Parallel methods in the construction of clothing and the fabrication of architectural surfaces are nothing new. What interests me is the potential that lies in the intersection of these two disciplines, and in particular, what architecture can learn from the fashion industry. Pleating, pleating, wrapping, knitting and gathering are some of the techniques that have the potential to be adopted from clothing patterning/design and utilized in the construction of architectural surfaces.
With these techniques, along with other similar methods of garment design and construction in the fashion industry, I aim to experiment with paper and fabric to produce formal models for architectural use. The Dutch designer, Jongstra, has applied the fabric to the interior surface in such a way that gives the architect 'the opportunity to bring something theatrical to (the) space as well as create an interior texture.'4. By using a material that can be manipulated in the same way that fashion designers already do, and then applying it to architecture, it suggests that matter has the potential to be manipulated in a theatrical way - not only in terms of aesthetics, but in the way in which a fabric-building skin can affect its internal environment.
Jongstra has applied the fabric to the interior surface in a similar manner, 'which offers the architect 'the opportunity to bring something theatrical into (the) space and at the same time create an interior texture.'6. His 'Inside Out 2Way Dress' was created with the idea of 'taping' the dress together using 'seemingly random strips of opaque'17 fabric.
03 ARCHITECTS WHO LOOK TO FASHION DESIGNERS
Rapunzel,” a waterfall of blonde locks created using the computer and CNC-milled plywood. Folding has been adopted by architects as a "device to create greater visual interest through dramatic effects of light and shadow on the exterior surface of a building and to manipulate the volumetric forms of the interior."27 Folding is one of the essential techniques that make it enable the idea that structure becomes a surface skin and vice versa.
FOA (Foreign Office Architects) looks to explore origami and the use of the Hokusai wave in their Yokohama International Cruise Terminal. Toyo Ito and Associates TOD's Omotesando Building in Tokyo is an example of the building's structure also becoming a decorative surface skin of patterned glass and concrete. Just as architects use the idea of the "grid" and construction drawings, fashion designers have pattern making.
The relationship between the flat pattern pieces and the three-dimensional structure of the garment never changes. Pattern cutting by adapting shapes from block patterns can be traced back to the mid-nineteenth century. This can be a plane, but it can also be a cylinder, a cone, or any of the many other curved or folded shapes that can be made from a flat sheet that is dimensionally stable and cannot stretch, but can be cut and limes.
In the example of the roof for the British Museum's Great Court, this method had to be used to find the structural subdivision of the complex, arched dome into glazed facets. Through the manipulation of the fabric, it allowed a simple two-dimensional material (constructed from a continuous thread) to take dynamic form. If a designer is trying to make a pattern for a garment that needs to be draped or stretched to get the desired shape, then a softer variation of the fabric used on the final garment or a fabric with more rack is used to draw a pattern.
In addition to the puckered seams, the entire length of the fabric breaks out into irregular roll folds. This idea of 'making miniatures' of the design product to aid in the design process is something that is already used religiously in the architectural design process. Although larger scale models are usually made to experiment with the layout of the space and the construction of the necessary essential structure.
This makes it easier to understand the overall shape and create patterns based on the slanted block (pattern) silhouette.'49. The practice of using a mannequin to wrap, cut, glue and glue a fabric over and around the human form is an exciting way to produce a garment and designers/pattern makers may need to use their eye to determine that what works in terms of form. and the fit, of the overall makeup and whether or not the garment will be visually appealing.
Through the age of attempted restoration of ruins in Rome; 'the ruin as a ruin'. George Wightwick (visiting the Forum in 1825) Architects and architectural theorists of this time were passionate about preserving 'the ruin as a ruin.' The restorers, who try to rebuild the ruined building as it was, do not appreciate the existing condition of the ruins themselves and what they have to offer in terms of inspiration for new form. However, the exhibition of this ancient 'carcass' will not be the building's only purpose.
Some may think that the site should be preserved and made into a reserve, but the power of the building will endeavor to 'make' the site more than it currently is. As the design of factory space is primarily 'program-driven' rather than 'form-driven', the building should be exempt from potential 'difficulties in fitting all the complex functions of the factory machinery into the building form'66. The general form. of the factory area will therefore be functional. Based on functional requirements for the machinery, the design is essentially a linear box which runs along the north/south axis of the site.
The advantages of an open floor plan are the possibility of reusing the space or adapting it later (just like the ruins provide for this design). This joining and "dissection" of the existing skeletal formwork is where the "fat" needed to create the body of the building is added. The interaction will take place in a circular core – a central shape extruded over part of the ruin.
Yet the skin is not just a structure for the functioning of the body, but also a fundamental sensory organ and contributes to the delineation of a body in the phenomenological world. The horizontal box is wrapped in black calico and the vertical (drying tower or chimney) wrapped in the natural raw cream color to define and accentuate the connection of the two shapes. To utilize the sun's energy, the north-facing facade at the rear of the site is therefore oriented to capture optimal light.
By using materials with the ability to 'muffle' or 'buffer' the noise of the machinery, the internal spaces will become that of an enlivened building. The study of the body and architecture is an important part of the design process, in terms of how the body responds to the design of the building. The philosophical alienation of the body from the mind has led to the absence of embodied experience from almost all contemporary theories of meaning in architecture.
The study of body, mind and architecture will ensure that the building itself will determine how we experience each space emotionally and ergonomically. The role of the mannequin in the design process has proven to be an extremely effective tool in creating unique and innovative designs.
