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Studio Statement It has been always precedent that design methodologies in each field flows over others. As so, appearing of Parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion. In this way there are additional challenges such as body dynamism that Parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities. Research in architecture and the design discipline must involve experimental and prototyping (including prototype testing). In graphic design and in fashion design there are no obstacles in enfolding experimentation and prototyping within the design process itself. In industrial design the design research is also enfolded within the design process, or it becomes part of a differentiated, dedicated R&D process that integrates design with engineering. However, research and design are nearly indistinguishable here. WHY FASHION? Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
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Project Statement Approaching fashion design within the architectural discipline poses the question that how a garment can function both as a dynamic adaptable structure as well as a cover for human body. Working with felt as the chosen material it was essential to explore the material behavior through certain geometrical techniques. The project aims to find a system capable of covering the body as well as responding adequately to certain demands for flexibility. Such flexibility needs to be adapted regarding each part movement while it keeps the whole system away from chaotic formation. In addition it should also respond to the variable necessity for coverage and decency. In this regard the aspired system is needed to be comprised of consistent subsystems which share the same essence but are mutated parametrically to respond various practical demands in each part of the body. This approach leads the project to find a geometrically smart cell able to morph to number of other cells through changing the embedded parameters to fulfill the different demands of body. In search for the smart cell a series of techniques from folding to cutting and stitching were applied on felt to explore the material behavior. In the second stage the found cell was tested in aggregation with other ones to experiment the collective behavior of cells and potential regarding body topology and dynamism. As the result project achieved a double sided cell which could be morphed to 3 different alternatives providing wide range of possibility to follow the body topology without constraining movement. In addition it was also capable to alternate between each side of cells through growing over the body.
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Geometry Research - Cell
Spacious Component
Single Direction Flexibility
Fixable component (+Porosity)
Fixable Component (+Structural)
Fixable Component
Single Direction Flexibility
Fixable component (+Porosity)
Fixable Component (+Spacious)
Multi Directional Flexibility 2 Sided (Porosity+Structural)
Single Direction Flexibility
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Selected Component
Optimized Module Different Height 2 Direction Flexibility with Folding New Properties by Expansion and Contracton
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Selected Component A
B
C
1
2 The most stable module, used for the structural parts, 3
The most flexible module, the best form for twisting parts
The shortest and widest module used for the parts that should be covered more
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Material Research Material Research One of the first steps was to study the flexibility of this material by pulling the fabric on a bumped surface. The basic experiments have showed the felt may have the ability to be re-shaped by streching. In order to find out what is the real behavior ,further experiments should be implemented.
Technique Research The vacuum machine could be used in this experiment ,but this exprimental trials showed that this procedure is not proper to achieve an stable form of the felt. during the vacuuming process , the felt was reshaped by the mold but it was deformed into initial flat shape gradually.
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Material Research
8 divisions Hatched lines
For the first prototype ,8 divisions have been hatched by the laiser cut, but in this method we did not find the desired flexibility ,then we tested 16 divisions and dashed-lines for the final prototype. Using combination of hatches and cutted dashed- lines gives us the flexibility we need . 16 divisions Hatched lines
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Geometry Research - Combination of Cells
Minimum Bending and maximum stability Average Bending and maximum Deformatin Maximum Bending and Minimum Deformation
The best transforming method analysis The height parameter causes domes to detach from the body Changing in the type of the module causes twist Front
Back
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Geometry Research - Combination of Cells
Production of variation in the height and depth
The connection which has the best force transferm This connection makes large void areas between the modules Front
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Back
Geometry Research - Combination of Cells
Combination of different modules causes different curvatures
The minimum force transfer The smallest gap between the modules Causing a thick surface
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Final Prototype
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Final Prototype
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Final Prototype
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MOIRE DRESS
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Tutors: Maria Araya Vahid Eshraghi Technical support: Maryam Kalantari Ali Zolfaghari Hasan Karimi Team members: Baran Arsanjani ALi Foroutan Salar Hassanzadeh Special Thanks to: Pegah Rahmani Michela Musto
October 2015
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Studio Brief:
THesis Statement:
RECODING COUTURE It has been always precedent that design methodologies in each field flows over others. As so, appearing of Parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion. In this way there are additional challenges such as body dynamism that Parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities.
How do you create art with the shadows and lights with a felt and just lines and cuts? How do you create a dress that makes a person a moving optical illusion? This was the challenge we faced. Considering only felt as the proposed element, resulted investigation on its regulations and possibilities. Applying traits and diagonal cuts on different layers of felt led to production of a dress that would look wavy from different perspectives due to the optical illusion, while exposed to different lights. It even causes the illusion when the person wearing it moves, in addition to that it reacts completely different based on who‘s wearing it.
Research in architecture and the design discipline must involve experimental and prototyping (including prototype testing). In graphic design and in fashion design there are no obstacles in enfolding experimentation and prototyping within the design process itself. In industrial design the design research is also enfolded within the design process, or it becomes part of a differentiated, dedicated R&D process that integrates design with engineering. However, research and design are nearly indistinguishable here.
Steps:
WHY FASHION? Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, twodimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
Since we proposed felt as a natural-indigenous fabric, we decided to base our design on the materialistic traits of felt. More important to that, was the idea in our minds to use a combination of lights and shadows and lines to create an optical illusion in the form of a dress. Following a careful study and through search in conclusion moire was found as the most eligible choice. When the dress was ready to be put on, it was very loose and it didn’t exactly give us what we wanted. So we decided to use cord joints to strengthen it and make it more adoptable to different variations and aggregations. The results were positive. It gave us what we needed but the cord itself was an external attachment object which we preferred to have a mono material design and also proposing a seamless eye-pleasing ornament. So we changed the method of our cuts in a way that the felt itself became the straightened joint result in use of just felt, its traits and abilities to reach our goal of a moire-like dress.
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Contents; Introduction Moire Concept Experiments (cells & fabrication) Pyramid Cones Body topology Staright Cut Diagonal Cut Final Prototype Conclusion
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Moire concept: Moire pattern; the idea was to analyze a geometrical possibility as a pattern to make a dress that could perform under different light conditions and would create variations from different view point. The proposal is to create a piece of apparel that not only looks different but also pose different feeling.
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Pyramid: In first experiment, the aim was to see the effects of lights and shadows so triangular pyramids on a reflective surface were used.
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Cones: In another experiment, we used horizontal cuts on felt cones, again to see effects of lights and shadows on the surface and study the behavior of ever changing light.
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Body topology: In another experience cuts were based on the body topology the human parts movement but the only parts that this dress really clicked on was shoulders and hips cause in these parts the felt really showoff and shows its own traits.
Density Colour Map
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Digital Model Of Body
Line Of Body Movement
Body Morphology
Elastic Spines
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Straight cuts: In the first attempt to make this possible we only used straight cuts on plastic, the result was a dress which was extremely flexible and gave us the opportunity to get creative and wear it in different styles and even turn address into a bag just by folding it. But no need to say plastic and felt don’t share the same traits.
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Diagonal Cut: So in the next attempt we used felt as the material and also changed the cuts from straight to diagonal. And we also watched the behavior of the material by folding it or adjusting pressure to it.
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Conclusion: At the end we came to a point, that we should limit the random movements and give it some order based on what human body and how it moves. Therefore, we made five moire-patterned cells. Approached to adjust it exactly onto human body, considering its behavior in a way that it gives us a beautiful moire effect and also an ever changing light and motional pattern.
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RE-CODING COUTURE october 2015
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Directors: Maria Araya Vahid Eshraghi Advisors: Ali Zolfaghari Maryam Kalantari Team Members: Sara Davoodi Nakisa Montazeri Hossein Moradi Special Thanks to: Hassan Karimi Pegah Rahmani
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RECODING COUTURE
It has been always precedent that design methodologies in each field flows over others. As so, appearing of Parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion. In this way there are additional challenges such as body dynamism that Parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities. Research in architecture and the design discipline must involve experimental and prototyping (including prototype testing). In graphic design and in fashion design there are no obstacles in enfolding experimentation and prototyping within the design process itself. In industrial design the design research is also enfolded within the design process, or it becomes part of a differentiated, dedicated R&D process that integrates design with engineering. However, research and design are nearly indistinguishable here. WHY FASHION? Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
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Thesis Statement
Let The Material Decide How to find the capacity of a material and make it use? Most of the time it’s the artist who design and then decide to fabricate an idea with a material which can take it. Today, felt is almost forgotten, but it may be the oldest fabric known to man. As old as this material is, its usage was common in different areas, especially in Middle East, it was widely used as the shepherds’ robe. The objective of using felt as the fabric, was to find out a new approach for design with a challenging material. The experiments mostly included making cuts on two layers of the fabric and have them pass through the other layer. These experiments led to some geometry which could be controlled by the changing parameters. The concentration in the project was on shaping the fabric with its own feature, which in this fabric was the stiffness which made it easy to give a form through the fabric by a force vector. The next process was applying the found-out geometry in order to get to the appropriate type of cloth. The whole process was based on a systematical and logical thinking and problem solving. All the experiences were used to put the units in its most efficient and most stable situation, while it was important to keep the shapes elegant.
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Content
Concept Study 1 Material Geometry Technique Study 2 Material Geometry Technique Prototype Cells
Analysis Aggregation
Final Models
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Concept
The Felt Many cultures have legends as to the origins of felt making. Sumerian legend claims that the secret of felt making was discovered by Urnamman of Lagash. The story of Saint Clement and Saint Christopher relates that while fleeing from persecution, the men packed their sandals with wool to prevent blisters. At the end of their journey, the movement and sweat had turned the wool into felt socks. Felt making is still practiced by nomadic peoples (Altaic people: Mongols; Turkic people) in Central Asia, where rugs, tents and clothing are regularly made. Some of these are traditional items, such as the classic yurt (Gers), while others are designed for the tourist market, such as decorated slippers. In the Western world, felt is widely used as a medium for expression in textile art as well as design, where it has significance as an ecological textile
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Study 1 Vacuum Material Research One of the first steps was to study the flexibility of this material by pulling the fabric on a bumped surface. The basic experiments showed that felt may have the ability to be stretch or to be re-shaped by streching. In order to find out what is the real behavior of this material ,further experiments should take place.
Technique Research The vacuum machine could help to examine it in reality, however the procedure couldn’t help to shape the natural felt. The process started by making a mold in order to cover the surface by felt and then a layer of an impervious material covered the felt. And next, The vacuum machine vacuumed the material on the mold.
Analysis Research The expected result was freezing the material in the shape of the mold, but the outcome was completely different.Because of the strength and the thickness of the felt, the shaped felt got back to its previous form.
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Study 2 Buttoning Material Research Felt is a textile that is produced by matting, condensing and pressing the fibers together. Because of this property, felt can spread the force through and make a smooth shape.
Technique Research This behaviour was chosen to be studied when the fabric is being cut. The first experience was cutting a number of lines along the length of two strips then pass each strip through the other’s cut-line and vice versa. The up-left picture shows the result. The next experiment went toward making this 2D pattern suitable for spreading on a surface. Adding some strips between the weaving strip (the up-right picture), or passing the strips through the cut-lines on a surface.
Analysis Research In all the experiments, except one, each layer had an unequall role. But at last, we used two pattern on two layers. One pattern was the cut-lines, and the other was the shape-cuts which passed through the cut-lines. The picture in down-right of the page is a result from a 2*4 grid of the units. The compression of the little parts, formed the piece of fabric with a 2D curve.
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Prototype Cells Changing the Parameters Once the unit was decided to be shaped in a square, it was time to try to change the unit and see the effects. Since the unit was based on geometry, there are quite a number of parameters which could be changed. To see how these parameters affect the shape of the fabric, it was needed to be studied on a bigger scale than just one unit.
Parameters Some of the options for making the changes is listed below: - The change in size of all the units - The gradually change in size of the units - The change in distance of the center of the units - The change in length of the linear cuts - The change in shape of the cut - The different arrangement of the units - The type of the petals coming out of the cuts Considering the tests shown here and other tests, some geometry and some rules were extracted. The limits for the size of each unit were determined. And the effects of each kind of arrangement were categorized. The further pages are dedicated to analysing these experiments.
The change in the out-coming shape of petals
The first type of the out-coming petal was as the picture above. It has been folded and then it came out of the cut-line. The resulted shape in this kind was spreading the force which caused by compressing, in a smoother way. But in the second experiment which is shown in the picture on down-left, each petal twists and the it comes out of the cut-line. It led to have a stronger curves and a more stable connections, however it did not work out because of the increased twist in denser part of the pattern which made the felt gets weak.
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Cell Analysis
1. Testing the effects of change in the subunit cuts on form
2. Testing the effects of reversing the units **
3. Testing the effects of change in the distance of the centers in columns
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Cells Analysis
4. Testing the effects of reversing the units in rows
5. Testing the effects of change in distance of the centers in columns and mixture of the pattern
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Final Model
The variety of the curves which are the effects of the different arrangments provide the opportunity to use it wisely and regarding the curves in the body. As an example in the waist part the curves are more intense, and using the 3rd pattern was most efficient. Likewise the upper part nedded to be more bigger, therefore using the 2nd pattern was logical and beautiful simultaneously.
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Tutors: Maria Araya - Vahid Eshraghi Technical support: Maryam Kalantari - Ali Zolfaghari Abolhassan Karimi Team members: Amirhossein Jamshidnejad Narges Fatouraei Nava Hosseini Special thanks to: Pegah Rahmani Michela Musto Authurs: Amirhossein Jamshidnejad Narges Fatouraei October 2015
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Studio
Statement
RECODING COUTURE It has been always precedent that design methodologies in each field flows over others. As so, appearing of Parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion. In this way there are additional challenges such as body dynamism that Parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities. Research in architecture and the design discipline must involve experimental and prototyping (including prototype testing). In graphic design and in fashion design there are no obstacles in enfolding experimentation and prototyping within the design process itself. In industrial design the design research is also enfolded within the design process, or it becomes part of a differentiated, dedicated R&D process that integrates design with engineering. However, research and design are nearly indistinguishable here. WHY FASHION? Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
Thesis
Statement
This booklet provides a brief review of the process of applying parametric design approach to fashion design through a workshop held in the Association of Contemporary Architects, Tehran, Iran which led to designing and prototyping a morph-able hand bag. The goal of the workshop was to create new concepts in parametric architectural fashion which can lead to fabricating clothes of this kind, preferably using some kind of felt as a locally affordable material in Iran. Design method of the workshop was based on a Bottom-Up approach which combines research and design together. In this method, design process starts from an idea seed. Designer gradually improves the idea seed to a final design by unlimitedly thinking about and experimenting with the idea seed and finding its potential capabilities. This approach lets the designer to go toward the final design through new experiences with materials, techniques and geometries during the design process and sometimes leads to astute designs originated in apparently irrelevant starting point. Our approach in this Research-Design process was to analyze three different aspects of architectural design, means material, geometry and techniques of fabrication separately and combine the results gradually on various prototypes to reach the final product. This process proceeded through the following steps which would be presented in this text: • Creating a seed idea • Material Research • Geometry Research • Technology Research • Prototyping and testing • Redesigning
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Contents Studio statement Thesis statement Creating a seed idea Material research Geometry research Technology research Final prototypes
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Creating
A basic 3D form fabricated of the seed idea
a Seed Idea
Due to the fact that any kind of clothes (like dresses, tops, bags and etc.) have at least two major functions of covering and decorating, firstly we just focused on the covering function to simplify the problem of finding a new idea. Any kind of covering tries to separate two adjacent spaces and mostly divide the space into inner and outer parts. Accordingly, during the warm-up process of the workshop, we tried to cover a can representing the inner part Releasing and Freezing method: Freezing the pattern on other subset of fold lines by paper and cardboard. The design process startUnrolled pattern of our seed idea ed with researching on capabilities of the material which led one of the team members toward using folds on the cardboard for covering the can. As the can had a symmetric shape, the unrolled cover may have a symmetric shape too. Hence, working on symmetric shapes as a platform to be folded and covering the can brought us to a seed idea of utilizfolding to design a container. Our seed idea was a square-shaped component which can be folded in different ways based on a regular symmetric pattern. Proceeding the bottom-up design process, we found that this seed idea can perform as a handheld container which can change form into different shapes of containers like a hand bag, a back-pack and a clutch bag. Final product developed based on this seed idea may have the following properties: Releasing and Freezing method: Increasing the degrees of freedom • Parametrically deformable: This product would have three types of parameters and confining it to some patterns. All of these patterns have the during design phase: I. Geometry of the folding pattern II. Active and inactive folding lines which determines the shape III. Connected non-adjacent edges Parameters of type III can be adjusted during the usage of the bag via zippers or rubber band as controller components. • Regular and straight-lined shaped: hence its design, analysis, fabrication and development is rather easier. This leads to reduction in cost of production. • Highly digitally fabricable: This feature also leads to better standardization capabilities of the product and better quality assurance levels.
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Material
Research
Fabricating any kind of prototypes or final product which meets required functions and performance needs proper perception of behavior of the material used for fabrication. As mentioned before, the preferred material in this workshop was the felt. But research on geometry, mechanisms and techniques should have be done in parallel and on the other hand, there are some other alternative well-known materials like cardboard and paper for rapid prototyping which can be folded easily and make an independent assessment possible. Hence we tried to work with the cardboard in first steps and change the material to the felt for final stages. As folding properties of the felt are not the same as the cardboard, we followed these steps to find the proper combination of material and process: . Recognizing behavior of the felt . Adjusting behavior of the felt by processing techniques . Adjusting behavior of the felt by other materials
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Recognizing behavior of the felt
It can be easily cut into strips
Stretching the felt, it takes form of hand or any other cast
Material
Research Adjusting behavior of the felt by other materials
Instead of using a thick layer of felt, two layers of thin felt and one layer of cardboard can be used too. In this case, these thin layers can be replaced by other materials like leather.
Adjusting behavior of the felt by other materials
Applying shallow cut-lines helps in folding. But folds are weak in transferring axial forces toward other transverse folds. Accordingly two effects take place: -Distortion in shape: large planes on the shape get distorted due to applied forces -Loss of mechanism: Despite a cardboard-made sample, different polynomial planes of a feltmade sample don’t react to movements of other planes. These effects can be diminished by sticking a strengthening structure like a cardboard sheet on the felt sheet.
Adjusting behavior of the felt by processing techniques
The felt is too weak in folding properties on its own. A way to make it foldable is to concentrate stresses on the fold line by applying a shallow cut on the proper side of the sheet. Black lines represent the cut-lines.
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Geometry Research
To improve capabilities of geometry of the seed idea, we generated a method called Releasing and Freezing to run a structured exploration. This method is based on this notion that according to the required function and performance we need from our container, a best folding pattern exist that is the closest one to the basic seed idea. According to this method, we tried to perform the following stages recursively: • Releasing: add folding lines to the last folding pattern which seems lets prototype to function better, starting from the pattern of the seed idea • Fabricating a prototype based on the designed folding pattern and designed stability states • Assessing required functions on the prototype on different possible states • Freezing: detecting active and in-active fold lines, removing in-active lines and retaining active ones.
Releasing The Basic Pattern Pattern 1
Pattern 3
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Pattern 2
Pattern 4
Pattern 5
Geometry Research
Prototype 1: Fabricating a prototype based on the designed folding pattern 2
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Geometry Research
Prototype 2: Fabricating a prototype based on the designed folding pattern 1
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Geometry Research
Prototype 4: Fabricating a prototype based on the designed folding pattern 3 / Assessing required functions on the prototype on different possible states Prototype 3: Fabricating a prototype based on the designed folding pattern 2 / Assessing required functions on the prototype on different possible states
This pattern provides a 3D form which can be used as a hand-bag or a backpack
This pattern provides a 3D form which can be used as a clutch hand-bag in different shapes
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Technology Research
Different methods and technologies of fabrication were used through the process of prototype development. Some researches have been done on the following aspects of techniques of fabrication: • Fabrication of junctions: We experimented rubber bands, zippers, various types of magnets and sewing to connect different parts and corners of prototypes together to control design parameters and make stable states. • Fabrication of body: We experimented hand cuts and laser cuts for cutting action, Glued Acrylic Plexiglass, instants glues and fabric glues
Felt hand-bag fabricated based on the pattern 5, Acrylic plexiglass polygons has been replaced for the thick cardboard in the prototype 5, Double sided zippers used
Laser-cuted pelaxiglass, used to cover the inner surface of the bag
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Flat magnets, experimented to enhance user experience in connecting and disconnecting edges of the bag
Different kinds of zippers tested
Final
Prototypes Leather hand-bag fabricated based on the pattern 4, Acrylic plexiglass polygons has been replaced for the thick cardboard in the prototype 5, Magnets are used for keeping the opening of the bag when the edges are not zipped
Fully open form, full access to the inner parts
Fully closed form
Zipping two other side edges, another clutch form
Zipping side edges, one of the clutch forms
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Final
Prototype
Zipping side edges, one of the clutch forms, open
Felt hand-bag fabricated based on the pattern 5, Acrylic plexiglass polygons has been replaced for the thick cardboard in the prototype 5, Double sided zippers used
Half open form
Opening all of the zippers, turning the bag inside-out using double sided zippers
Fully open form, full access to the inner parts
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Zipping two other side edges, another clutch form, closed
Zipping two other side edges, another clutch form, open
Tutors Maria Araya Vahid Eshraghi Technical support Maryam Kalantari Ali Zolfaghari Hasan Karimi Team members Mahsa Kouhpaei Anahita Dehlavi Amir Reza Ebnoreza Special thanks to Pegah Rahmani Michela Musto October 2015
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It has been always precedent that design methodologies in each field flows over others. As so, appearing of Parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion. In this way there are additional challenges such as body dynamism that Parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities. Research in architecture and the design discipline must involve experimental and prototyping (including prototype testing). In graphic design and in fashion design there are no obstacles in enfolding experimentation and prototyping within the design process itself. In industrial design the design research is also enfolded within the design process, or it becomes part of a differentiated, dedicated R&D process that integrates design with engineering. However, research and design are nearly indistinguishable here. WHY FASHION? Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
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Interdisciplinary is 21st century approach to world in order to transfer humanity from solid to soft. This project is matching functional and conceptual perspective together to create a phenomenon that no one knows what will become. This product, better to say creature, is an output of facing architects and fashion designers to apply geometrical on formal, to gather logic and creativity. In first step it didn’t matter to become a garment but just something to be, it starts by discovering new experience of creating. This project is a new concept for cloth that is not only a cover but also a part of human body; this creature (insist on it’s cause it comes out of process) wants to apply physical movement of body on aesthetics of the garment. As all of these preferences this garment includes cells that make new form, similar to flower. This form changes by body movement and actually applies body shape as a part of its design.
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The project was started by a diamondial shape which had a cut in the middle of that and trying to make it shaped by twisting each part and then passing it through its cut-line. The result of this early experiment is shown in the pictures. For the next step we tried to establish a connection to keep the modules beside each other. One of the successful connections was using an elastic band in order to make the cloth adaptable with the dynamic of the body. In this type of connection, each of the two ends of the module was connected to another end of another module. Also there was another version for this connection, which was connecting the middle point of each module to the other’s. Since the elastic bands were sewed to be stable, it was needed to be two holes* next to the cut-line.
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One of the objectives of the project was to notice to the dynamic of the body and to have its effects on the designing process. The different sizes of the module were used to enhance the effect of the moving parts of the body. This changing obeyed a rule as this: smaller module on the more dynamic parts of the bady and the bigger ones on the fixed parts.
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Back
Front
Final model RE-CODING COUTURE
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INSIDE-OUT
October 2015 RE-CODING COUTURE
Team Members: Elaheh Seyed Monir Hasti Farajipoor Elham Shirani
Tutors: Vahid Eshraghi - Maria Araya Maryam Kalantari - Ali Zolfaghari Special Thanks To: Hassan Karimi Pegah Rahmani RE-CODING COUTURE
Re-coding Couture It has been always precedent that design methodologies in each field flows over others. As so, appearing of Parametricism in architecture proposed tools and methods along with a distinctive aesthetic sense which can be implemented in other design disciplines. The research nature of workshop provides a laboratory atmosphere to test, study and observe material behaviour, fabrication techniques and digital tools as inspiration to devise novel designs in fashion. In this way there are additional challenges such as body dynamism that Parametricism has less chance to face with them in architectural discourses and they open a new field of possibilities. Research in architecture and the design discipline must involve experimental and prototyping (including prototype testing). In graphic design and in fashion design there are no obstacles in enfolding experimentation and prototyping within the design process itself. In industrial design the design research is also enfolded within the design process, or it becomes part of a differentiated, dedicated R&D process that integrates design with engineering. However, research and design are nearly indistinguishable here.
To produce a work for architecture fashion after demonstrating the material, we started to analyse the behaviour and at the same time, develop an idea based on an inspiration from the spine. The reason why spine was chosen is that the skeleton forms the structure of the body and the spine is one of the most complete parts, one of its merits being that it helps the body adapt to different situations. After that we needed to develop the concept using the material while taking care not to damage the concept or contradict the behaviours of the material and at the same time, making sure it matched itself to the body’s movements like leaning to the left or right, forward, backward and kept its original form while standing straight. So we started working with different patterns on felt trying to do a one-piece job instead of modular ones and from among these patterns we started deciding on parameters for a favourite pattern such as: angle, point distance, line slopes and sewing places,.. Then we continued by developing these concepts manually and digitally.
WHY FASHION? Fashion and Architecture are both based on basic life necessities – clothing and shelter. However, they are also forms of self-expression – for both creators and consumers. Fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one and throughout history, clothing and buildings have echoed each other in form and appearance. This only seems natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different – address the human scale, but the proportions, sizes and shapes differ enormously.
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Wearing The Inside Out Inspired By Back Bones
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Contents
Material Research 3 4 5 6 7 Geometry Research Pattern 1 4 5 6 7 8 9 Pattern 2 6 7 8 9 10 11 12
Developing The Pattern Working On 3D Model 9 10 11 12 13 14
Alternatives With A Hat 11 12 13 14 15 With Neck Shape Collar 12 13 14 15 16 Laser Cut 13 14 15 16 17 18
Final Prototype 15 16 17 18
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Material Research How to Form The Felt -Putting felt in the vinegar -Wet felting First we put felt in the water to see if its shape will remain or not
-Stitching Then we tried Stitching as a joint
-Steaming We realized with steaming the felt the shape will remain.
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Geometry Research Pattern 1
According to the concept this geometry couldn’t convey the feeling of inner organs of human body.
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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As we were trying to design the pattern, we thought of other materials such as artificial felt and Plastics. artificial felt didn’t have the quality of the natural felt, specially its thickness. which didn’t get the shape that we’ve wanted. The reason for choosing plastic as an alternative , was its transparency. which could convey the concept of “Wearing The Inside Out” But we couldn’t find a way in order to fix the shape that we gave to plastic. so we’ve decided to continue working on the Natural Felt.
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Geometry Research Pattern 2
The second pattern was a simple one. Regarding the felt material behavior we managed to develope ornomental elements which couldn’t be fabricated with paper.
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Geometry Research Pattern 2
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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1 Invariable Distances Less Distance Than Pattern 2 DIfferent Stitching Points
2 Invariable Distances More Distance Than Pattern 1 and 3 Different Stitching Points
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In case of Developing the chosen pattern, at first we changed the parameters of the main pattern in 3 different alternatives. Such as, Distances between dots, Angles, Directions, ways of stitching, which effects on the main form in different ways. For instance, Stitching from back causes a projected shape and stitching from the front side causes recess.
3 Invariable Distances Less Distance Than Pattern 2 Mor Than Pattern 1 Different Stitching Points Direction Changing
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Developing The Pattern Working On 3D Model
The 3d model couldn’t give the exact form, for not having the quality of the felt. but we tried a different alternative including 3 rows of one pattern.
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Developing The Pattern Working On 3D Model Pattern 0
Then the felt was laser cut with pattern0 . but it failed in stitching process.
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Alternatives With A Hat
Head Part
Neck Shape Collar
Shoulder Part Guide Lines
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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Alternatives
With Neck Shape Collar
Waist
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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Alternatives Laser Cut
Invariable Dashes
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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Alternatives Laser Cut
Invariable Dashes
By These two Alternatives we realized the graphic of the dashes, and the main unroll shape of the prototype. Same Stitches In This Area
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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Final Prototype
Dashes Fading At The Edges: Dash’s Length - Decreasing Distance Between Dashes - Increasing
Same Stitches In This Area
Stitches From The Back Stitches On The Front Stitching Ending Points Of “Stitching Lines”
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