CONSTRUCTING TEXTILES COMPUTATION | SOFT FORMWORKS Iowa State University | 2019
MESOPHASES
Research Question How can a cross-dsciplinary team of design students use textiles, soft formworks, and computational design to create a large scale installation? How can the history and constraints of the site, Mainframe Studios, inspire this installation? Premise “The best way to appreciate the merits and consequences of being digital is to reflect on the differences between bits and atoms.” Nicholas Negroponte, Founder MIT Media Lab Technology and design are cultural undertakings. The Fabricating Potentials studio arc pursues a view of technology that includes not only the ‘how’ (skills and techniques) of computational design but also the ‘why’ (processes and impacts). This studio examines the relationships between technical advances in computational design (bits) and the consequences of these advancements upon the built environment (atoms). To this end, twenty-two students from Iowa State University College of Design explored the intersection of computation, textiles, and construction. Students leveraged the tools of the ISU Computation & Construction Lab to fabricate textile formwork for plaster casting. Supporting Iowa State University’s land-grant mission, the CCL works to connect developments in computation to the challenges of construction: through teaching, research, and outreach. Beyond campus borders the CCL leverages digital fabrication as a tool of public engagement with nonprofit organizations and small towns in Iowa. In groups of five to six people, students designed and constructed installations that explore the potential of custom textile formwork for plaster. Through iterative prototyping, full-scale mock ups, computational studies, and digital fabrication students examined the potential of integrating computation and textiles into construction practice. Keywords Textile Art | Soft Formworks | Mainframe Studios | Mainframe Computers | Des Moines | Iowa State University | College of Design
MESOPHASES | Studio 2 | Constructing Textiles | Spring 2019
Tyler Beers Architecture | 2020
Ayla Hendrickson Architecture | 2019
Shannon Burkle Interior Design | 2019
Seth Jenkins Architecture | 2020
Leray Chen Architecture | 2020
Nathaniel Jones Architecture | 2019
Riley Dunn Landscape Arcitecture | 2019
Claire Kilfoyl Industrial Design | 2020
Alex Dutoit Architecture | 2020
Jessie Laughridge Architecture | 2019
Eric Heckman Architecture | 2020
Brandon Lewis Architecture | 2019
MESOPHASES | Design Team 4 | Constructing Textiles | Spring 2019
Michael McKinney Architecture | 2019
Linsey Schminke Interior Design | 2019
Dan Nutt Art & Visual Culture | 2021
Katelyn Schmitt Interior Design | 2019
James Patterson Interdisciplinary Design | 2019
Ian Spadin Architecture | 2019
Charlie Rueb Landscape Architecture | 2019
Casey White Architecture | 2020
Nathan Sands Architecture | 2020
Shelby Doyle Asst. Prof. | Architecture
Cassie Schilling Landscape Architecture | 2019
Olivia Valentine Asst. Prof. | Art & Visual Culture
MESOPHASES | Overview 6 | Constructing Textiles | Spring 2019
OVERVIEW DESIGN INTRODUCTION
Iowa State University | Mainframe Studio
Precedent Studies | Mainframe Studio
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Plaster Casting | Kudless Workshop | Fologram Workshop
Catena | Link | Reef
Collaborative Design Build | Mesophases
Collaborative Design Build | Mesophases
On-Site Construction | Process
Mesophases
Final Review | Public Showcase
MESOPHASES | Design Introduction 8 | Constructing Textiles | Spring 2019
Mainframe Studios has been defined, in part, by transition and evolution. Once a home for the computing device it gets its name from, it now houses artists working in a wide range of disciplines. Mesophases, an installation created by a similarly multidisciplinary group of students from Iowa State University, speaks to the shifting nature of the space. The name is the first hint: a mesophase is a state of matter between liquid and solid, the result not entirely clear. The forms captured in plaster and textile each capture a different form of this transition. The form enveloping the structural column, evoking coral reefs, is coated in a thin layer of plaster to allow for a changing amount of light penetration. The porous walls inside of each planter gesture towards the rigidity and rectilinear nature of computing bays while using textiles to change the expected form. The large knits, emerging from plaster columns, show both ends of the transformation: nearly untouched yarn anchored to a nearly solid plaster base. Mesophases is, ultimately, about transformation. It is only fitting that it seeks to change a space that is defined by similar evolution.
MISSION & VISION
Site Mainframe Studios is located in the old Century Link building downtown Des Moines. Mission Mainframe Studios is a 501(c)3 whose mission is to provide permanent affordable workspace to artists of all disciplines Vision Transform Central Iowa’s art scene by creating a financially self-sustaining economic and cultural driver, serving as a national model that stands the test of time Students This collaboration was possible because the Iowa State University College of Design is one of the most comprehensive design colleges in the country: home to seven departments, fostering opportunities for unique multidisciplinary collaborations. Social Media @isu_CCL | @arch.iastate | @ISUcollegeofdesign | @AVC.ISU
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MAINFRAME STUDIO
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THERE ARE FOUR UNUSED CONCRETE PLANTERS THE CLIENT WAS INTERESTED IN USING
WE ARE ALLOWED TO DRILL INTO THE WALL
EVERYTHING NEEDS TO BE TRANSPORTED BY A UNIVERSITY VEHICLE OR TRAILER
NO LIFT ON SITE
LIMITED AMOUNT OF OUTLETS ON THE WALLS
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INTRODUCTION
1ST FLOOR PLAN FOOD SERVICE
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BUILT IN 1976 AS A CENTURYLINK COMMUNICATIONS FACILITY NOW AN ADAPTIVE REUSE FOR ARTIST STUDIOS IN DOWNTOWN DES MOINES
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OUR SPACE IS IN THE SOUTHWEST ATRIUM ON THE 1ST FLOOR
CURATION & DISPLAY Mesophases’ exhibition showcases a range of explorations in process and material - from the course of the semester. The pieces are on display shelving focused on the eastern wall of the atrium; process work, such as the cast panels jig and balloon cast, is on the western wall. This was done in response to the space’s current and future use: the wall will be used to showcase donors and demanded to be mostly untouched. The shelving used on the eastern wall is made from 3/4” plywood sheets and an acrylic top. The units vary in height and light quality in order to offer a variety of perspectives on the objects and their textures. In addition to creating space for objects and the portfolio, the shelving units’ varying heights help frame posters that detail more information about the design process.
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MESOPHASES | Design Exploration 16 | Constructing Textiles | Spring 2019
The first design explorations involved plaster casting into found textiles, the results of which students studied through photography, hand drawing, and digital modeling. Students also learned how to knit, sew, crochet, and weave by hand in order to design and produce the first prototypes for the installation. In addition to investigating the unique texture and form of casting into textiles, as well as understanding its associated obstacles and limitations, this exploration allowed students to develop both the handicraft and digital skills necessary to realize the project.
PRECEDENT | CROCHET CORAL REEF Crochet Coral Reefproject is created and curated by Christine Wertheim and Margaret Wertheim of the Institute ForFiguring. Two Australian-born twin-sisters presented us an interplay between nature, mathematics and interdisciplinary construction. It is also an aspiring response to the decaying of coral reef caused by global warming.The sisters created a community-based work of large-scale installation with more than 10,000 people contributing to this on-going collaboration.The form of the crochet knit is known as “hyperbolic crochet� and it was discovered in 1997 by Cornell University mathematician Dr. Daina Taimina. The Wertheim sisters adopted the technique and reinvented it into new ways to model bizarre sea animal-like forms that was curated in the exhibitions we see today.In an agreement with our early design concept for the Reef,theart installation is meantto be designed and createdcollaborativelyby students across multiple majors at Iowa State University. The Reef reimages its organic form and persistsan algorithmic rhythm. The materials mimiccoral,a symbioticentity,where the soft living tissues grow and perish, and later consolidate into a permanent product. The Reef isa point of interest where art and technologymanifest through material bonding and internal processes that are involved.
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INTRODUCTION EXPLORATION PROPOSALS FINAL DESIGN COMPONENTS CONSTRUCTION INSTALLATION
Created in 2018, Gaia Mother Tree, a monumental installation that aims to bring the spirit of the amazonian rainforest inside zurich’s central station. organized by the fondation beyeler, the project sees a twenty-meter high sculpture extending right up to the ceiling of the station concourse. its see-through structure is made of brightly colored handknotted cotton strips and resembles a majestic tree. neto’s immersive installation functions as a meeting place and a venue for interaction and meditation. shaped like the crown of a tree, the upper part of the work covers the ceiling of the station while at the base of the tree visitors can find a space to linger and rests on seats arranged in a circle. to complete the experience, drop-shaped elements hanging from the branches are filled with aromatic spices and dried leaves.
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GAIA MOTHER TREE | PRECEDENT
PRECEDENT | ALLEGORY Created by Janet Echelman, the voluminous form is composed of custom-blended twines and incorporates panels crafted by hand merged with machine-knotted portions. For coloring, Echelman engages the human mind’s tendency to unconsciously join separate like-colored forms together. The viewer’s eye connects between the blue and green forms, which interplay with their pale yellow counterparts, the color of sunlight. The sculpture is designed to respond to and engage with its surroundings, acknowledging the importance of the role of the spectator as the trigger for interactivity. Sensors near the artwork pick up the physical movement of spectators, activating specially programmed spotlights that cast shadow drawings onto surrounding walls. These shadows layer atop a silhouette wall painting that follows the parabolic curves of the suspended sculpture. The title “Allegory” references the Greek philosopher Plato’s classic work. His Allegory of the Cave tells the story of people who lived chained inside a cave facing a blank wall, with a fiery light behind them. The shadow shapes they see on the wall are merely projections, but it is the prisoners’ entire understanding of reality. Echelman’s work asks viewers to question what they see in front of them – a dialogue between object and viewer, light and shadow, reality and projection.
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The project was made possible with the support of John Deere, Schmidt Equipment, Foss Engineered Non-Woven Textiles, National Grid, Mass MoCA, and The Steel Yard, Providence.
CONSTRUCTION
Shown in its final state, the installation took place over the period of a week, during which time the design team knit the entire flag (approx. 500 stitches) with the machines. The project examines knitting at a vast scale, using traditional technique with much larger tools. The Knitting Machine combines the feminized domestic American tradition of knitting with the grandiose gesture of construction usually associated with masculine labor. The Knitting Machine challenges familiar notions of labor and production, while expressing a complex understanding of patriotism.
INSTALLATION
Created in 2005, the Knitting Machine is a functional Installation with Acrylic Felt and Excavators.
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THE KNITTING MACHINE | PRECEDENT
TEXTILE EXPLORATION
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TEXTILE SCANNING
TEXTILE CASTING
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TEXTILE CASTING
CROCHETING EXPLORATION
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KNITTING EXPLORATION
SEWING EXPLORATION
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DIGITAL MODELING ORTHOGRAPHICS Plan View
Right View
Front View
Rendered Perspective View
Plan View
Right View
Front View
Rendered Perspective View
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3-D PRINTING
PUNCH CARD KNITTING
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ANDREW KUDLESS WORKSHOP In 2009, Andrew Kudless, founder of the interdisciplinary design studio Matsys and architecture professor at California College of the Arts, developed a modular wall system for an installation at the San Francisco Museum of Modern Art. This wall system, dubbed P_Wall, is constructed via casting plaster into parametrically modified soft formwork, resulting in a field of cloudlike forms. For three days in February, 2019, Andrew Kudless taught the physical and digital components of this technique in an intensive workshop, where teams of students fabricated their own molds after Kudless’ design. After building wooden frames that pinched the formwork fabric into place, students simulated the physics of the molds in Rhino software with the assistance of Grasshopper programming and Kangaroo simulations. These simulations informed the arrangement of pressure points created by wooden dowels, wires, and/or smocking. Students then poured a plaster/ fiberglass mixture into the resulting mold boxes. The final casts appear soft and organic in contrast to their rigid materiality and computational design, a revealing tension that would inspire the Mesophases installation.
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ANDREW KUDLESS WORKSHOP
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FOLOGRAM WORKSHOP Several workshops informed the design and fabrication of Mesophases. The first workshop was conducted over four afternoon studio sessions with Construction Engineering students taught by Clyff Pleimesser. This workshop encouraged students to challenge each other to develop practical designs and construction techniques for bold, unconventional projects. The second workshop involved exploring the potential of augmented reality in construction with Hololens, an augmented-reality headset. Gwyllim Jahn, CCO at Fologram, the company behind Hololens, joined the Fabricating Potentials studio at Iowa State to teach them about Fologram’s capabilities and how technology can help the studio design proposals. Gwyllim combined the original design of the hanging knits with his own script to create a series of wires that would provide a formwork. The Hololenses were used to show the desired shape of the wire prior to fabrication, since each piece of wire and angle of the bend were unique. The bent pieces were then attached using zip ties, which made it easy to assemble and disassemble for use as removable formwork. The Hololenses were also brought to Mainframe so that the projects could be seen to scale in the space.
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FOLOGRAM WORKSHOP
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MESOPHASES | Design Proposals 44 | Constructing Textiles | Spring 2019
Mainframe Studios has evolved from its origins as a data center to a community arts hub driven by the mission of providing affordable studio space to the artists of Des Moines. From its digital beginnings to its collaborative present, innovation and connection have animated the history of this space. With this same spirit, interdisciplinary teams of design students from Iowa State University developed a series of proposals for an installation in the building’s atrium. This installation utilizes craft and construction techniques developed specifically from studying textile construction and plaster casting. Each proposal capitalizes on a specific strategy; CATENA uses sewn fabric molds to create modules for a cast, curvaceous, and perforated wall; LINK envelops the space with hand-crafted nets; REEF creates an immersive environment from knit structures made rigid by plaster. The development of these proposals would provide the bases with which to synthesize the final proposal: MESOPHASES. In the same way that community and disparate disciplines sustain Mainframe Studios, Mesophases brings together that which are supposedly in opposition – plaster and textiles, strings and walls, organic growth and modular forms – and reveals how those differences strengthen each other.
CATENA
In the 1970s, Charles Herbert designed both the College of Design in Ames, Iowa and a data center to house mainframe computers in Des Moines. While the College of Design still maintains its original function, the latter has transformed into a community arts center. Mainframe Studio provides affordable maker space for artists working in a broad range of media: woodworking, glass blowing, photography, letter pressing, game development, painting, dance, etc. In the same way that the original building’s fortress-like walls have been perforated to allow light in and make a more inviting space for artists, the modular wall system of Catena forms semi-opaque screens rather than solid barriers. Fabrics are soft: they are objects and planes used for clothing and expression. Concrete and plaster are supportive and resilient: they are used to support people, hold up objects, and strengthen buildings. The bulging plaster forms of Catena are achieved by channeling liquid plaster through a sewn fabric formwork, the pattern of which is generated parametrically. Catena is an example of how seemingly incongruous materials and purposes can coexist and bolster each other and enrich the human experience, in the process challenging preconceived notions of how people, purposes, and materials can respond to one another.
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LINK Through the use of plaster and textiles, Link will celebrate the collision of seemingly disparate materials to create a space that removes the viewer from the experience of everyday. This installation will envelop Mainframe Studio’s current and potential residents – studio artists, visitors, and pedestrians alike through a series of double-curved knit textiles. In this way, it will highlight physical, metaphorical and temporal space by physically changing how the lobby is occupied. Link will create something for the communities that work in and around Mainframe Studios to maneuver through and in doing so gesture towards the site’s past, present, and potential futures. The form of the installation, a series of suspended and stretched knit textiles dipped in plaster, first recalls the wiring of the building’s original mainframe computers. This form simultaneously points towards what Mainframe Studios is today: a space that facilitates connections, whether between an artist and their peers, the public and art, or artists and the public. Just as the double-curved forms would not be stable if their support systems were weakened – if the plaster were thinner, if the lateral strings were cut – the institution of Mainframe Studios, the artists it houses, and the public it supports are all intertwined. The space created by Link’s knit textiles is dynamic and fluid, but simultaneously steady and consistent, as though a moment were suspended and captured. The installation celebrates both the mutability that Mainframe Studios enables and the support that it represents. It is each element of a community’s artistic hub dipped in plaster and laid bare. Link captures that fluidity and structure – of artistic energy, of unhindered motion, of mutual trust and enrichment – and renders it indelible.
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REEF Reef addresses the relationship that artist’s spaces have with their surrounding communities by making the mutual results and benefits – organic growth, change, and redefinition – physical through a series of knit planes and plaster. In cities around the United States, artist space is a valuable commodity. Too often artists are priced out of their cities and workspaces, despite the fact that these spaces provide a tangible social utility to the surrounding community. Coral reef structures hold together the ocean ecosystem by forming habitats for an immense variety of plant and animal species. Central to the process of coral reef formation is accretion and decay. Like coral reefs, art spaces such as Mainframe Studios create the infrastructure to hold together communities, promote change, and frame diverse dialogues. In support of these goals, the Reef installation evokes the form and function of coral reefs by using a combination of yarn and plaster. Multiple knit planes will be attached together to create a large form reminiscent of coral structures.Its location – centered around a structural column – reflects the way that art has embraced the existing building, and its textures – a coating of plaster in some places, exposed textiles at others – reflects the stability and flexibility Mainframe Studios affords its artists. The installation represents and exists as a dialogue between art and architecture that Mainframe Studios enables. Much in the way that dedicated maker-spaces augment their surrounding communities, Reef serves to augment the space it inhabits. Reef renders physical the ways that Mainframe Studios, its artists, and its community push each other forward.
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MESOPHASES | Final Design 58 | Constructing Textiles | Spring 2019
NARRATIVE
Mainframe Studios was originally intended to be a space for computing but has since evolved into a space to house artists. Each form that the space has taken has been about connections, whether digital, physical, or communal. Mesophases, an installation by an interdisciplinary studio at Iowa State University, addresses the connections that drive Mainframe Studios. This is achieved through plaster and textiles; differing applications of the two speak to different parts of the studio’s story. The column in the center of the atrium has been wrapped in a piece designed to evoke the form and community-building aspects of coral reefs. The large knits underline the interconnected nature of the building’s residents, management, and community. The walls inside each planter take the modularity of a computer bay but make it porous and permeable. Just as Mainframe Studios brings together a range of disciplines under one roof, Mesophases combines several material applications to underline their connections. Without the walls, the large knits would have nothing to emerge from; without the coral column, the installation might be more contained than the building’s artistic community is. In the same way that Mainframe Studios is strengthened by its variety of disciplines, this proposal brings together things that are supposedly in opposition – plaster and textiles, strings and walls, organic growth and modular forms – and reveals how their differences strengthen each other.
UNIVERSAL CONCEPT Mesophases are intermediate states of matter, embodying flexibility and malleability by taking many forms and definitions. In this interdisciplinary studio, students discovered boundless opportunities in form and texture by forging a relationship between the rigidity of plaster and the expressiveness of textiles. This intermediate state not only describes the medium of the project but the site that it is set. Space, and the function of said space, adapts and evolves to whatever is placed within it. We wanted to utilize the fascinating qualities of different combinations of plaster and textiles to create an experience that draws people into the atrium space of Mainframe Studios. Mainframe Studios connects the practitioners of many different artistic disciplines to the wider Des Moines community. In order to celebrate and represent this community, this installation combines three Mesophases of plaster and textile, respectively titled Catena, Link and Reef, to create one holistic experience for all.
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MESOPHASES | Design Components 64 | Constructing Textiles | Spring 2019
PLASTER WALL
The inspiration of the plaster walls is rooted in the past of the building and its occupants. The building’s first purpose was housing for mainframe computers. The installation pays homage to this history by including modular wall designs with large linear and round voids to represent circuitry. It also uses a mesh to reinforce the plaster and fill the voids with even more visual networks. These walls occupy the planters of the lobby, which are original to the building and became derelict when Mainframe Computers left. They became an anchor in the design: each contains four of these wall modules, positioned like a diamond to echo the form of the planters outside. They also anchor the hanging knits, with the walls wrapping around the beginning of the knit portion of the installation.
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FOLD FABRIC OVER MESH
PIN DOWN EDGES TO HOLD IN PLACE
MARK OUT GRID
SKETCH OUT PATTERN
USE STAPLE GUN TO HANG FABRIC TO FRAME
CLAMP THE EDGES
MIX PLASTER
CUT SEAMS TO RELEASE CAST FROM FABRIC
ROTATE CAST
POUR MIXTURE OF 3 GALLONS OF WATER AND .75 BAG PLASTER
ADD IN DOWELS AND WAIT UNTIL MIXTURE HARDENS
REMOVE FABRIC CAST FROM FRAME
PLACE CAST INTO BASE USING DOWELS AND DRILLED HOLES
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MEASURE FABRIC TO 80” X 36”AND MESH TO 36” X 44”
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PANEL SIMULATION | GRASSHOPPER
Panels were generated by an algorithm known as Wave Function Collapse, which was then implemented using Processing 3. The algorithm works using a grid of “slots” and a list of “modules” that can fit into each slot, along with rules on what modules are allowed to neighbor each other. The algorithm then keeps a list of every possible module that can go in every slot, and eliminating modules from this list by analyzing the possible modules in each slot’s neighbors. The user can also directly choose what module fits into a particular slot, which causes the algorithm to update surrounding slots to remove what modules no longer fit there. The resulting patterns were then brought into Rhino and inflated using Kangaroo, a Grasshopper plugin that simulates physics. This produced a mesh that roughly reflected how the pattern would look when sewn and cast. Much of this process was borrowed from the Kudless workshop.
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HANGING KNITS
The hanging knits are inspired by the network between art, technology, and the community. The knits are anchored into the cast plaster columns inside each planter and stretch to various points on the walls and beams. The colors of the knits are coral and white, linking the coral column and the white plaster modules together, a physical representation of the connections between technology, artists, and the community beyond. While the building is built like a concrete fortress, the knits represent the space’s – and Mainframe Studios’ – flexibility and interconnectedness.
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ANCHOR FULLY KNIT SURFACE INTO CASTED COLUMN
PLACE KNIT AND ANCHOR IN THE CENTER OF PLASTER WALL ASSEMBLY. STRETCH KNIT TO POINTS ON THE ATRIUM WALLS.
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USE A CONSTRUCTED 20’ LOOM WITH PVC PIPE, SPACED 6” APART, TO KNIT THREE YARN BUNDLES TOGETHER
CORAL COLUMN
Just as the plaster walls and hanging knits engage with the atrium’s planters, the knit in the center uses the atrium’s structural column as an anchor and asset. The piece is inspired by the connections that Mainframe Studios affords its artists and the community at large, taking formal inspiration from coral reefs. This form is achieved with panels of handmade knit textiles and balloons: the balloons form the bulbous shape of the piece and the plaster gives it structural integrity. In the same way that populations develop in underwater colonies, Mainframe has formed and nurtured an artistic community in Des Moines to flourish.
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INTRODUCTION EXPLORATION PROPOSALS
HAND KNIT 5 FABRIC SHEETS TOGETHER
RUBBER BACKEDRATCHET STRAP
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USE KNITTING MACHINE TO PRODUCE ”X#” OF FABRIC
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MOVE DRIED STRUCTURE UP AND SUPPORT USING RATCHET STRAP
REPEAT AND ASSEMBLE THE SECTIONS
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USE BALLOONS TO INFLATE THE SHAPE AND THEN COAT THE FABRIC IN PLASTER
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FABRIC FITS UNDER
MESOPHASES | Design Construction 74 | Constructing Textiles | Spring 2019
Construction of Mesophases took place in both our studio in Ames and on-site at Mainframe Studios. The plaster panels began as templates, made of three layers of fabric, sewn together, which were then placed into a wooden framework to aid the casting process. Once mostly dry, the outer layers of fabric were peeled off the plaster form, but the central layer of mesh was left intact. Each of these panels were cast with two wooden dowels extruding at the bottom to allow for easy and strong installation within the planters. The hanging knits were made prior to installation in Mainframe Studios. Four - 20’ looms were created using 2x4s and 2� PVC pipes cut to 4 inches in length. This gave the desired gauge and helped maintain consistency. They were all hand knit using a combination of 3 one-pound spools of yarn - some all white and some a combination of white and coral. Each knit took around 6 hours on average to complete. The knits are installed using toggle bolts in the wall and tensioned to the floor using plaster cylinders which were cast within Sono tubes. The knit panels used on the structural column were made using knitting machines. They were sewn together on site, secured in place using ratchet straps, and filled with balloons to create a desired form. Once the whole column was prepared, plaster was painted on from top to bottom, with the bottom given a thicker coating for support. Lastly, a small team designed an exhibit to showcase the process work that was behind this final design.
76 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
78 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
80 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
MESOPHASES | Final Installation 82 | Constructing Textiles | Spring 2019
The final installation of Mesophases took place in Des Moines at Mainframe Studios. With a combiniation of a central plastered, coral knit column, hanging knit membranes, undulating plaster walls, recycled plaster foundation, and a complete exhibition housing the site model and previous examples of work, the installation process was completed. The atrium space was cleaned and prepped for the final review.
84 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
86 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
88 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
90 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
MESOPHASES | Final Reveal 92 | Constructing Textiles | Spring 2019
Upon the completion of the Mesophases installation, the project’s final review was held within the Mainframe Studio Gallery. After completion of the review session, the installation was opened to the public. Mesophases will remain house within the Mainframe Studio atrium throughout the summer of 2019.
94 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
SITE MODEL
96 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
EXHIBITION DISPLAY
98 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION
100 | Constructing Textiles | Spring 2019
REVEAL
INSTALLATION
CONSTRUCTION
COMPONENTS
FINAL DESIGN
PROPOSALS
EXPLORATION
INTRODUCTION