic constitution (material) of fashion making it lightweight, is easy to adapt and transform, providing us freedom of movement or displacement. They can also create the sensation of protection or a full environment for the body. None of this is possible without the engagement of the body which works as a structure and the fabric as the membrane or second skin. But clothing is temporary by its very nature, and architecture, by its very nature, is permanent as anything human can be. The antinomy between this transitory and vestimentary syllogism suggests that architecture remains at once “in” and “out of” fashion. In the end, both can be described as two different art forms that have the same purpose, to provide shelter for the body. This assumption can be synthesized in a Zaha Hadid quote between the relationship of fashion and architecture: “Architecture is how the person places herself in the space. Fashion is about how you place the object on the person.”
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It is clear, that there is a complicity between fashion and architecture. Today, pieces of fashion are inspired by architecture and vice versa. Textiles are transcending their traditional functions and the advances in fiber technology have blurred these boundaries even more. Also, new textiles are changing how the body interacts with the surroundings and how designers and architects are fashioning the built environment. Polarizing our world around sensory extremes: hard and soft, protection and exposure, intransigence and tactility. We always perceive that architecture constructed by textiles seems a contradiction, because architecture is built to last, whereas textiles seem to rip, pull apart and wear out. Although the two may appear to be poles apart, textiles and architecture share a long history. The early man once constructed habitats from primitive fabrics. This earliest form of architecture response to the need for adaptable environments capable of responding to changing human requirements, that is why the shape of a nomad or vernacular dwellings (like the tent, tipi, black tent, the yurt) arose from the need for mobility. The lightness and flexibility of the cloth enable the tent shape to be modified according to changing conditions or needs. Nowadays, thanks to its properties and characteristics (lightweight and easy to assemble), textiles and apparel in the emergency relief play an important role in humanitarian design. The idea of carrying your own “home�, required a more flexible and open architecture. Structures that can respond, react and protect you to the constant state of change. It needs to be easy to move, flexible, single space construction made from lightweight resistant materials. The objective is to end up with a design that can help to improve human living conditions and allows adaptation to change. The challenge is to create a prototype capable of doing both transformable versatile modular pieces of clothing that could be turned into shelters, where the disappearance of one will mark the appearance of the other. Also, it needs to provide the basic needs for survival (water collection, refuge, and heat). All the development of these ideas is going to be based on the study of lightweight tensile structure (small, mobile, flexible), that have temporal-spatial adaptation or spatial transformation.
Figure 2. Refuge Wear. Source: Lucy Orta Figure 3. Shiftpod by Christian Weber. Source: ArchDaily 12
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
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“... fabric as the membrane or a second-skin around our bodies, fabric that forms the walls of our own architecture.� - Lucy Orta
Movement
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Chapter 1: Movement
“Movement” talks about how textiles allow and facilitate displacement.
It explores my interest in the idea of post-disaster housing and how something impermanent can becomes permanent. I was living in Puerto Rico when the worst hurricane of the history hit the Island and I saw how a lot of people lost their roof and they were refugee sleeping outdoor. Fabric the structures like a tent and temporary roof where develop as the first responders, because they are lightweight and easy to assemble. This chapter would also take a look at the vernacular dwellings (earliest forms of architecture) like the tipi and how they use primitive fabric and a structure to create the space and shelter. Another thing that is going to be taking into consideration is how tents and outdoor markets can create spatial transformation in the urban fabric. Figure 1. Rohingya refugees who entered Bangladesh by boat walk toward refugee camps after landing in the Bangladeshi district of Teknaf on November 7, 2017. Source: Dibyangshu Sarkar
More contemporary to that idea of “carry your own home”, I am going to be presenting a series of precedents that are inflatable structures rooms like the Living Pod by Archigram, Desert Seal by Andreas Vogler, Modern Tea House by Kengo Kuma and Associates, paraSITE by Michael Rakowitz, Basic House, Cloud by Monica Foster and others like Refugee Wear by Lucy Orta. That expressing how cloth is something we interact with every day in our life.
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Movement Temporary vs Permanent Temporary: Provisonal. Lasting for only a limited period of time; not permanent. Permanent: Intended to last.
Sometimes we take it for granted that we all have a home. However, having a place worthy or refuge is not possible for everyone, whether because of economic or social needs. The need for places of dwelling (housing crisis) remains an issue these days. There are a constant larger population of nomads or people on the move by force of circumstances (homeless, refugees and displacement people), that are constantly exposed to weathering conditions. On the other hand, the constant climatic changes have brought as consequence more extreme weather events, like tropical hurricanes, tornadoes and winter storms.1 This atmospheric phenomenon’s in most cases leaves larger populations without a roof. For example, after Hurricanes Irma and Maria in Puerto Rico, the most damaged structures was the roof. Therefore, with the loss of roofs, they basically lost their homes and a safe and dry place to sleep. In this specific context, the emergency response was extremely slow, and thousands of people waited for months for a plastic roof.2 The exposure to the natural outside elements within a used to be protective structure reinforces the role of architecture, that is based on providing us shelters or a space, that provides us safety, and helps us to survive (up to at some point) the inclement from the environment. 3 We always perceive that architecture constructed by textiles seem a contradiction in terms. Architecture is built to last, whereas textiles seem to rip, pull apart and wear out. Buildings are equated with density and mass, while textiles can seem limited to lightweight decorative expressions. Although the two may appear to be poles apart, textiles and architecture share a long history.4 The early man once constructed habitats from hides, plant fibers, and primitive fabrics, and textiles are used to build nomadic dwellings in Central Asia today.5 Vernacular dwellings like the tent, tipi, black tent, yurt are one of the earliest forms of architecture, P. Andrews describe these kinds of dwellings as one
Figure 2. La Defense in Paris, France 2019. Source: Photograped by Author
1 (Shaftel 2019) 2 (McCormick and Schwartz 2018) 3 (Cambridge University 2019) 4 (Quinn 2010) 5 (Quinn 2010)
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Figure 3-5. Interior of tipi. Source: www.tipilodging.com/ Gallery.php 20
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
where the cover can be detached from the dismantlable, supporting structure, and both can be transported.6 Apart from vernacular architecture like the tipis, we can find early tensile architecture arose among barbarian wanderers and invaders living outside the frontiers of the civilized world. The buildings of barbarian peoples are the antithesis of architecture produced by civilization: they are light instead of heavy; transient instead of permanent; portable instead of static; and demountable instead of immutable. The continual state of flux of barbarian life, especially that of pastoral nomads, deprived their building of the sense of performance which, Kenneth Clark asserts, indicates civilization. The outstanding adaptability of lightweight structures is a recent discovery and partly explains the interest in tensile structures over and above the structural efficiency of their forms. The pursuit of minimal architecture was a response to the need to create adaptable environments capable of responding to changing human requirements. Thus, the light portable shelters of the wanderers and invaders anticipated the light transient environments of the 1960s.7 6 (Schwartz-Clauss and Vegesack 2002) 7 (Drew 1979)
Figure 6. Native American Tipi. Source: nativesofcanada.tripod.com/ id6.html 21
From a historical perspective, it became increasingly clear that traditional tensile building relates to nomadic cultures. The shape of nomad dwellings arose from the need for mobility. The outcome of nomadism is a highly functional and uniquely adaptable dwelling. The lightness and flexibility of the tent cloth enable the tent shape to be modified according to changing conditions or needs.8
Figure 7. Tents in Piazza dei Signori Vicenza, Italy. Source: vicenza.com Figure 8-9. Street Market Piazza dei Signori, Vicenza 2019. Source: Photographed by Author 22
Nowadays we use tensile structures in our daily lifestyle, for example, outdoor roof and markets. In street markets structures are mainly used because they are lightweight, easy to assemble and they can be dismantled in a considerably small amount of time. Also, they create an impact in the urban fabric, creating and spatial transformation. For example, in the City of Vicenza, Italy every Tuesdays and Thursdays are market days. At eight AM every vendor came to the Piazza dei Signori and open their tents to sell their products. After the market is ending around one o’clock they pack again and leave. This continuous circle of installing and dismantling occurs every week, during the entire year.
8 (Drew 1979)
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 10-12. Street Market in Florence, Italy 2019. Source: Photographed by Author 25
Figure 13-15. Tensile roof at the Oceanographic in Valencia, Spain 2019. Source: Photographed by Author 26
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
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Figure 17-28. Fabric joint details. Source: Tensinet 28
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Movement Space vs Place Space: Mobility. Place: Stability.
Moving apart from the tipis and tents we know, but still exploring the same idea of “carry your own home”, this part will present a series of precedents that are a representation of it, in a more contemporary way. Most of them are single-membrane inflatable room structures structures like the Living Pod by Archigram, Desert Seal by Andreas Vogler, Modern Tea House by Kengo Kuma and Associates, paraSITE by Michael Rakowitz, Basic House by Martin Ruiz De Azua, Cloud by Monica Foster and others like Refugee Wear by Lucy Orta. The hability of movility required a more flexible and open architecture. Structures that can respond, react and protect you to the constant state of change. It needs to be easy to move, flexible, single space construction made from lightweight resistant materials. This type of mobile architecture is an intelligent way of inhabiting an environment in a given time and place, being able to react and interact with ongoing social and cultural changes, complex cities, uncertain territories, undefined boundaries, changing structures… 9 Thanks to its properties and characteristics, textiles easily allow that displacement or movement. That is also why textiles and apparel in the emergency relief play an important role in humanitarian design. In moments of emergency and war, the wit always spurred the development of new techniques, minimizing the focus on aesthetics, while generating ingenious and practical design, new materials, structures which are increasingly more lightweight and also easy to assemble, economical and temporary dwellings, inflatable structures: this is the construction of the most precise relationship between form and life. 10 Inflatables are air-filled fabric membranes constructed form airtight textile substrates, that creates uniquely lightweight systems of pneumatic architecture.11 The invention of the first inflatables (hot air balloon) was during the mid-eighteenth century in France. Whiting the time the hot air balloon was improved for safer and longer travels, also this idea and materials were implemented and adapted to use it in warfare. The US military starts the development of first basic inflatable Figure 29. Venice Pavillion, Venice Biennale 2019. Source: Photographed by Author
9 (Echavarria M 2006) 10 (Echavarria M 2006) 11 (Quinn 2010) 31
structures – a structural, weatherproof enclosure– to protect radar antennae. Later storage sheds, greenhouses and pool enclosure raise the profile for inflatables and open the door for collaborations with architecture.12 Apart from the invention of inflatables and all the technological advances in tensile materials, people have established more direct connections or relationships between fashion and architecture. In the simplest ways, people have used materials for clothing to create shelters. A good example or case study is “Refuge Wear” by Lucy Orta. Her interest in the humanitarian design ends up in the creation of fabric shelters for refugees and the homeless in the late 1990s. The idea was that this symbolic clothing - dwelling that would attract the media to do this social problem visible, but it ends up being more than that. Orta’s Refuge Wear revived the interest in transformable- versatile pieces of clothing that could be turned into shelters or rudimentary pieces of furniture. It is an experimental textile structure that explored the relationship between clothing and architecture. She reinterpreted the ultra-futuristic, space-age vision of a flexible, nomadic urban way of life (such as the futuristic hypothetical dwellings of Archigram – Plug-in City, Walking City, and Living Pods) in the light of the contemporary reality of homelessness, displacement and alienation.13 Figure 30-32. Refuge Wear. Source: Lucy Orta 32
12 (Francis 2019) 13 (Colchester 2007)
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Figure 33. Section Living Pod. Source: Archigram
Figure 34. Floor plan Living Pod. Source: Archigram
Figure 35. Model Living Pod. Source: Archigram 34
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
During the 1960s a paradigm of mobility in architecture took place and proportioned the development of modular spaces based on their possibility of being deployed like cells. That the main purpose was to provide the opportunity for freedom and adaptation. One day, Peter Cook (one of the founders of Archigram) asks himself “what happens if the whole urban environment can be programmed and structured for change?” and they start developing ideas of cities that were not subject to a specific location.14
Figure 36. Reinterpretation of the Living Pod by Archigram Source: hiddenarchitecture.net/ cushicle-and-suitaloon/
There were mainly focused on communication, mobility, and the city, where the digital technology would have and impact in the body and surroundings that are spaces always taking into consideration the human iterations. They did not want to propose a concrete form, their desired was to illustrate the relationships and connections within urban life and make you reflect on the idea. One of those iterations was the “Living Pod”. It is an inflatable room structure that provides the modern nomad the freedom of displacement that the materiality of traditional architecture will not allow.15 14 (Echavarria M 2006) 15 (Echavarria M 2006)
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In the other hand, the Desert Seal designed by Andreas Vogler, is a tent to survive extreme desertical climates. The materially, a silver reflective skin allows the user to endure soaring temperatues in confort.16 This fabric also helps to protect from the sun.17 This structure it is lightweight and easy to transport. It provides to the user a narrow space to rest, also allowing the posibity of standing and seating. 18 The air- filled columns help to ensure stability and keep the shape.19 The overall shape of this inflatable structure was created taking into consideration all the time the thermodynamics of the such enviroment, where the air on the top of the surface is cooler than the one near by the sand (floor area). the enclosure includes an intake source at the apex and a fan at the base, powered by a solar panel band. 20
Figure 37. Desert Seal diagrams. Source: www.andreasvogler.com
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16 (Francis 2019) 17 (Vogler 2004) 18 (Francis 2019) 19 (Vogler 2004) 20 (Francis 2019)
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 38. Desert Seal in context. Source: www.andreasvogler.com
Figure 39. Desert Seal by Andreas Vogler. Source: www.andreasvogler.com 37
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Modern Tea Haus is an installation that takes place every summer in the garden of the Museum of Applied Art in Frankfurt, Germany. This tea house is usually built using materials like wood, bamboo or paper. In 2007, in order to avoid the traditional construction, Kengo Kuma and Associates designed an inflatable peanut-shaped envelope. 21 It is made out of a double-layered membrane of Terena, that it is a high-tech fabric that can expand and contract. Allowing to inflated or deflated if is necessary to transport or move it. The layers are tied together in coordinated points, creating a pattern of dots that can be appreciated on the inside and outside of the structure. At night the translucent skin can be light up, making it seems like is glowing.22
Figure 40-41. Modern Tea Haus by Kengo Kuma and Associates. Source: www.archilovers.com
21 (Francis 2019) 22 (Francis 2019)
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paraSITE by Michael Rakowitz, takes the main idea or concept of what it is a “parasite� and transformed it into a concrete space. Rakowitz proposed the appropriation and attachment of an existing air conditioner system or architecture to provide shelter to homeless people. In order to achieve that the inflatable needs to be located on the outtakes ducts or buildings HVAC system. It is a small, collapsible and lightweight surface that lives outside of the host, being the host the one that feeds and provides comfort from the exterior conditions. Because of its properties, it makes it easy to hold and transport.23
Figure 42. Sketches paraSITE by Michael Rakowitz. Source: www.michaelrakowitz.com
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23 (Echavarria M 2006)
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 43. paraSITE inflatation process. Source: www.michaelrakowitz.com
Figure 44. paraSITE inflated. Source: www.michaelrakowitz.com 41
Figure 45. Basic House (folded). Source: www.martinazua.com
Figure 46. Basic House (inflated). Source: www.martinazua.com
Figure 47. Basic House (context). Source: www.martinazua.com 42
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
The Basic House by Martin Ruiz De Azua proposed an almost inmaterial house24 that it is crafted from a fine metalized polyester, that is coated with silver on the inside and gold on the outside. This simple shelter fabric inflatable structure provides protection from the inclement of the environment (heat and cold). It transforms from a flat squared that can fit in your pocket, into a cubic space that can provide shelter for up tow people when you blow it. Since it is super lightweight, compact and easy to assembly, make it perfect for post-disaster applications.25
Figure 48. Basic House. Source: www.martinazua.com
24 (Echavarria M 2006) 25 (Francis 2019)
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Cloud by Swedish designer Monica Foster is a portable room for rest, meeting or concentration. It can be used with any surroundings, because it owns it define and area. It is made out of rip-stop nylon material, that it is white and semi-translucent. You access the space through a self-closing slit door. Allow an interaction but also marking a clear separation between the space and the outside environment.26 It needs to be unpacked and connected to an air compressor to be inflate it. It approximately takes three minutes, to be fully inflated by the fan. Once inflated, periodic blasts from the compressor enable it to maintain its shape until is necessary. When is no longer needs it, is easy to fold to transport from place to place into a bag, that it is also included. 27
Figure 49. Drawing of the Cloud. Source: Monica Foster
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26 (Francis 2019) 27 (Francis 2019)
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 50.Cloud interior. Source: Monica Foster
Figure 51. Cloud inflatation system. Source: Monica Foster 45
Figure 52-56. Inflate porcess of the Cloud. Source: Monica Foster 46
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
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“Architecture is inhabited sculpture.” - Constantin Brancusi
Form and Volume
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Chapter 2: Form and Volume
This chapter “Form and Volume” talks about how to create or simulate the softness and fluidity of textiles through different methods. Also, it presents all this contradictory idea of how something hard can look soft. These shapes are archive through sculpting and/or casting. Some examples are stone works by Antoni Gaudi, the use for the fabric to cast irregular shapes on the Pwall by Andrew Kudless, thin concrete shell structures like Oceanographic in Valencia by Felix Candela and various Zaha Hadid’s projects that implement pre-cast concrete panels. Also, the use of paneled glass on the British Museum and metal in the BMW Welt or the Confluences Museum to obtain curvilinear structures.
Figure 1. Heydar Aliyev Center. Source: Zaha Hadid Architects
On the other hand, this chapter explores ideas of how textiles are put together. They are mainly formed by weaving, knitting, crocheting, knitting, tatting, felting, or braiding. Nowadays, advances in fiber technology have made three-dimensional textiles possible. Creating a new generation of textiles that are digitally designed and manufactured. Contemporary architecture is characterized by metal mesh, woven, skins, braided cables, and tensile surfaces.Also, we see fashion designers working with software, such as cad, Rhino, and Sketchup, to design and create wearable pieces. For Example, Iris Van Herpen incorporates digital fabrications to create architectural forms and even structures. Also, in the world of prototyping, in the Danit Peleg ‘s collections since 2014 explores 3D printed garments that are built using mesh systems.
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Form and Volume Soft vs Hard Soft: Easy to cut, compress, or fold. Hard: Not easily broken, bent, or pierced.
Amongst the many parallels between the realms of fashion and architecture, the form is commonly a major focus. Technological advances have allowed for more unique and fitted forms. The fabrication and specificity to which designers of both fields are now able to achieve have allowed for tighter fits and more advanced shapes. Architectural designers approach forms similarly to fashion designers, except they are tasked with a much larger scale and the factor of occupancy. Architects look to fashion and techniques of tailoring as they attempt to achieve more and more complex forms using hard materials. For years, the unique form was difficult to achieve. A direct result of the lack of technology and mode of making. To achieve these curvilinear shapes designers simulate or imitate the softness and fluidity of textiles through different methods. Those methods are usually sculpting and/or casting, presenting the contradictory idea of how something hard can look soft. Some examples are detailed marvel sculptures and stone works in the 1900s in Casa Milà by Antoni Gaudi. Today, scripting and 3d modeling have allowed for advanced design as well as structural approaches. Both, Zaha Hadid and Frank Gehry are architects who approach architecture with the use of form as to push boundaries and the abilities of 3d modeling. For example, the Heydar Aliyev Center by Zaha Hadid (Figure 1. Page 51) displays significant advances in the usage of form as a driving component. “The Center, designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future.” 1 Zaha Hadid’s design focuses on a form that expresses a society. The design was solely achieved through the usage of Rhino modeling and developed structurally. Figure 2. Mavel sculpture at Vatican City 2019. Source: Photographed by Author
1 (Hadid 2012) 53
Figure 3-6. Sculpture in Rome, Italy 2019. Source: Photographed by Author 54
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
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Figure 7. Casa MilĂ by Antoni GaudĂ in Barcelona, Spain 2019. Source: Photographed by Author 56
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 1. Rue Royale Paris Source: Provided by Author
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Figure 8-10. P Wall. Source: matsys.design 58
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Pwall by Andrew Kudless investigates iterations between plaster and fabric to create a pattern of a visual and acoustic effect. Inspired by the experimentation with concrete by the Spanish architect Miguel Fisac during the 1960-170s. The design is guided by a drawing that contains points (dots), these points are used to delimitate the location of the dowel in the framework, where the fabric is going to rest when the plaster is added in order to achieve the shape. “The resultant plaster tile has a certain resonance with the body as it sags, expands, and stretches in its relationship with gravity and structure”.2 Following that line of investigation but expanding it to a larger scale and explore with the thin concrete structure he designs a series of pavilions at the Confluence Park, located in San Antonio, Texas. The project was developed in collaboration with Lake|Flato Architects, Rialto Studio, and Architectural Engineering Collaborative. The petals’ shapes provide shade and allow water collection at the center of the structure. 3 2 (Kudless 2009) 3 (Kudless 2018)
Figure 11. P Wall diagram. Source: matsys.design 59
Figure 9-12. Confluence Park. Source: matsys.design 60
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Figure 13. Confluence Park diagrams. Source: matsys.design 62
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
One of the pioneers of the thin-shell concrete structure is Felix Candela. It is something he develops during his entire career, getting an international reputation. He got fascinated by these structures when he was studying at La Escuela de Arquitectura de Madrid. His career stopped because of the war and he moves to Mexico where the concrete was at the top of materials for construction.4 Candela starts developing for his clients full-scale experiments of form-finding, based on hyperbolic paraboloids. Enclosing the space by a singular sculptural surface, that allows large clear spans that transfer the loads to the edges of the room. 5 One of his most famous works that implement those techniques is the Oceanographic in Valencia, Spain.
4 (Miller 2014) 5 (Miller 2014)
Figure 14-15. Oceanographic by Felix Candela in Valencia, Spain 2019. Source: Photographed by Author 65
Figure 16. Oceanographic diagrams. Source: somosreynitas.blogspot.com 66
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 18. Interior of the thing concrete shell structure in Valencia, Spain 2019. Source: Photographed by Author
Figure 19. Exterior of the thing concrete shell structure in Valencia, Spain 2019. Source: Photographed by Author 67
Another architectural firm that experiments with thin-shell concrete and other different techniques in order to achieve and create really complex forms is Zaha Hadid Architects. Through all her career we can see a series of the building that explode the use of form into the maximum expression. Some examples are the Maxi Museum and the Stuart Weitzman Store in Rome. Also, the Roca Gallery in London used concrete pre-cast panels for the façade inspired and alluding to the bathroom products that they sell (designed bathtubs, sinks, etc). Continuing in the same line of thought of Felix Candela in 2018 the firm fabricates the “KnitCandela” in honor of the renowned architect. It uses his work as an inspiration and implies new materials technologies like the KnitCrete for the realization.6
Figure 20-22. KnitCandela. Source: Zaha Hadid Architects 68
6 (Schumacher 2018)
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 23-24. MAXXI Museum in Rome, Italy 2019. Source: Photographed by Author
Figure 25. Stuart Weitzman Store in Rome, Italy 2019. Source: Photographed by Author 71
Figure 26. Facade Drawings. Source: Zaha Hadid Architects 72
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 27-29. Roca Gallery, London. Source: Zaha Hadid Architects
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Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Another way to achieve curvilinear shapes with hard materials is to segregate them into pieces or modules. The cutting and construction have allowed for a unique expression of form. A good example is a roof that covers the Great Court at the British Museum, designed by Foster + Partners. It is made out of a steel structure with paneled glass. The same technique has been developed with metal and it can be appreciated in some parts of the BMW Welt (2007) in Munich, Germany, and Confluences Museum (2014) in Lyon, France both projetcs by Coop Himmelb(l)au.
Figure 30. Roof British Museum in London, UK 2019. Source: Photographed by Author
Figure 31. Roof drawing. Source: design.rootiers.it 75
Figure 1. BMW Welt in Munich, Germany 2019. Source: Photographed by Author 76
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Figure 32. Confluences Museum in Lyon, France 2019. Source: Photographed by Author
Figure 33-34. Curve panelled glass structure at the Confluences Museum in Lyon, France 2019. Source: Photographed by Author 77
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Form and Volume Tactility vs Intransigence Tactility: Tangible. The capability of being felt or touched. Intransigence: Refusal to change.
Fashion designers have always been able to achieve complex, often architectonic garments using fabric. Nowadays, pieces of fashion are inspired by architecture in structure and ideas on how to put pieces together. Also, we see fashion designers working with software, such as cad, Rhino, and Sketchup, to design and create wearable pieces. This demonstrates how changing the scale of different designs can be used for different purposes (fashion or architecture) and how technology gives both no limits, helping designers to make geometries and work on both scales. Advances in fiber technology have made three-dimensional textiles possible. Also, over the years the exploration and use of 3D printing technology of rapid prototyping have increased in the industry of fashion. Creating a new generation of textiles that are digitally designed and manufactured. Fashion designers like Iris Van Herpen are incorporating digital fabrications to create architectural forms and even structures. The first 3d printed pieces were “integral” pieces, like the one presented by her during the ready-to-wear fashion show “Crystallisation” in 2011. This collection was produced in collaboration with London architect Daniel Widrig, the parts were printed using SLS (Selective Laser Sintering) 3D printers.7 They seem to be like a bond structure on top of the body, and when you are up close you can appreciate all the details. Going away from the rigid forms Danit Peleg ‘s collections since 2014 explore 3D printed garments that are built using mesh systems. Where these rigid materials suddenly become flexible, bendable, and take on very interesting characteristics.8 Another example of tinner and more flexible 3D printed textiles is Heisel garment designed by Silvia Heisel exposed at the Salvatore Ferragamo Museum in Florence, Italy. Where a series of words create the pattern alone the dress. Figure 35. Fabric connections, Copenhagen 2019. Source: Photographed by Author
So as textiles move forward, architecture does it too. Contemporary ar-
7 (Richardot 2018) 8 (Krassenstein 2015) 79
Figure 36. Crystallisation. Source: Iris Van Herpen
Figure 37. Voltage by Julia Koerner. Source: Dezeen 80
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Figure 38-39. 3D printed textiles. Source: Danit Peleg 81
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Figure 40-42. Heisel (3D printed garment) by Silvia Heisel at Salvatore Ferragamo Museum in Florence, Italy 2019. Source: Photographed by Author 83
Figure 43-45. Textile design develoment for shoe at Salvatore Ferragamo Museum in Florence, Italy 2019. Source: Photographed by Author 84
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Figure 46-47. Metal fabrics. Source: GKD 86
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chitecture is characterized by metal mesh, woven, skins, braided cables, and tensile surfaces. Innovations such as carbon-fiber matrices, inflatables membranes, and tri-axial meshes are popular alternatives to bricks and mortar, which they replace by carbon-neutral, sustainable structures.9 As soft materials change how architecture is designed and built, a new paradigm of lightweight, elastic architecture is beginning to take shape. The exchanges between architectural design and textile technology are blurring the boundaries between the two disciplines. Some of the exchanges between architectural design and textile technology are: Membrane Structure - Known as structural fabrics, architectural textiles or tensile membranes. 10 Metal Textiles - It gained popularity on the 80’s when woven stainless steel became a popular material for the construction of architectural elements. They can be beautiful as any other fabric, cause each one (bronze, aluminum, gold, etc.) as their own properties and create spectacular colors and light effects. 11 Carbon Fibers - High strength, flexibility, and resilience gives them advantages over metal fibers of similar weight and length. Under tension, it can be stronger than steel. They are also more expensive and not fire resistant.12 Figure 48. Experimentation with carbon fibers. Source: Mathias Bengtsson
9 (Quinn 2010) 10 (Quinn 2010) 11 (Quinn 2010) 12 (Quinn 2010)
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Figure 49. Fabric Structure. Source: lacosturademanoli.com 88
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Figure 50. Woven fence in Venice, Italy 2019. Source: Photographed by Author
Figure 51. Shadow of fence in Venice, Italy 2019. Source: Photographed by Author 89
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Textiles are a material that is created from multiple interlacing fibers or parts. They are formed by weaving, knitting, crocheting, knitting, tatting, felting, or braiding. Nowadays we create or simulate textiles out of hard materials using a series of parts (units) that when they came together end up creating a whole. A great example of this is how fences are put together, making it seem like it has been woven. 13 Using this idea of the parts that create a whole, during 2016 I develop a dress using a recyclable pop tap for the 8th edition of the AIAS Recyclable Fashion Show Competition. Each unit was woven together creating a metal textile. The main idea of the competition is to achieve a piece that represents a fresh and youthful design, but without losing the essence that is made entirely with recyclable collected materials. The piece is capable of being used in daily living, for example as a cocktail party dress. Also when you take a close look at the person who wears it, you will be able to notice better the level of details based on the textures made with the materials.
13 (Whewell and Abrahart 2019)
Figure 52-53. Dress made from recycle pop tabs, 2016. Source: Develop by Author 91
Figure 54-56. A Short Century, MACBA Museum Barcelona, Spain 2019. Source: Photographed by Author 92
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Figure 57-59. Lithic Fabric, Politecnico di Bari at MARMO+MAC 2019. Source: Photographed by Author 95
“All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.� - Philip Johnson
Space
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Chapter 3: Space
Chapter three is called “Space”. It is about how textiles impact the creation, circulation, and feeling of the space. Allowing the outside to come into the inside space of the building and vice-versa.These layers of fabric (screens) can provide privacy and shade allowing or controlling the light and visibility. It can be achieved through the use of curtains, curtains wall façade, or other tensile. On the other hand, textiles can also be used to filter, diffuse, project, and control the use of artificial light. Textiles are used in the interior space as wall or space divider. It does not matter if it is just an umbrella or roof, tensile structures can create a sensation of protection around our bodies, even when you are not entirely covered and still exposed to the environment.
Figure 1. Porta Garibaldi roof Milan, Italy 2019. Source: Photographed by Author
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Space Light vs Structure Light: Makes things visible. Not heavy. Strcuture: Multiple parts. Complex.
The boundaries between architecture and fashion have become increasingly blurred. Both architecture and fashion are based on the human body and ideas of space, volume, and movement. Each function as shelter or wrapping for the body—a mediating layer between the body and the environment—and can express personal, political, and cultural identity.1 Speaking about home implies speaking about boundaries. Wall and roof create a difference between “home” and “not home”. Door, windows, and curtains make homes more flexible, they shut the world out or temporarily let it in. A home may thus be both a place and space. Monika Kostera and Jerzy Kociatkiewicz distinguish between the two in terms of stability: place implies stability and space mobility.2 For example, between curtain wall and clothing, it’s a double metaphor and matter-of-factness. The colorful plaid sketch and grass-skirt studies are at once abstract and literal, even “tectonic”, suggesting parallels between the way clothes hang on the body and the way the curtain wall hangs on a frame - loose or close fit structured or unstructured cut, draping, and layering.3 These ideas also bring interest in the detachable surface would seem to be the embodiment of the wall as cloth. That is why early modernist architects are developing a new approach to the surface of the buildings by making correlations between buildings and dress, like the façade made from ETFE foils on the Allianz Arena in Munich, Russia by Herzog & de Meuron.4 The use of textiles also impacts the creation, circulation, and overall feeling of the space. Allowing the outside to come into the inside space of the building and vice-versa. We use layers of fabric to provide privacy and shade allowing or controlling the light and visibility. Curtains and screen are usually used to achieve these intentions. They are attached or hanging on the inside from an opaque surface that contains a clear surface (glass) or opening (window). The act as a barrier or screen that filtrates the light. Since they are made out of fabric (cloth material) they are easy to move.
Figure 2. Curtains, 2019. Source: Photographed by Author
1 (Hodge, Mears and Sidlauskas 2007) 2 (Schwartz-Clauss and Vegesack 2002) 3 (Fausch 1994) 4 (Hodge, Mears and Sidlauskas 2007) 101
Figure 3-6. Curtains in Venice, Italy 2019. Source: Photographed by Author 102
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Figure 7-8.Musee Mondo Arabe Paris, France 2019. Source: Photographed by Author
Figure 9. Fabric as space divider. Source: Photographed by Author 105
Apart from using curtains to filtrate the outside, another way is to implement textiles as a space divider. In the Musée Monde Arabe in Paris, France Jean Nouvel use fabric between the exhibits to separate them or place a point of focus in a specific art piece. Another alternative is to use fabrics to diffuse the lights, in order to protect the art pieces like the architects Vilhelm Wohlert and Jørgen Bodid in the Louisiana Museum of Modern Art in Humlebæk, Denmark. It can also be curtains wall façade where the tensile or cover is applied in the inside or outside the glass as you appreciate in South Facade in Switzerland, GSW Headquarters in Berlin, Germany that is moved manually or a refine electrical method like the one used by Peter Zumptor in the KUB Cafe in Bregenz, Austria.
Figure 10-12. Louisiana Museum of art in Humlebæk, Denmark 2019. Source: Photographed by Author 106
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Figure 13-14. South Facade in Switzerland, 2019. Source: Photographed by Author 108
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Figure 15-16. GSW Headquarters in Berlin, Germany 2019. Source: Photographed by Author 109
Figure 17. Floor plan. Source: Peter Zumpthor
Figure 18. Sketch of mechanisim. Source: Diagramed by Author 110
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Figure 19-20. KUB Cafe in Bregenz, Austria. Source: www.urbipedia.org 111
On the other hand they textiles can also be used as a projector, and to control the use of artificial light. A few examples are the fabric sculpture inspired by the equations that describe the airflow in the Science Museum specifically at the Mathematics Gallery by Zaha Hadid Architects in London, UK. Also, the wall and roof surfaces at the Ferrari Museum in Modena, Italy that is used to project a movie during the exhibition. Another role that textiles can perform into the interior of the space is to work as walls or space dividers as we are able to appreciate in the open floor plan at Ferragamo Museum in Florence, Italy.
Figure 21-23. Science Museum Mathematics Gallery by Zaha Hadid Architects in London, UK 2019. Source: Photographed by Author 112
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Figure 24-25. Curtains as space divider, Ferrari Museum 2019. Source: Photographed by Author
Figure 26. Tensile roof as projector at the Ferrari Museum in Modena, Italy 2019. Source: Photographed by Author 115
Figure 27-28. Ferragamo Museum in Florence, Italy 2019. Source: Photographed by Author 116
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Figure 29. Exposition, Venice Biennale 2019. Source: Photographed by Author
Figure 30. Curtains at MACBA Museum Barcelona, Spain 2019. Source: Photographed by Author 117
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Space Protection vs Exposure Protection: State of being protected. Exposure: Not having protection.
Witing the time fabrics disappeared from architecture as wood, stone, metal, and glass became the materials of choice. Advances in textiles technology have revealed their relevance to architecture today. Were textiles are transcending their traditional functions. Fibers, fabrics, and textiles techniques are becoming seamlessly integrated with technology, textiles represent an interconnected collective that links many disciplines. New textiles are changing how the body interacts with the surroundings and how designers and architects are fashioning the built environment. Our world seems to polarize around sensory extremes: hard and soft, protection and exposure, intransigence, and tactility. As textiles embrace new types of fiber and fulfill new roles, they bridge these polarities better than any other material.5 Tensile structures have the ability of delimitates the inside and outside space. It does not matter if it is just a roof, it would create a sensation of protection around our bodies, even when you are not entirely covered and still exposed to the environment.
Figure 31. Train station tensile roof at Munich, Germany 2019. Source: Photographed by Author
5 (Quinn 2010) 119
Figure 32-34. Roof curtain system at Akademia der Kunste in Berlin, Germany 2019. Source: Photographed by Author 120
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Figure 35.Vatican City roof, 2019. Source: Photographed by Author 122
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Figure 36.Roof structure. Source: Diagramed by Author
Figure 37. Vatican City roof, 2019. Source: Photographed by Author 123
Figure 38-41. Palais de Tokyo in Paris, France 2019. Source: Photographed by Author 124
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Umbrellas are a lightweight tensile structure. They are small, mobile, and flexible. Since they are also a collapsible structure that can span and contract. Allowing to have temporal-spatial adaptation or spatial transformation between its borders/connections.6 6 (Mollerup 2001)
Figure 42. Umbrellas in Cinque Terre, Italy 2019. Source: Photograped by Author Figure 43. Umbrella Structure. Source: patentsencyclopedia.com 127
Figure 43. Umbrella Structure. Source: kickshawproductions.com 128
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Figure 44. Collapsible book cover. Source: amazon.com
Figure 45. Umbrellas in Cinque Terre, Italy 2019. Source: Photograped by Author 129
“Clothes mean nothing til someone lives in them.� -Marc Jacobs
Body
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Chapter 4: Body
The last chapter for the research part talks about the “Body� and its engagement and role in both disciplines. It takes a closer look at how it is moving, composition (skin and bones) and its relationship of how one part continuously holds the other. Pretty similar to any tensile structures. Along with the chapter there is some elasticity analysis, that try to understand this concept. On the other hand, it looks at the process of construction of fashion, specifically the cutting patterns. They are important in the creation and development of the garment because they are made as a two-dimensional flat pattern but they always have in mind a future body. In order to create the shape, the surface is cut, folded, and stitched all together. They are basically working like a set of drawing for any building, but the process of construction it is different in some way.
Figure 1. Body Fantasies. Source: Rebeca Horn
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Body Skin vs Bones Skin: External covering or integument of an animal body, especially when soft and flexible. Bones: Structure. Forms the skeleton of the body.
The cloth is an element we interact with every day. The words “clothes” and “clothing” have more general use in “fashion”. Of old English origin, and etymologically linked to the German word Kleid, “clothes” refers to the covering of the human body with the cloth, and usually implies something more enduring and functionally based than fashion. 1 In a different scale than a building, those layers (up to some point) provides us the necessary protection from weathering (rain or extreme temperatures) that helps us to survive in our specific context. Textiles are the basic constitution (material) of fashion making it lightweight, is easy to adapt and transform. It has the possibility to camouflage or high visibility, dry fast, being breathable, or keep us warm and the most important textiles give us freedom of displacement or movement. Different types of clothes and specific materiality allow certain grades of movement. For example, athletics or gym clothes are made from spandex fabric facilitating a fast activity of the body or spacesuits that basically create a full environment for the body. 2 There are others, like the high tech textiles for example the nonflammable “Nomex” used for the firefighter suit, that provides protection against burns that can save lives by protecting the human from danger. None of this is possible without the engagement of the body which works as a structure and the “fabric as the membrane or second skin around our bodies, fabric that forms the walls of our own architecture”. 3 The human body is composed of many systems, two of them are skeletal (bones) and muscular (skin) that contains and enclose all the other systems. I am interested in the relationship of how the bones wear the skin and the skin fits perfectly for the bones, allowing movement in the points that need it and how one continuously holds the other.
Figure 2. Fall 2018 Collection. Source: Iris Van Herpen
1 (Fausch 1994) 2 (Macdonald 1998) 3 (Echavarria M 2006) 135
Figure 3. Firefighter suit. Source: Toronto Fire Services 136
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Figure 4. Diving attire. Source: www.civitatis.com
Figure 5. Astronaut suit, Nasa. Source: Nasa photo S-71-29731 137
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Figure 7. Ballet dancer 2D diagram. Source: Edited by Author
Figure 6 & 8. Motion. Source: William George Wadman 139
Figure 9-12. Various body parts drawing by Michel Lauricella. Source: Collage by author 140
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Figure 13. Syntopia. Source: Iris Van Herpen 142
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The designer Iris Van Herpen has played with technology and fashion. She was earlier mentioned along the book, because of her experimental complex shape structures garments made with 3D printer technologies. We can also see her level of detail in all her designs, which emphasized the structure of every piece she has made. We see how technology is being used in fashion and how it is making incredible advances. Developing new textiles, folds, and patterns. Her designs are always inspired or have as a main conceptual idea of motion or movement.
Figure 14. Escapism by Iris van Herpen. Source:Dezeen 143
Figure 15-16.” Shift Souls” Spring 2019. Source: Iris Van Herpen 144
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Figure 17-18. Iris Van Herpen Couture Spring 2019 Fashion Show Backstage. Source: theimpression.com 145
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Body Content vs Contaier Content: Contained. Held by something else. Container: Can contain or hold somenthing.
“Clothes that we wear on our bodies, that we feel and move in, that we care for and become attached to, bring us to the possible intimacy of architecture, to where it ‘touches’ us in so many different ways. It is no longer out there in front of our eyes and the intellect. It is instead all around us, whether we are indoors or out, giving us feelings and sensations, encouraging us to move in certain ways and not into others. Being within the space says something, as clothes do, about who we are and who we wish to be. And we may develop strong feelings of attachment, associating a building with experiences we had there so that, like a favorite dress or jacket, it becomes part of personal history. While the connections between buildings, identity, and memory are particularly strong for houses, this is also true of public buildings”. 4 There is no doubt that for decades one has been a participant on the other, influencing the different styles and ways of thinking in the elements that composed them. They both represent the culture and are attached to it. The use of patterns, layers, and forms are a few of the things they have in common. Also, in the craft or the idea of stitching and the union/joint between two textiles/fabrics, the relationship of scales of the materials is an integral part of the perception or sensorial experience. There is a complicity between fashion and architecture. Since decades ago, architecture appearing in an advertisement for clothing designers and stores. Promoting both, clothes and spaces establishing an identity in the mass media.5 But fashion and architecture share ideas that transcend the retail space and the formulation of fashion houses identities.6 Fashion designers and architects share much of the same vocabulary and similar techniques of construction: pinning, darting, folding, wrapping, draping, etc. Famous fashion houses like Louis Vuitton used the architecture as an expression for the brand, but also as an inspiration for their runways. Figure 19. Oceanographic birds cage structure in Valencia , Spain 2019. Source: Photographed by Author
4 (Cooper Marcus 1995) 5 (Fausch 1994) 6 (Frank 2000) 147
Figure 20-22.Fondation Louis Vuitton. Source: lta.reuters.com 148
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Figure 23. Coat cutting pattern. Source: i.pinimg.com 150
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On the other hand, the process of construction of fashion it is a clear expression of detail since the begining, specifically the cutting patterns. A series of interactive lines, that in a way model relationship ideas in between the body and architecture. They are important in the creation and development of the garment, because they are made a two-dimensional flat pattern but they always have in mind a future body that always works a measurement or “parti�. In order to create the shape, they need to be precise and the surface is cut, folded back, and stitched all together. They are basically working as a set of drawing for any building, but the process of construction is different. The end product is only going to be appreciated when the disappearance of one will mark the appearance on the other.7
7 (Jonhson and Clare 2006)
Figure 24. Blazer cutting pattern Source: corte-y-confeccion. blogspot.com 151
Figure 25. Hand and fabric study. Source: Provided by Author
Figure 26. Hand and fabric study. Source: Provided by Author 152
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Figure 27-28. Frei Otto’s analysis. Source: Frei Otto
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Figure 29-32. Elasticity study with tape. Source: Provided by Author 154
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Figure 33-34. Hussein Chalayan table that turn into skirt, 2000. Source: vistelacalle.com 156
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Figure 35-36. Hussein Chalayan Fall/Winter 2013-2014. Source: fantasyfashiondesign.com
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The idea of confluence in between fashion as architecture and vice versa it is expressed in many ways. How the human body serves as a structure for the clothes (how one body continuously holds the other). That is why fashion designers use Fashion shows for every season to show the new collection and the final pieces of their artwork in movement, because the final purpose is to be worn. Totally different to the way clothes are exhibited.Since they can not be modeled like in a runways, mannequins are used to allude the human body. From the large list of fashion exhibitions that I went, one of my favorite ones where at the Armani Silos Museum in Milan Italy. The way the collection is exposed it is just fantastic for me. Perfectly cut and fitted plaster structure (mannequin) that holds the garment, making it looks like its floating in the middle of the space. Similar to the ones used in the Yves Saint Laurent in Paris, precisely in the first part of the exposition when they show the Mondrian Dresses. They also try to put images from the fashion show in relation to the mannequin that wears the dress. In a way expressing that continues dependant relation in between the content and the container.
Figure 33-34. Armani Silos Museum Exposition details in Milan, Italy 2019. Source: Photographed by Author 159
Figure 35-38. Various Armani Silos Museum Exposition in Milan, Italy 2019. Source: Photographed by Author 160
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Figure 39-41. YSL Museum in Paris, France 2019. Source: Photographed by Author 163
Figure 42-45. Mondrian dress YSL Museum Paris, France 2019. Source: Photographed by Author 164
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“Architecture has joined the world of fashion, but fashion is passing and architecture is timeless.� -Moshe Safdie
Case Studies
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Case Studies
“Case Studies� take a look more in the depth of different tensile structures. They are mainly large-scale buildings, but this also helps to understand the versatility, condition, and material property of textiles. Since they are lightweight they allow big spans, for example, the O2 Arena in London. Another interesting aspect about tensile structures is to recognize that the structural system, geometry, and modularity, plays an important role for their use because you need to be precise in order to be able to build them. It is similar to the process of garment-making. You also need to be careful with the different supports, joints, and transitions between materials.
Figure 1. MOOM tensegritic membrane structure by C+A . Source: www.archivitamins.com
All these precedents can be divided into three main categories: 1.Double shell structure (Tempodrom by Gerkan, Marg and Partners Bathing Ship by AMP Arquitectos & Wilk-Salinas and Danish Radio Concert House by Jean Nouvel). 2.Structures that are pulled from the bottom or top (Sonny Center by Murphy/ Jahn Architects, Serpentine Sackler Gallery By Zaha Hadid Architects, Millennium Dome (O2 Arena) by Richard Rogers, and Olympiastadion by Frei Otto). 3.Inflatables structures (Media Tic by Cloud 9, Allianz Arena by Herzog & de Meuron and Beijing National Aquatics Center by PTW Architects).
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Case Study Tempodrom Architects: Gerkan, Marg, and Partners Location: Berlin, Germany Area: N/A Year: 2001 Program: Place for multiple event Classification by author: Double Shell Structure Tempodrom designed by Gerkan, Marg, and Partners and it is located in Berlin, Germany. Open in the 1980s as a large circus tent that they continue moving around the city until this building was constructed.1 It is a concert hall and the main program of the building consists of two arenas. The big arena has a capacity of 3,500 persons and a small arena of 400 persons. The idea of the renovation or new construction was to recreate this circus tent that te people already recognized as the Tempodrom, but in a permanent way. It is a double-shell steel structure that is covered with fabric. Also, the inside has a wood ceiling that contributes to the acoustics and aesthetic of the interior space. The most interesting for me about this building was to try to understand how the fabric pieces came together and try to imagine as a flat pattern that would fit the structure. Figure 2. Tempodrom. Source: cityseeker.com
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1 (Lomholt 2009)
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Figure 3. Axonometric Drawing. Source: Dean Emett Lalo
Figure 4.Organization Plan. Source: stub.com/tempodrom-tickets/ 171
Figure 4. Shape analysis. Source: Diagramed by Author 172
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Figure 5. Bird View. Source: art.com
Figure 6. Corner details. Source: web.500px.com 173
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Figure 7. Tempodromo Interios. Source: spacebase.com
Figure 8. Axo Structure. Source: blog.daum.net Figure 9. Section Diagram. Source: Diagramed by Author 175
Figure 9,10, 12 & 13. All diagrams in this page were draw and provided by author. Source: Diagramed by Author 176
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Figure 11. Structure under construction. Source: tempodrom.de
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Case Study Bathing Ship Architects: AMP Arquitectos & Wilk-Salinas Location: Berlin, Germany Area: 740 m² Year: 2005 Program: Pool and spa Classification by author: Double Shell Structure
Bathing Ship was designed AMP Arquitectos & Wilk-Salinas is a temporary roof for the existing Badeschiff floating pools made out of a modular/prefabricated wood structure that it is cover by fabric. The most interesting for me about this project is the temporary condition because, in the beginning, I research tensile structures in Berlin, but when I got to the address I realized it was not there anymore. Its constitution allow being dismantled and rebuild if necessary.
Figure 14. Pools roof structure. Source: plataformaarquitectura.cl
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Figure 15. Floor plans. Source: plataformaarquitectura.cl
Figure 16. Section. Source: plataformaarquitectura.cl 179
Figure 17 & 20. Photos of interios. Source: plataformaarquitectura.cl 180
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Figure 18 -19. Sketches. Source: Drawn by Author
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Case Study Danish Radio Concert House (DR Koncerthuset) Architect: Ateliers Jean Nouvel Location: Copenhagen, Denmark Area: 25000 m² Year: 2009 Program: 1800 Seat Concert Hall, Three Recording Studios, Rehearsal Rooms, cafe, restaurant Classification by author: Double Shell Structure
Danish Radio Concert House (DR Koncerthuset) designed by Ateliers Jean Nouvel. It is a giant glass box that inside contains all the facilities and halls or auditoriums that float in the middle of the space. The glass structure has a substructure covered out of fabric, both works as façade filtrating the outside in. At night, the façade serves as a giant projector for exterior activities or advertisement of scheduled events.
Figure 21. Copenhagen Music Hall. Source: danishdesignreview.com
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Figure 22-23. Elevation and section. Source: jeannouvel.com 183
Figure 24 & 27. Photos of open/ close mechanism and connection. Source: Photographed by Author 184
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Figure 25-26. Sketches of open/ close mechanism and connection. Source: Drawn by Author
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Figure 28-29. Facade. Source: Photographed by Author
Figure 30. Doble skin system. Source: Photographed by Author 187
Case Study Sony Center Architects: Murphy/Jahn Architects Location: Berlin, Germany Area: 155 m² Year: 2000 Program: Commercial complex (include restaurants, hotels, shops, ect.) Classification by author: Double Shell Structure
The Sonny Center by Murphy/Jahn Architects is composed of a series of buildings forming a complex located at the heart of Berlin, Germany. The complex seems to get embedded into into its urban context, but transitions and openings between interior and exterior are reinforced with the large center steel and fabric canopy that tights all the building together.
Figure 31. Sony Center Source: arup.com/projects/sony-centre
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Figure 32. Floor plan. Source: www10.aeccafe.com
Figure 33. Roof Structure. Source: www10.aeccafe.com 189
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Figure 35. Top view Sonny Center. Source: Google Earth
Figure 36. Roof diagram. Source: Diagramed by Author 191
Figure 37 & 40. Photos of roof. Source: Photographed by Author 192
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Figure 38-39. Study model. Source: Provided by Author
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Case Study Serpentine Sackler Gallery Architect: Zaha Hadid Architects Location: London, United Kingdom Area: 1566 m² Year: 2013 Program: Restaurant (addition to gallery) Classification by author: Structures that are pulled from the bottom or top
Serpentine Sackler Gallery by Zaha Hadid Architects is an addition or expansion to the existent building to serve as a social hub/ restaurant. Try to maintain harmony and also establishes a contrast between the existent building made out bricks (rigid) and the new addition in fabric (fluid and dynamic) and glass. It has a simple floor plan and the interior count just with the columns that are also skylights and bring natural light, besides holding the roof and helping to make it seem like a building is floating.
Figure 41. Serpentine Sackler Gallery London, 2019. Source: Photographed by Author
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Figure 42. Fabric detail section. Source: Zaha Hadid Architects
Figure 43. Elevation Source: Zaha Hadid Architects 195
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Figure 44. Roof elevation. Source: Photographed by Author
Figure 45-46. Roof connections and details. Source: Photographed by Author 197
Figure 47. Components diagram. Source: Zaha Hadid Architects 198
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Figure 48 & 51. Photos Column/Skylight. Source: Photographed by Author 200
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Figure 49-50. Column/Skylight drawing and details. Source: Zaha Hadid Architects
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Case Study O2 Arena Architect: Richard Rogers (RSHP) Location: London, United Kingdom Area: 80000 m² Year: 1999 Program: Arena Classification by author: Structures that are pulled from the bottom or top Millennium Dome better knows as the O2 Arena by Richard Rogers (RSHP) is and works that architecture and engineer came together to make this large structure. It was supposed or intended to be temporary construction and been dismantled after the festival/celebration in the year 2000. Instead of creating a single pavilion, they made a larger enclosure made out of PTFE fabric creating an experience. It became a key part of the master plan that even extend the metro lines to allow a major flow and easy access to people. This structure ends up representing a complete contradiction.2 As the author Elizabeth Wilhide observed, “it is soft and hard, rounded and spiky; it hugs the ground and reaches for the sky.” 3
Figure 52. O2 Arena, London. Source: Photographed by Author
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Figure 53-54. Section and plan. Source: rsh-p.com 203
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Figure 56. Structure connections. Source: Drawn by Author
Figure 57. Strcuture details. Source: Photographed by Author 205
Figure 58 & 61. Connection details. Source: Photographed by Author 206
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Figure 59-60. Details and skin. Source: Diagramed by Author
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Case Study Olympiastadion Architects: Behnisch and Partners & Frei Otto Location: Munich, Germany Area: 75,000 m² Year: 1972 Program: Olympic park Clasification by author: Structures that are pulled from the bottom or top Olympiastadion by Behnisch and Partners & Frei Otto was built for the Olympic Games of 1972, which were going to take place in Munich, Germany. It has seating for 90,000 people. After that has been used for multiple sports games and has became a landmark. The roof designed by Otto. He spends his life doing studies of the enclosure under suspended roof. The massive tent structure is made out of steel cable and acrylic panels and in the interior space it has a double layer of PTFE plastic/fabric. It works as a common structural element that attaches and keeps together all the functions along with the site.4
Figure 62. Munich Olympic Stadium. Source: wikiarquitectura.com
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Figure 63. Roof plan. Source: Collage and edit by Author
Figure 64. Section drawing. Source: Martin Heide - Niels Wouters 209
Figure 65 & 68. Skin pattern. Source: Photographed by Author 210
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Figure 66-67. Double skin system. Source: Drawn by Author
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Figure 69-70. Roof connections. Source: Photographed by Author
Figure 71. Sketch of roof section. Source: Drawn by Author 213
Figure 72. Structure and load distribution. Source: Drawn by Author
Figure 73. Tent configuration. Source: Drawn by Author
Figure 74. Connection detail. Source: Image extracted from viktorzeidler board 214
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Figure 75. Close up of the skin. Source: Photographed by Author
Figure 76. Connection detail. Source: Photographed by Author 215
Case Study Media Tic Architect: Cloud 9 Location: Barcelona, Spain Area: 3,572 m² Year: 2007 Program: ICT space communication (offices), restaurant, and others. Classification by author: Inflatable Structure
Media Tic is located at District 22@, know as the old textiles miles in Barcelona, Spain. Other people know this building as the “Digital Pedrera” alluding at the famous curvilinear building by Antoni Gaudi (mentioned in chapter 2: Form and Volume and shown in pages 56-57) because the architects’, Cloud 9 took it as a concept to develop the façade. Thanks to its simulation of breathing and elasticity that allows change, the façade works as a solar filter that helps to control the incidence of light inside the building and also controlling the temperatures to provide comfort. That is why the conditions along the façade variates depending on its location and solar orientation. The steel frame structure supports all the air pressure system and holds the air-filled pillow. Figure 77. Media Tic. Source: Cloud 9
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Figure 78. Section detail. Source: http://www.iaacblog.com/ programs/timefield-media-tic/
Figure 79. Elevation Drawing. Source: Cloud 9 217
Figure 80. Structure. Source: Cloud 9
Figure 81-82. Skin organization along structure diagrams. Source: Diagramed by Author 218
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Figure 83. Photof shape in facade. Source: Photographed by Author 219
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The connections point (cog’s shaped) along the façade allow movement, diversification of the shape, and facilitate the connection between the modules.
Figure 84. Facade. Source: Photographed by Author
Figure 85. Structure details. Source: (red lines were added by Author) 221
Figure 86. Intermedian separation in between the layers allows bigger amount of day light into the buiding. Source: Diagramed by Author
Figure 87. Intermedian separation in between the layers allows balance amount of day light into the buiding. Source: Diagramed by Author
Figure 89. Smaller separation in between the layers allows less amount of day light into the buiding. Source: Diagramed by Author 222
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Figure 90-91. Skin pattern. Source: Photographed and diagramed by Author 223
Case Study Allianz Arena Architect: Herzog & de Meuron Location: Munich, Germany Area: 37,600 m² Year: 2005 Program: Arena/Football stadium Classification by author: Inflatable Structure
Allianz Arena Stadium designed by Herzog & de Meuron. House of the football clubs FC Bayern Munich and TSV 1860 Munich. Also host some other games, for example at the 2006 World Cup in Germany. The façade is cover by an inflated modular system made of ETFE(a polymer of tetrafluoroethylene and ethylene) pillows and the pattern has a similarity to the Bavarian flag. It has integrated LED lights integrated that can be illuminated with the home team colors depending on which one is playing.5 The most fascinating about this building is the mobile/ retractable roof that allows larger or major capacity of the cover seating area in the stadium. Figure 92. Allianz Arena at night. Source: der-eventplaner.com
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Figure 93.Floor plan detail . Source: CBA
Figure 94. Section Drawing. Source: https://christoskoukis. wordpress.com/2011/02/04/allianz-arena-model/#jp-carousel-74 225
Figure 95. Grid System. Source: Diagramed by Author
Figure 96. Module . Source: Diagramed by Author
Figure 97. Pattern. Source: Diagramed by Author 226
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Figure 98. Section details. Source: buildingskins.files.wordpress.com
Figure 99. Connection details. Source: Photographed by Author 227
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Figure 101. Top view. Source: https://commons.wikimedia.org/wiki/File:Allianz_Arena,_aerial_view.jpg
Figure 102. Shape analysis. Source: Diagramed by Author
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Figure 103. Structure layout. Source: Diagramed by Author
Figure 104. Retractable roof system. Source: Diagramed by Author
Figure 105. Roof System. Source: Diagramed by Author 230
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Figure 106. Membrane attachment stage. Source: https://iranarchitects.com/ project/1908/allianz-arena-gelimgostar-1589/7429
Figure 107. Retractable roof Source: PFISCHER, Joachim. German Football Stadiums. Daab 2006 231
Figure 108. Connections points & LED lights locations. Source: Diagramed by Author
Figure 109. Module connection to steel structure. Source: Diagramed by Author 232
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Figure 110-111. Exteriors and interiors of the arena. Source: https://www.klook.com/ activity/3706-fc-bayern-soccer-tour-munich/
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Case Study Beijing National Aquatics Center (Water Cube) Architect: PTW Architects Location: Beijing, China Area: 62,950 m² Year: 2007 Program: Aquatics center Classification by author: Inflatable Structure
Figure 112. Watercube. Source: https://pressreleases. responsesource.com/news/78675/ designer-of-the-world-s-flagshipbuildings-secures-critical-data/#. VFtwdjRwvMp
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Beijing National Aquatics Center was designed by PTW Architects. Is an Aquatics Center, build for the 2008 Olympic Games and to host all the swimming and diving events. The design concept was the water bubble structure reflectin the activities from the inside, because of that and it shapes this building is better to know as “Water Cube” ([H2O]³).6 A series of translucent EFTE cushions with a steel structure cover the façade, that brings natural light into space.
6 (Etherington 2008)
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Figure 113-114. Section model and drawing. Source: PTW Architects 235
Figure 115. Inspiration. Source: https://www.l-a-v-a.net/ projects/beijing-watercube/
Figure 116. Grid system along skin. Source: Diagramed by Author
Figure 117. Connections points. Source: Diagramed by Author 236
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Figure 118. Cushion detail Source: https://moreaedesign. wordpress.com/2010/09/13/ more-about-watercube-–-beijingchina/3-5/
Figure 119. Facade detail. Source: http://www.xphili.com/ etfe_film.html 237
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Figure 121.Concept facade design Source: https://moreaedesign. wordpress.com/2010/09/13/ more-about-watercube-–-beijingchina/1-9/
Figure 120 & 122. Facade. Source: https://arcspace.com/ feature/watercube/ 239
Figure 123. Struture diagram. Source: http://mathias-hoejfeldt-nielsen.blogspot. com/2015/02/case-study-watercube.html
Figure 124. Structure. Source: http://mathias-hoejfeldt-nielsen.blogspot. com/2015/02/case-study-watercube.html
Figure 125. Structural system. Source: http://mathias-hoejfeldt-nielsen.blogspot. com/2015/02/case-study-watercube.html 240
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Figure 126. “Bubbles”. Source: https://www.pinterest. com/pin/217087644507956823/
Figure 126. Under construction. Source: https://moreaedesign. wordpress.com/2010/09/13/moreabout-watercube-–-beijing-china/ 241
“Fashion is architecture: It is a matter of proportions.� - Coco Chanel
Explorations
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Explorations
After looking through the chapters and analyzing all the case studies, I encounter myself that the Graduate Design I project Project Mediation of Light + Mediation on Matter in many ways explore techniques and implement the use of textiles in architecture in order to create larger-scale structures. This is a project developed around issues of light, materials, and assembly.
Figure 1. Portion of light drawing. Source: Drawn by Author
The project starts creating a drawing about light. Light is movement. The composition draws intends to capture that essence. It also talks about the coexistence between the light and dark, and how one needs the other to exist. Besides, the light constantly changes the perception of our eyes and how we see depends on the amount of light received (indirect or direct) to an object. By manipulating light we can shape and define spaces. This drawing, also takes as a precedent architectural screens and brisesoleil, to express how to capture light and change its shape and intensity based on the points of view through the time (day/night).
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Figure 2-5. Plaster (form) studies. Source: Modeled and photographed by Author 246
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Figure 7. Facade. Source: Drawn by Author
Figure 6-8. Model close up. Source: Model by Author 249
Figure 9. Exploded Axonometric. Source: Drawn by Author 250
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Figure 10. Section Drawing. Source: Drawn by Author 251
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The experimentation part pursues the same idea, by creating shadows we can capture light and its instances. But specifically how the light interacts with the surface. By manipulating plaster in a spandex fabric with a frame of wood and balloons, and other materials like concrete, plastic, etc. was able to create a piece that had different depths allowing a playfulness in the intensity of the light. The use of an elastic medium in order to create a piece that could be as fluid yet have the rigidity of light itself. The dialog between the light and dark is explored by a piece that produces both, showing how one cannot exist without the other. To transfer those ideas into a larger scale building faรงade the fabric structure was a key. Since it is a lightweight material allow to achieve larger scales and spans. Capturing the essence of the shape of the plaster studies, but always thinking as a possible shell structure. Also allowing the light to filter into to the space and create different shadows into the habitable space.
Figure 11-12. 1-1 Scale prototype Source: Constructed by Author 253
Figure 13. 1-1 Exploded Axonometric. Source: Drawn by Author 254
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Figure 14. Facade. Source: Drawn by Author 255
“Architecture is how the person places herself in the space. Fashion is about how you place the object on the person.� - Zaha Hadid
Interstice
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Interstice The concept for the project is to try to create an architecture capable of doing both, always having in mind the idea of cloth and tensile structures like the one that will allow displacement for a nomadic population. The objective is to end up with a design that can help to improve human living conditions and allows adaptation to change. Creating a prototype capable of doing both transformableversatile modular pieces of clothing that could be transformed into shelters, where the disappearance of one will mark the appearance of the other. It would engage a study of the relationship of the body (how it moves, and how much can hold) and space. The main challenge is to use the same amount of material in both conditions (fabric and structure) and how to accommodate then during the each of them. It would express the idea of how something unfolded as a shelter can become something completely different like a garment when it is folded into the body, drawing a parallel on how both disciplines (Fashion and Architecture) create shelter for the human body from environmental conditions.
Figure 1. Conceptual sketch Source: Drawn by Author
Into the process of creation, it pretends to explore by testing with materials, such as different textiles and design a prototype or prototypes of wearable architecture, shelter or post-emergency/ post-disaster structures (adaptable/resilient, portable, transformable) that provides a fast response and assembly without the preoccupation of delivery and logistics and how this transitional architecture can be something else. The research part helps me to grouped presents in the
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Figure 2. Case studies compendium Source: Drawn by Author 260
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different categories in the relationship of these four chapters movement (in the understanding of the project it is going to be defined by place), form and volume (structure), space (fabric) and body (human or inhabitant).The case studies and analysis help me to understand the properties of textiles in relationship to architecture and how the structural system, geometry, and modularity, plays an important role that will help in the development of the module. Another important aspect is that you need to be precise in order to be able to build them, similar to the process of garment-making. You also need to be careful with the different supports, joints, and transitions between materials. The first iterations starts looking for the amount of fabric that you need to create the enclosure and explore an option of how that can be folded or attach to the human body.
Figure 3-4. First iteration (cloth). Source: Work by Author 263
Figure 5-8. First Iteration (the process of unfolding into shelter). Source: Model by Author 264
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The second iteration was the most focused and how to create the shelter space, and it goes straight to the basic tent shape.
Figure 9-10. Second iteration (cloth). Source: Work by Author 267
Figure 11. Second iteration (unfolding diagram). Source: Drawn by Author 268
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Figure 12. Second iteration (shelter). Source: Model by Author 269
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The third iteration plays more like a merge of the first two and changes the shape, but still too literal to the shape of shelter. That preoccupation leads into the sketch studies of garments and how fashion designer places and where they place a larger amount of fabric around the body. In order to have a balance, they place it into the upper (arms) or lower (legs) body, but usually never both parts at the same time (Figure 15. Pages 272-273).
Figure 13-14. Third iteration (cloth). Source: Work by Author 271
Figure 15. Sketch studies of the places around the body that can hold a larger amount of fabric. Source: Drawn by Author 272
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The fourth iteration is based on the idea to make it these pieces look more wearable or high couture. It goes away to literal forms related to the shape of the shelter or jacket and tries to allude to that clear transformation between the pieces.
Figure 16-17. Fourth iteration (cloth). Source: Work by Author 275
Figure 18-29. Fold iterations. Source: Models by Author 276
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In order to wrap this amount textiles a then un-wrapped around the body, paper folding or origami was helpful. I start looking and understand different or possible ways and patterns to do the folds. The fifth iteration is the first one I build in a 1-1 scale. Trying to jump from the small scale ideas to the actual prototype. It is also, the first one that starts playing with the idea of providing a basic need for survival, for example, water collection illustrated in the sketches (Figure 31. Page 279).
Figure 30-31. Fifth iteration in a 1-1 scale (cloth). Source: Work by Author 279
Figure 32-33. Fifth iteration pattern. Source: Drawn by Author 280
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Figure 34-36. Mondo Incandescente, Maria Lai (1988). Source: Photographed by Author 282
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Maria Lai was an Italian artist that develops a language play different materials and objects in order to create those compositions and try to put together the layer of visible and invisible things. What catches my eye when I saw her work in an exposition called “Tenendo per Mano Il Sole� (Holding the Sun by the Hand) at the Maxi Museum in Rom was that in every art piece you can perceive the process and development, but you never know where exactly it starts. The tread is just a guide that allows those transition and communication between the parts, similar to any garment construction (Figure 34-36. Pages 282-283). Since I saw her work, the idea of reproducing and using those layer constructions was something I want to develop in some way, at some point along with the project. That is why for the mid-term review I explore that idea where the fabric and treads hold something else (in my case the research part). Creating a collage or juxtaposition of the parts to represent the progress at that point.
Figure 37-38. Fabric stitches. Source: Work by Author
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Figure 39. Collage for the mid-term review. Source: Collage by Author 286
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Figure 40-43. Collage details (fabric and paper) for the mid-term review. Source: Collage by Author 288
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Figure 44. Shelter shape studies configurations. Source: Work by Author 290
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Then, the main idea was to explore the shape and connectivity between the module. In order to achieve that I also look at modular garments and how the connections play a key role to make the transformations possible. (Figure 48-52. Page 292-295). In the process, I made the sixth iteration, where I tested faster ways to stretch the fabric (Figure 45-47. Page 290-291). After that, I develop the first module that consists of a fan shape, that folds completely into one direction. From that iteration, I build a full-scale module to understand better the scale and how actual the connections works (Figure 53-57. Page 296-297).
Figure 45. Shelter shape studies. Source: Drawn by Author
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Figure 46-48. Sixth iteratio, exploring ways to stretch the fabric (cloth) Source: Work by Author
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Figure 49. Sketch of textiles connections. Source: Drawn by Author 294
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Figure 50-53. Testing the connections in a 1-1 scale model. Source: Work by Author 296
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Figure 54. Fan shape open. Source: Model by Author
Figure 55. Fan shape close. Source: Model by Author
Figure 57. Fan shape close-side. Source: Model by Author 298
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Figure 57. Fan shape folding guidelines drawing or pattern. Source: Drawn by Author
Figure 58. Multiple fan shape models. Source: Model by Author 299
After testing the large scale I realized that the first module just folds into one direction, so I went back to try origami and add some point that will guide those folding, taking as an example the umbrellas. This allows to fold the module in two directions, but I made the test with paper and when you transfer into the fabric is a totally different approach and condition. Making these pieces makes me think about how the connections will actually work. That leads to more testing and new precedents studies of structures that break the structure into different parts and transfer the load alone the construction. A great example is the MOOM tensegritic membrane structure by C+A (Figure 1. Page 169).
Figure 59-62. Paper model testing folding in both directions. Source: Models by Author 300
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Figure 63. Model of connections points to fold in both directions. Source: Model by Author
Figure 64. Sketch of connections points to fold in both directions. Source: Drawn by Author 303
Figure 65-76. Process models of folding iterations. Source: Models by Author 304
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Figure 77. Process drawings to develop the module. Source: Drawn by Author 306
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I adapt that that type of structural system to my module, creating the last iteration (for the moment) in a small scale model, which also includes all the connections. The scale of the materials makes it work and also keeps the shape. At the same time, lightness and flexibility of the cloth enable the tent shape to be modified according to changing conditions or needs.
Figure 78-79. Last iteration on a small scale model. Source: Model by Author 309
Figure 80. Pattern folding and structure of module. Source: Drawn by Author 310
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Figure 81-83. Photos showing connections/ details in the last iteration on a small scale model. Source: Model by Author 312
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Then, I transfer those into a larger scale. On the small scale model, the structure was working, but then when you transfer to a full scale, the scale of the materials did not work out as images or in the same way.
Figure 84. Skin texture or pattern between structure on a 1-1 scale model. Source: Model by Author Figure 85. Pattern drawing. Source: Drawn by Author 315
Figure 86-89. Photos showing module connections/ details in the last iteration on a 1-1 scale model. Source: Model by Author 316
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Figure 90. Pattern digital 3D model. Source: Drawn by Author
Figure 91. Iterations two modules. Source: Drawn by Author 318
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The connections explained in the diagram below, will lead to different ways of attaching the modules in order to create different configurations of shelter conditions. Playing with the idea of a structure that can respond, react, and protect you to the constant state of change.
snap bottoms A zipper hook
D rings
snap bottoms B
Figure 92. Connections.. Source: Diagramed by Author 319
Figure 93-95. Shelter configuration with two modules. Source: Model by Author 320
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Figure 96-101. Shelter configurations various modules. Source: Models by Author 322
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Figure 102. Two modules. Source: Drawn by Author
Figure 103. Four modules. Source: Drawn by Author
Figure 104. Six modules. Source: Drawn by Author 324
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Figure 105. Two modules. Source: Drawn by Author
Figure 106. Four modules. Source: Drawn by Author 325
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This last section of photography and drawings show different ways to wear the garment depending on how many modules you have. Also how the pieces are put together to achieve that temporal-spatial adaptation or spatial transformation from the single module (small, mobile, flexible), to a shelter that can also be an item of clothing.
Figure 107-108. Cloth configuration with two modules. Source: Model by Author 327
Figure 109-115. Cloth configurations various modules. Source: Models by Author 328
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Figure 116-119. Cloth configurations two modules. Source: Models by Author 330
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Figure 120-131. Cloth configurations two modules. Source: Model and photographed by Author 332
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“Dressmaking is the architecture of movement.� -Pierre Balmain
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
Conclusion Wearable Architecture: Cloth as Shelter (adaptable, portable, transformable) starts with the preoccupation of how having a place worthy or refuge is not possible for everyone, whether because of economic or social needs and how this population is constantly exposed to exteriors and weathering conditions. In different scales, the main idea and the role of fashion and architecture is to provide protection or enclosure to the body from the inclement of the environment. There is two received but apparently conflicting equations between fashion and architecture: 1) the transitory: architecture, unlike fashion system of rapid change, is static; 2) the vestimentary: architecture, like fashion’s garment, clothes the body. Clothing is temporary by its very nature, and architecture, by its very nature, is permanent as anything human can be. A possible similarity between architecture and fashion may have to do with the cycle of production. Also, there is the issue that we change our clothes, whereas architecture is surrounding constant. The antinomy between this transitory and vestimentary syllogism suggests that architecture remains at once “in” and “out of” fashion. 1 The idea of change and movement is persistent in both but in different ways. In the end, both can be described as two different art forms that have the same purpose or main idea, to enclose the human body or provide an enclosure for the body (body covering). This assumption can be synthesized in a Zaha Hadid quote between the relationship of fashion and architecture: “Architecture is how the person places herself in the space. Fashion is about how you place the object on the person.” Although the two may appear to be poles apart, as we where able to see during the research textiles and architecture share a long history. The early man once constructed habitats from primitive fabrics. The earliest interventions that we can call “architecture” are the vernacular dwelling like the tipi, tent, and yurt. Just like in fashion, textiles are the basic material constitution. making it lightweight, is easy to adapt and transform, providing us freedom of movement or displacement. Nowadays, new textiles are changing how the body interacts with the surroundings and how designers and architects are fashioning the built environment. Also, thanks to its properties and characteristics (lightweight and easy to assemble), textiles, and apparel in emergency relief play an important role in humanitarian design. The idea of carrying your own “home”, required a more flexible and open architecture. Thought the research we can also appreciate how they can create the sensation of protection or a full environment for the body, even if just is a roof or umbrella. Also, being able to visit most of the case studies and analyzed them makes us understand the properties of textiles in relationship to architecture and 1 (Fausch 1994) 337
Figure 1. Further explorations of geometry. Source: Drawn by Author 338
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to the structural system, geometry, and modularity, plays an important role that will help in the development of the module. Another important aspect is that you need to be precise in order to be able to build them, similar to the process of garment-making. You also need to be careful with the different supports, joints, and transitions between materials. That leads into a series of iterations where the main for the project was to create an architecture capable of doing both, always having in mind cloth and tensile structures as one that will allow displacement for a nomadic population. Where the main challenge was to use the same amount of material in both conditions (fabric and structure) and how they accommodate during the two conditions, creating a spatial transformation, where the disappearance of one will mark the appearance of the other. How something unfolded as a shelter can become something completely different like a garment when it is folded into the body, drawing a parallel on how both disciplines (Fashion and Architecture) create shelter for the human body from environmental conditions. Alone the different iterations, I was able to explore and test with the different materials, such as different papaer and textiles to develop a module that can wear an arrange as shelter in different ways depending on the number of modules that you have available. I was also available to explore different issues of scale, geometry, structure, joint and establish the amount of fabric need it for both conditions and try to make it look also wearable. Something important through the process was to develop an understanding of how the process was going to be folded, so some testing with origami was involved. I believe that there is too much more to explore, and the time just allows me to get to this far. If I will have more time, I will make more full-scale prototypes with different scales of materials in order to improve the structure. At the moment, the last iteration has some weak points that maybe can be improve changing or making some adjustments in the shape module. Another thing that I will do would be to construct more modules since I just build two I was not fully able to try much more configurations on the full scale and actually proof if the other ones will work. Also, that will help me to think and try other configurations because there are probably many other ways to arrange them. Besides that, another thing that got lost into the process and it would take the project to another level is the possibility that shelter needs to provide the basic needs for survival (water collection, refuge, and heat). This part was never fully developed in the module, because other issues arose that require more attention such as the geometry and the module structure.
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Another interesting aspect I would like to explore with is the integration of color and textures or patterns, because I visit Caleb Generoso and Sara Culpepper’s installation in the Gainesville Theather for their Master Research Project and we made a fashion show under the projection. This opens a need conversation about how to make these pieces more unique and personalized, and definitely color and pattern will be the key because you can have as many as you want and pair them differently.
Figure 5-7. Fashion Palace | [re]imagine Spaces. Source: Photographed by Sara Culpepper 340
Also, the possibility of transforming this technique and be able to use it on a larger scale and/or building, changing the scale of the connections and materiality. This research project could lead to the development of structural tensile. The use of textiles in order to build architecture is something we normally do not learn in school. We are so worried about make architecture rigid than we forget that we live in constant change. I think the properties of textiles should be taken more seriously in the architecture today. Because it is demonstrated that the new moments in history that we are living (like a natural disaster, pandemics, or just the day to day living for refugees or homeless) will require new flexible spatial interventions. We need to learn how to make architecture more flexible and textiles can be the key.
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Figure 5-7. Fashion Palace | [re]imagine Spaces. Source: Photographed by Sara Culpepper 342
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Figure 8. Interstice small scale model details. Source: Photographed by Author 344
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“In pure architecture the smallest detail should have a meaning or serve a purpose.� - Augustus W. N. Pugin
Bibliography
Wearable Architecture: Cloth as Shelter Margaret Sobrino Almanzar
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Figure 1. Process sketches. Source: Drawn by Author 352
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“... In the end, they both (fashion and architecture) just want to provide a kind of enclosure to the human body.� - Margaret Sobrino Almanzar
Introduction