MATERIAL TRANSFORMATION
MATERIAL TRANSFORMATION TABLE LOOM
JUSTIN YOUNGSUK IM + R. NOAH SANNES
Justin Youngsuk Im (left) is currently a second year student at the Georgia Institute of Technology School of Architecture. Justin’s passion for architecture originates from his strong desire to see how architects can create unified communities and infIuence the relationships between people and the built environment. He is a self-motivated individual who is always striving to learn as much as possible about the world of architecture. He prides himself on his dedication and consistency in developing his best work.
R. Noah Sannes (right) is currently a second year student at the Georgia Institute of Technology School of Architecture.
Noah developed an interest in the field at an early age, and he excelled through a high school career program in architecture to receive awards at many national competitions. He is fascinated by the history of classical architecture, but appreciates beginning an education focused on modern design. Noah has a strong work ethic and intends to work on designing residences, improve urban planning, and advocate for sustainable living.
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TABLE OF CONTENTS INTRODUCTION
8
TECHNIQUES + RESEARCH
9
2D CONFIGURATIONS
21
3D CONFIGURATIONS
33
SITE + PROGRAM
43
COMPOSITIONS
51
HOTEL MODUL
59
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The Matter Matters program investigates design related to materiality and technology in a generative manner. Usually, matter and technology are understood as merely following design’s lead, with design being viewed as a game of pure drawing and modeling, and materialization as one of engineering and production. In our profession this rift is known as that between the Beaux-Arts and the Polytechnique schools of design: art and engineering, with architecture commuting in between. Some architectural theoreticians, such as Gottfried Semper in the 1850s and Frei Otto in the 1970s, have tried to overcome this problem. They have pointed out that materials constantly produce their own architecture. For instance, when we look at the way mud cracks or how soap bubbles aggregate, we see the same thing over and over: matter finds form. Traditionally, we have learned that matter is inert and needs to be shaped into form by external agents, but the reverse is true: matter is pure agency and actively shapes itself. This project will use such inherent processes in matter to develop our designs and create architectural structures. These processes will be steered by the students to fit with a hotel program on a site in Miami close to the beach. A hotel program is very diverse: it combines repetition of small spaces with a large variety of larger spaces such as clubs, restaurant, pool and lobby. The site will require a contextual approach on the ground level, while going up the building orients itself on ocean views. The first stage starts with research into fIexible materials and investigates their specific qualities for form finding. The second stage adapts this research to the site. The third stage consists of two simultaneous steps: the scaling-up of the model by using more rigid materials, while adapting the variation of spaces to a small hotel program. The fourth stage finalizes the project by making large models. The studio focuses on researching the textile techniques of weaving to generate patterns. The ideas behind this studio are based on Semper’s concept of transforming textile into tectonics. The textile configurations are slowly transformed to a larger scale by exchanging the fIexible for more rigid materials, investigating especially the phenomenal effects on spatial relationships.
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TECHNIQUE + RESEARCH Without any prior knowledge of the art of weaving or loom technologies, the project began with an extensive research phase. After careful exploration of both ancient and modern-day looms, the table loom was selected for its ability to produce millions of pattern iterations. We designed a digital version of the table loom and constructed a full-size, working mechanism. All necessary tools, included the heddle reels, were innovatively crafted to accommodate the structure of the loom.
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HISTORY OF LOOM
What is Weaving? A parametric system that utilizes the process of interlacing warp, a pliable set of materials strung in tension, with crosswise threads (weft) to develop patterns that may be manipulated, by a variety of inputs, to generate the perceptual and physical qualities of a form. This art is acknowledged as one of the oldest surviving crafts in the world, and it is one of the primary methods of textile production that involves interlinking a set of vertical threads with a set of horizontal threads.
Warp Weighted Loom This loom has a simple frame and is often leaned against a wall. The warp is attached to weights and the weft is threaded by hand.
Flying Shuttle One of the key developments in the industrialization of weaving during the early Industrial Revolution.
Efficiency Speed Labor Performance
Effi Spe Lab Per
10000 BCE
30000 BCE
Plant Fiber Early man developed the first string by twisting together plant fibers.
Efficiency Speed Labor Performance
Foo The me foo the mu
1733
476 AD
1750
1 Shaft Rigid Heddle Each heddle has an eye in the center where the warp is threaded through, and the warp threads are moved up or down by the shaft.
8 Shaft Table Loom Table looms provide a way for both new and experienced weavers to try out weaving without the expense of a larger floor loom. The warp is lifted mechanically by a series of shafts.
Efficiency Speed Labor Performance
Efficiency Speed Labor Performance
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ot Treadle Loom e warp is lifted echanically by a series of ot pedals, which makes e process of weaving uch faster.
iciency eed bor rformance
1758
24 Shaft Jacquard Loom The loom was controlled by a chain of cards, a number of punched cards, laced together into a continuous sequence.
Northrop Loom A fully automatic power loom with a self-threading shuttle and shuttle spring jaws. The machine has a filling-charging battery.
Efficiency Speed Labor Performance
Efficiency Speed Labor Performance
1801
1785
1984
1843
2016
Power Loom A mechanised loom powered by a line shaft, and was one of the key developments in the industry of weaving during the early Industrial Revolution.
Dobby Loom A floor loom that controls all the warp threads using a device called a dobby. Very similar to foot treadle loom.
Electronic Jaquard Loom The computer controlled machines significantly reduce the work time. It uses all sorts of fibers and blends of fibers, and it is used in the production of fabrics for many end uses.
Efficiency Speed Labor Performance
Efficiency Speed Labor Performance
Efficiency Speed Labor Performance
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TABLE LOOM
13
TERMINOLOGY
Weft
Warp
Shed The physical gap between the upper and lower warp.
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EXPLODED LOOM
The Castle Structural frame that supports the positioning and movement heddles and shafts.
Shaft Levers Devices that are manually altered to raise and lower the heddles.
Heddle Reeds Contain the heddles and controls movement of heddles and divides the thread.
Inserted Eye Heddles Sets of looped wire which container a looped eye at the center in which the warp yarn is passed through. Permits movement and division of the threads.
Loom Base Structural frame with warp beam rollers.
Beater + Reed Used to push the weft yarn securely into place.
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LOOM TOOLS
Shuttle Shuttle Used to carry Shuttle Used to carry thread across the Used to carry thread across the through the shed. thread the throughacross the shed. through the shed.
the the weft the weft weft
Pick Up Stick Pick Up Stick UsedUp to press the weft Pick Used to Stick press the weft into place. Used to press the weft into place. into place.
Loom Stand Loom Stand Structural support for Loom Stand Structural support for the loom. support Allows for Structural the loom. Allows for for operator to work while the loom.to Allows for operator work while seated. to work while operator seated. seated.
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WEAVING PROCEDURE - 2D
INSERT HEDDLES
SELECTING WEAVING MATERIALS
Heddles should first be attached to the reels on each of the shafts. An equal number of heddles should be placed on each shaft, spaced everly across the entire reel.
Choose an approporiate ply type to achieve the desired warps-per-inch (wpi) for the weave. Spacing of the warp is determined by the heddle count.
2 - PLY
3 - PLY
4 - PLY
7 - PLY
x 56
EQ EQ
FEED THE WARPS - THREAD SEQUENCE
Measure each strand at an appropriate, equal length using a warping board (if possible). It is important to ensure strands do not get tangled.
Thread the heddles in the desired order. For a symettrical pattern, feed the heddles from 1 to 8 to 1. Ensure the heddles do not get chisscrossed.
Weave Length + 1.5 (Depth of Loom)
MEASURE WARP STRANDS
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TIE AND TENSION WARPS
GROUP THE SHAFTS - TIE-UP SEQUENCE
Tension the warp by securly binding the string to both the front and back rollers. Continue winding the rollers until the strings reach 0% slack. Check for loose strings.
Handle groupings are recorded in the weave plan to designate which shafts should be lifted prior to each pass of the shuttle. Groupings are recorded in the plan’s tie-up sequence.
loose
left
right
8642
tensioned
1357
8 7 6 5 4 3 2 1
GROUP THE SHAFTS - TIE-UP SEQUENCE
BEGIN WEAVING - LIFT SEQUENCE
Handle groupings are recorded in the weave plan to designate which shafts should be lifted prior to each pass of the shuttle. Groupings are recorded in the plan’s tie-up sequence.
Following the lifting sequence, elevate the designated group of shafts to create a shed. Pass the shuttle through the shed to move the weft from left to right.
1 2 3 4 5 6 7 8
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PATTERN PLAN
LIFT SEQUENCE
HOW TO READ | This weave plan depicts a basic variation of the twill pattern. The dashed numbers signify the direction (left-to-right, right-to-left, or top-to-bottom) in which to read the sequence. The plan shows one threading sequence - uniform/single direction. Each column of the tie-up plan highlights a group of numbered shafts that will be lifted during each pass. The lift sequence (bottom right) signifies in what order the shaft groupings are to be lifted. For example, the pattern begins by lifting the first column of tie-ups, shafts 1-2, subsequently lifting strings 1, 2, 13, and 14 for the symmetrical threading, and strings 20, 28, and 36 for the uniform threading.
THREAD SEQUENCE 36
32
TIE-UP SEQUENCE 28
24
20
16
12
8
4
4
8 8
4
4
8
12
16
LIFT SEQUENCE
HOW TO READ | This weave plan depicts a basic variation of the twill pattern. The dashed numbers signify the direction (left-to-right, right-to-left, or top-to-bottom) in which to read the sequence. The plan shows one threading sequence - uniform/single direction. Each column of the tie-up plan highlights a group of numbered shafts that will be lifted during each pass. The lift sequence (bottom right) signifies in what order the shaft groupings are to be lifted. For example, the pattern begins by lifting the first column of tie-ups, shafts 1-2, subsequently lifting strings 1, 2, 13, and 14 for the symmetrical threading, and strings 20, 28, and 36 for the uniform threading.
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PATTERN VARIATION
ALTER THREADING SEQUENCE
ALTER THREADING SEQUENCE
ALTER LIFT SEQUENCE
ALTER LIFT SEQUENCE
ALTER TIE-UP SEQUENCE
ALTER TIE-UP SEQUENCE
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2D CONFIGURATIONS As a tool of production, the student-designed table loom was employed to produce a series of basic weaves. Initially, simple patterns such as poplin and twill were woven using the device. From here, more complex pattern plans were referenced, produced, and analyzed. We explored gradients and varied scale, density, and tension to alter the impression of the woven fabric. Each of the woven studies, documented on the following pages, is diagrammed both in horizontal and vertical section. The vertical sections highlight the imperfections in each fabric. Each studies’ respective pattern plan is included for reference, too.
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PATTERN TAXONOMY
POPLIN
TWILL
POPLIN
TWILL
Spacing
Shifting
Flow
Pockets
Textbook
Actual
Textbook
Actual
Textbook
Actual
Textbook
Actual
Textbook
Actual
Textbook
Actual
Textbook
Actual
Textbook
Actual
Spacing
Shifting
Flow
Pockets
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PINPOINT
SATIN STANDARD
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HERRINGBONE POPLIN
Spacing Textbook
Actual
OXFORD TWILL
Shifting Textbook
Actual
Flow Textbook
Actual
Pockets Textbook
Actual
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POPLIN GRADIENT
TWILL GRADIENT
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FIGURE 560 POPLIN
FIGURE 1665 TWILL
Spacing Textbook
Actual
Shifting Textbook
Actual
Flow Textbook
Actual
Pockets Textbook
Actual
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PLATE 54
FORWARD 27
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SOPHOMORE STUDIO 2016 POPLIN
Spacing Textbook
Actual
SATIN COMPRESSED TWILL
Shifting Textbook
Actual
Flow Textbook
Actual
Pockets Textbook
Actual
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WINDMILL
TWILL ZIG ZAG
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EXPERT PATTERN ANALYSIS
Patterns by Judith Krone
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32
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3D CONFIGURATIONS To produce a “three-dimensional� weave, our loom was retrofitted with a new castle. The redesigned castle contained eight, double-wide shafts capable of holding sixteen heddle reels. The alteration of the loom permitted a rise and fall condition, producing both an upper and lower shed. As a result, we responded to machine feedback in order to produce a series of patterned weaves. Each of the four studies explores a different aspect of the multi-layered fabric.
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CASTLE MODIFICATION
x 112
EQ
6x
2x
EQ
35
TERMINOLOGY
Upper Shed Lower Shed
Intersection Point
36
PROCEDURE
GROUP THE SHAFTS - TIE-UP SEQUENCE Handle groupings are recorded in the weave plan to designate which shafts should be lifted prior to each pass of the shuttle. Groupings are recorded in the plan’s tie-up sequence.
left
right
T8 T6 T4 T2 B8 B6 B4 B2
left
right
T8 T6 T4 T2 B8 B6 B4 B2
T1 T3 T5 T7 B1 B3 B5 B7
T1 T3 T5 T7 B1 B3 B5 B7
B8
T8
B8
T8
B7
T7
B7
T7
B6
T6
B6
T6
B5
T5
B5
T5
B4
T4
B4
T4
B3
T3
B3
T3
B2
T2
B2
T2
B1
T1
B1
T1
WEAVING TOGETHER - LIFTING SEQUENCE To weave the upper and lower warps together, work only between the neutral and rise (resting) positions.
left
right
left
1 2 3 4 5 6 7 8
right
B8 B7 B6 B5 B4 B3 B2 B1
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WEAVING THE TOP To weave between the top shed, elevate each shaft’s nearest handle to the rise position. Work between the neutral and sink positions.
left
right
left
1 2 3 4 5 6 7 8
right
B8 B7 B6 B5 B4 B3 B2 B1
WEAVING THE BOTTOM To weave between the bottom shed, lower each shaft’s nearest handle to the sink position. Work between the rise and neutral positions.
left
right
left
1 2 3 4 5 6 7 8
right
B8 B7 B6 B5 B4 B3 B2 B1
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3D PATTERN TAXONOMY 3D FIGURE - TWILL + TWILL
3D FIGURE - SATIN + POPLIN
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WARP SKIPPING
MULTI-LAYER
Barrier
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SEMI-RIGID MODEL STUDIES
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42
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SITE + PROGRAM Collins Avenue is infamous for its dense landscape of high-rise hotels and apartment complexes. The proposed boutique hotel seeks to reinvision the stale building located at the 3030 address. The site is located adjacent to several restaurants, bars, and hotels, including the Rui Plaza. Views are an important aspect of the lot, as the Indian Creek and Atlantic Ocean are located within one block’s reach. Addressing solar heat gain as a matter of concern, the program considers strategic void areas to control the penetration of sunlight. The proposed structure also accommodates both day and night amenities, such as several pools and a rooftop club.
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SITE - MIAMI BEACH, SITE FL ANALYSIS MIAMI BEACH, FLORIDA
3030 COLLINS AVENUE
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Summer Solstice Fall Equinox
SOLAR
3 pm
9 am
Winter Solstice
12 pm
N
W E
PROXIMITY
300 ft S
MOBILITY Boardwalks Bus Stops Bus Routes
DAY AMEN. Beach Pool Fitness Food
NIGHT LIFE Bars Clubs
0
200 ft
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3030 COLLINS AVENUE
BUILDABLE AREA
SITE CONSTRAINT
BUILDABLE AREA
SITE CONSTRAINT
Total Site Total Site
Site Remaining Site Remaining
Service Alley Service Alley
72’ 0”
91’ 0”
72’ 0”
91’ 0”
TOTAL VOLUME
LIGHT + HEAT
TOTAL VOLUME
LIGHT + HEAT Heat Gain Heat Gain
North Face North Face max 144’ max 144’
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SITE CONSTRAINTS
VIEWS HIERARCHY
SITE CONSTRAINTS
Alley View
Site Remaining Site Remaining
Service Alley Service Alley
0”
68’ 0”
76’ 0”
0”
68’ 0”
76’ 0”
LIGHT + HEAT
Heat Alley Gain View Heat Gain
North Face North Face
Ocean View
Vo Ar
Wi Sol
Ocean View
VIEWS HIERARCHY LIGHT + HEAT
NATURAL
NATURAL LIGHTING Void Area
Winter Solstice
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PROGRAM
CIRCULATION
VERTICAL CORE
Upper Elevator Core
Stair Core
Lower
GUEST ROOMS
AMENITIES
Premium
Roof Terrace
Standard
Club & Bar
Gym
Poker Lounge
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PUBLIC SPACES
VOID
Restaurant & Cafe
Warm Pool Void
Lobby
Cafe Void
Entrance Void
POOLS
SERVICE + MISC.
Cold Pool
Restroom
Warm Pool
Service
Hot Pool
Butler
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COMPOSITION In developing the structure’s layered facade, zoning of views (ocean, river, city) and program was utilized to produce a cohesive, composition of woven pattern. After several studies using plaster figures, a module (left) was designed to complement the forms perceived from a woven fabric. The module was multiplied into thirteen forms of varying porosity. The figure was then assembled, using the strict stacking logic of warp and weft, to produce one possible iteration of the hotel’s inner and outer facade.
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VIEWS COMPOSITION
WEST WEST
SOUTH
SOUTH
EAST EAST
NORTH NORTH
WEST
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PROGRAM COMPOSITION
WEST WEST
SOUTH
SOUTH
EAST
EAST
NORTH NORTH
WEST
54
MODULE CATALOG
FIGURE CATALOGUE 0°
12°
15°
18°
21°
24°
33°
36°
18°
21°
24°
27°
30°
30°
33°
36°
39°
42°
45°
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MODULE ASSEMBLY
VERTICAL ORDER
LATERAL ORDER
ASSEMBLY
END CONDITIONS
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OUTER LAYER FACADE
WEST FACADE
WEST
SOUTH FACADE
SOUTH
EAST FACADE
EAST
NORTH FACADE
NORTH
57
INNER LAYER FACADE
WEST FACADE
WEST
SOUTH FACADE
SOUTH
EAST FACADE
EAST
NORTH FACADE
NORTH
58
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HOTEL MODUL Hotel Modul (MO’DU:L) is the new center for relaxation and play along Miami Beach. The building contains a multi-functional program that features unique amenities for both hotel guests and local dwellers. The exterior facade, made up of over 20,000 concrete modules, obscures the inner layout. However, the outer facade is absent along a continuous void that addresses solar movement and exposes key program amenities. On the ground fIoor, two separate entrances funnel into a shared lobby space where interactions between hotel guests and visiting carousers is controlled. The exterior of the hotel is a play on scale and appears to bulge and recede from certain angles. The depth of the form is entirely perceptual as the fIoor plates are perfectly rectangular. The hotel’s inner facade works to control the lighting of the interior spaces and serves as a threshold. Overall, Hotel Modul, from the street, is quite eye-catching and illusionary, yet the inner layout is rhythmic and astonishingly regular.
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ELEVATIONS
WEST
SOUTH
WEST
SOUTH
EAST
NORTH
EAST
NORTH
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SECTION
62
PLANS
FLOOR 2 Service
Poker Lounge Service
Poker Lounge
Service
FLOOR 1 Lobby Service
Lobby
Service
63 Rooms
Balcony Service
Rooms
Balcony 4 FLOOR
Service
Cafe
Terrace Service
Cafe
Terrace Service
Gym
FLOOR 3 Cool Pool Service
Gym
Cool Pool
64 Terrace Service PLANS
Rooms
Service Balcony
Rooms
FLOOR 8 Balcony
Service
Warm Pool Service
Warm Pool
Service
FLOOR 5-7 Rooms
Service Balcony
Rooms
Balcony
Service
Cafe
Service Terrace
Cafe
Terrace
Service
65
Rooftop
Rooftop 11 FLOOR
Service
Club
Service Terrace
Club
Terrace Service
FLOOR 9-10 Rooms
Service Balcony
Rooms
Balcony
Service
Warm Pool Service
Warm Pool
Service
Rooms
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DAY
67
NIGHT
68
FINAL MODEL
69
70
FAÇADE DETAIL
71