2nd International Conference on Flexible Formwork

The University of Bath is organizing a 2nd International Conference on Flexible Formwork (icff 2012) on June 27th to 29th 2012. The website is up and you can now send in abstracts (deadline 1 September for 200 words) and/or register for the conference.

http://people.bath.ac.uk/jjo20/icff/ICFF2012/Homepage.html

Dissertation Presentation Meeting

McClay Library Group Study Room 10 is booked for 3-6pm tomorrow (Thursday 3rd November)

Intelligent fabric : responsive architecture

To cut, fold, wrap, crease, tie, tuck, knit, knot, bind, weave, stitch, attach, stretch, shrink, puncture, twist, curve, and bend.  The versatility of fabric is vast, the forms, textures and patterns created through its use are endless.  Through the many benefits of tensile architecture including inherent day lighting capabilities, increased insulative value and reduced material usage therefore reduced cost, along with flexibility in form, freedom in design and advances in fabric technologies it is not surprising that more and more architects are utilising architectural fabric membrane within their designs.

Though looking at some historical examples of the uses of fabric in structure, such as the obvious Teepee of the North American Indian, a simple light weight timber structure wrapped in a fabric skin, secured in tension with pegs; the use of Shitomi (latticed shuttered) and Undare (Rattan blinds) in the traditional buildings of Japan used to prevent heat coming into the building and to block sunlight while allowing air to pass through the structure with Shoji Screens used as a way of drawing light in and dispersing it throughout a room; the use of fabric in Poze cu Piazza Maggiore Bologna, Italy for idendity and solar shading and the simple forms of stretched fabric use in the market squares of Burgos Plaza Mayor, Spain, I will look for comparisons in the principles for using fabric in architecture today.

An early example of the contemporary use of fabric in structure is an air-supported pool enclosure built in 1957, Buffalo, NY, USA by Birdair.  Since then fabric has been used in a vast range of structures, including museums, shopping centres and sporting arenas.

The Milestones of Flight Museum for the Royal Air Force, Hendon designed by Feilden Clegg Bradley Architects LLP is essentially a barrel vault with a continuous roof light at the apex which allows daylight to fall on to the back of the fabric panels which internally clad the stainless steel structure and also acts as an environmental filter preventing harmful UV light from damaging the exhibits.  FCB also utilise fabric structure in the construction of the National Cold War Exhibition Museum at RAF Cosford.  The two elevations of the short ends of the building are filled with translucent fabric panels on demountable steel frames to allow aircraft to be taken out or replaced, and also provide diffuse daylight for the full height of the cathedral-scale interior.

Although tensile architecture is often seen as a temporary, removable solution, the advances in fabric coating technologies (incuding Tensotherm™ with Lumira™ aerogel, PTFE Fiberglass, PTFE High Translucency, PTFE Acoustical Liner, TiO₂-Coated PTFE Fiberglass, Kenafine, PVC, and PVC Mesh) mean an architectural fabric membrane can have a life expectancy of over thirty years.

“Arch. Enzo Eusebi of Nothing Studio has designed a “fabric church” that is planned to be built in the city of L’Acquila, Italy, by the end of 2010.  The Church of the Resurrection will be built in memory of the 307 victims of the earthquake that devastated the principal city of the region of Abruzzo in April 2009.  The project’s skin will be made of a translucent fiberglass membrane. The design is inspired – according to the architects – by the emergency facilities, and seeks to implement the concept of “Zero Impact” by using so-called low-tech construction methods.  The construction consists of a laminated wood structure and a triple-layered membrane that allows adequate thermal isolation while allowing the passage of filtered natural light.” (http://151.1.148.132/nothing/progetto_ing.asp?id=420)

Innovative design strategies such as organic solar, where nanotechnology is used to deposit or “print” a photo-active material to convert solar energy into electricity, opens up even more possibilities in terms of sustainable design through fabric. This “active” layer is extremely thin — only a few tenths of a micrometer thick, i.e. less than 1/1000 of a silicon cell, so potentially extremely cost effective. (http://fabricarchitecturemag.com/articles/0509_f1_photovoltaics.html)

 Other advances include a fabric wall, activated by a thermally-sensitive bi-metal system, which responds directly to heat conditions within the double-glazed window to open or close the fabric and automatically regulating the temperature of the internal space.

“This interactive shading system—designed originally by recent architecture graduate Brent Vander Werf for the University of Arizona’s entry into the 2010 Solar Decathlon House competition—utilizes a bi-metal element in combination with shade fabric to create a self-regulating system that requires virtually no maintenance. Vander Werf’s “Compliant Shading Enclosure” [patent pending] creates a movable mechanism set within the air gap between the double glazing of a wall in the UA’s solar house. Powered by the energy of the sun, the mechanism expands or closes in response to heat levels in the airspace to make the fabric opening the correct size to meet the desired comfort level.” (http://fabricarchitecturemag.com/articles/1110_f1b_responsive_shading.html)

Group Meeting 19th October

The group meeting tomorrow will take place in the McClay Library, Second Floor, Group Study Room 9, from 10.00 to 12.00.

Stitching Concrete - Florian Schmid

Florian Schmid is an industrial designer based in Munich. His Stitching Concrete Project uses the material Concrete Canvas - a flexible material, reinforced by fabric fibres running through it. The canvas is folded into the desired shape and the edges stitched together. It is then supported on a wooden mould, soaked in water and allowed to harden for 24 hours. The final product is waterproof, fireproof, UV resistant and durable. Schmid combines the softness and warmth of the fabric with the stability and durability of concrete.

Atelier Manferdini

Their work focuses on using laser cutting technology to make all kinds of things from clothing to architecture.

The Parallels Between Fashion and Architecture

Looking into the parallels between fashion and architecture by examining the similarities in processes and practice between the two fields.

While the fashion designer and the architect create a final piece that greatly varies in scale and materials used, there is a constant link between the processes, visual and intellectual principles that drives the two disciplines towards a finished object.

Although these two fields work under different objectives, both aim to protect and shelter the body, while expressing identity, from personal to political. I hope to examine the common thread that runs between these areas, looking at how one draws inspiration from the other, lending and borrowing techniques, materials, vocabulary and strategies.

Over time the development of technology has heavily contributed to changing elements of architecture and fashion. I will create a timeline that highlights the technological developments and the resulting effects on fashion and architecture. The use of textiles, weaving, draping and folding is integral elements of both disciplines.

I hope to speak with both architects and fashion designers, to comprehend the similarities of both in taking an idea through to a 2d image to a final 3d object. I hope also to speak with students of both fields to track the teaching and thought process that they are taught is the basis of good design. I also hope to look at case studies of both, including spaces that bring together both architecture and fashion, drawing comparisons and contrasts to create logical conclusions.