By Mark Garcia
Concentrating on the intersections among textiles and architectural layout, this identify communicates the complete diversity of chances for a multidisciplinary layout hybrid. It examines the generative recommendations, kinds, styles, fabrics, methods, applied sciences and practices which are riding this cross-fertilisation in modern city and architectural layout. Architextiles symbolize a transition level within the reorientation of spatial layout in the direction of a extra networked, dynamic, interactive, communicative and multifunctional kingdom. The paradigms of favor and fabric layout, with their exact, sped up aesthetics and skill to include a burgeoning, composite and complicated diversity of homes comparable to lightness, circulate, flexibility, floor, complexity and move have a traditional affinity with architecture's shifts in the direction of a extra liquid country. The preoccupation with textiles in structure demanding situations conventional perceptions and practices in inside, architectural, city, cloth and style layout. Interweaving new designs and speculative initiatives for the long run, Architextiles, brings jointly architects, designers, engineers, technologists, theorists and fabrics researchers to solve those new methodologies of fabricating space. Contributors include:Dominique Perrault (DPA)Lars Spuybroek (NOX and collage of Atlanta)Will Alsop (RCA and SMC Alsop)Nigel Coates (RCA and Branson Coates Architecture)Matilda McQuaid (Cooper Hewitt Museum)Ron Arad (RCA and Ron Arad Associates)Tristan Simmonds, Daniel Bosia and Martin Self (Arup complicated Geometry Unit)David Wakefield (Tensys)Dagmar Richter (UCLA)Peter Testa and Devyn Weiser (Columbia college and Testa Architecture)Tom Verebes, Yosuke Obuchi and Theodore Spyropoulos (AA_DRL)Robert Kronenburg (University of Liverpool)Anne Toomey (RCA)Bradley QuinnMarie O' MahoneyMark Garcia (RCA)
Read Online or Download Architextiles (Architectural Design November December 2006 Vol. 76 No. 6) PDF
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Additional resources for Architextiles (Architectural Design November December 2006 Vol. 76 No. 6)
As a first-year architecture student at the Architectural Association in London in the late 1960s, Will Alsop found a piece of black velvet and stuck it into his sketchbook. Intrigued by its sensuous and tactile qualities of light and texture the impression of these qualities have remained with him to this day, when he expresses concern over the lack of truly sensual and expressive urban design in the UK. Alsop’s generation of practical, spectacular and sculptural architecture has been linked to his fine-art-based research methods.
The best buildings are a different take on the idea of a building. For a long time I was interested in camouflage and the idea of denying a presence to the building. ’ In his prolific and productive use of textiles, Alsop’s work with new technologies in realising his projects opens up new territories of research. He is in awe of how far the technology of fabrics has come in his lifetime: ‘ETFE is relatively recent, you can do extraordinary new things with it. There are also incredible new things we can do with ceramics, which in tensile form have extraordinary strength that no architect is yet exploiting.
With digital technologies we have the means to build, print or cut at any scale, from the town as a whole, to walls that divide and enclose, to the things people use in their living spaces. The Fiorella lamp I designed recently turned out to have an ideal outline for a green space. The data used to lasercut its original prototype was easy to transfer to the plan of Raspberry Park on E-voluton’s riverside. Each of its giant flowers would translate into a clump of trees. From the ground the park would have the mysterious qualities of a naturally seeded wood, but if coming in to land at London City Airport, one would read its pattern as a giant urban hieroglyph.