The Final Cut
Transformations of laser-cut textile surfaces for placemaking
By Namkhang Anomasiri
Degree of Master of Fine Arts in Design - Spatial Design Konstfack - University of Arts, Crafts and Design Supervisor degree project: Kristina Fridh
Examiner degree project: Kristina Fridh Supervisor report: Maria Perers
Examiner report: Tor Lindstrand Spring 2021
ABSTRACT
My project explores the possibilities of shaping space using lightweight textile-based elements. The focus is on the transformation of surface patterns into three-dimensional forms, using analogue parametric design with laser-cut beds as a main testbed. The result is a smorgasbord of prototypes: spatial configurations that divide and define space. Each design is a permeable three-dimensional form that projects a unique pattern of shadow and light. The basis of my project comes from an initial investigation of Uppsala public libraries’ needs for flexible solutions. The libraries have housed many civic activities that I have experienced in recent years since moving to Uppsala in 2018. With their requirement of multiple types of use, I propose using fabric infrastructure as configurable room dividers. I use discarded textile (used carpets, fabric remnants) as the starting point for each prototype. The material itself imposes certain restrictions on the work. Each new piece of fabric acquired a problem waiting for a solution. In this sense, the finished prototype constitutes a solved puzzle. One key objective is to create designs that are flexible while still being robust enough to be portable. Another key objective is to create inviting and organic designs. While I used laser cutters to cut the fabric into precise patterns, I allowed gravity and light to create an imperfect and organic end-result. However, the outcome of my experimental exploration is a system and a technique for making use of discarded textile materials to create atmospheres and spaces.
Keywords: Material Driven Design, Analogue Parametric Design, Imperfection, Textile Architecture, Temporary Architecture, Waste reimagined
TABLE OF CONTENTS
ACKNOWLEDGMENTS 4
INTRODUCTION 5
DESIGN PROCESS 6
Field studies — Sites: public libraries, Uppsala 6
Form-finding for space-making 7
Infra-ordinary and materials 9
Pattern and proportion 9
Object and its spacious shadows 13
Material-driven design methods with an analogue parametric design 13
Prototype no. 1 Gravity Screen 16
Prototype no. 2 Weaving Space 18
Prototype no. 3 Stalagmites and Stalactites 19
Prototype no. 4 Murmuration 20
PROPOSAL 22
DESIGN REFERENCE 28
CONCLUSION 29
ACKNOWLEDGMENTS
I have learnt and enjoyed (almost) every single moment of the Spatial Design programme—friends, teachers, and guest lecturers. My degree project allowed me to try things that I did not know before.
My fascination and confidence in using laser cutters comes from Francisca Lagerberg. Nina Svensson cheered me on, and gave great advice on how to work with textile. Svante Tirén gave a thoughtful introduction to the world of ornaments. Johanna Enger supervised and gave advise on lighting techniques.
Rebecca Ahlstedt and Tor Lindstrand, who interviewed me during the admissions process, helped me develop and enrich my design language: material driven and geometric design methods.
I am very grateful for the wonderful guidance from my tutor, Kristina Fridh, who gave me the encouragement, academic motivation, and personal support I needed to get through the tough times. Kristina also connected me to Ulrika Mårtensson, who provided lots of helpful advice. Kristina and Ulrika both gave me fascinating insights into the textile art and design industry.
Lastly, my daughter Malí and my better half Jakob Engstrand gave me ALL the support anyone could ever ask for.
INTRODUCTION
With a background in architecture, I am on a quest to change the narrative of how we build and what materials we use. In this project I propose a design process that repurposes discarded and left-over fabrics (used carpets, carpet and curtain remnants). The Italian design and research studio Gisto has argued that designers should start with the materials—to recover the value of existing materials and then let the constraints of the material lead the designer . This struck a chord with me. For many 1 years I have seen good left-over materials go to waste, because designers and architects are so focussed on their main project. Valuable materials are usually recycled, but it seems that left-over textile and fabric often go to waste. I wanted to change that, and to also gain more experience in designing and working with fabric in general.
I started to frame my thoughts by visiting public places and asking questions. In February 2020, the Covid-19 pandemic had just begun in Sweden and I chose to visit the Uppsala city library. The library is a socially energised place and has started with a renovation plan of the children's department. I had some really interesting conversations with the staff. I first explained that my project was about creating ambiance by creating and dividing space. I asked what they considered important, and they gave me lots of valuable ideas as they showed me around the library halls.
They wanted functional interior elements that divides and define spaces, either passively or actively. They said they need a design solution that the staff can easily manipulate and direct themselves.
To soften and let go of normative views on how we (architects and designers) build, I have
established my experimental exploration mainly focusing on materials and making within interiors and interiority (Sennett 2016, YouTube).
A project by Studio GISTO, called Multiplo - Transformation in Design Available: www.domusweb.it/en/
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Regarding societal and environmental issues, my aim is to develop an individual deep understanding of the making of our material environment, a material’s value and life cycle—including rethinking, recycling, reusing, and disposing of energy. Hopefully the aim will signal other designers with an approach in design process on how we choose and use materials to build.
I set out to work directly and intuitively with existing discarded materials (used carpets from Stockholm Furniture & Light Fair 2019, carpet remnants, curtain and upholstery fabric remnants from AB Ludvig Svensson). I started with sketches, drawing, modelling and prototyping at smaller scales through full size with configurations based in geometry. Focusing on thin materials and deploying an analogue parametric design, my project is to formulate and explore possibilities for 2 shaping spaces with textile, both material and spatial properties. A set of design problems is
considered: the structural integrity of textile, gravity force, three-dimensional patterns, permeability, technique and stability. The aim of the project is to explore new flexible design solutions for textiles to temporarily divide and define spaces in a public space. Ultimately, that means to transform existing sites or buildings with lightweight space enclosure, to rethink how we condition space, to create rooms within rooms and atmospheres.
DESIGN PROCESS
Field studies — Sites: public libraries, Uppsala
Public libraries are community hubs, as many public events are held there. They house not only books but also all sorts of activities, such as Swedish language coffee hour, storytelling for children, poetry readings, and all kinds of workshops. They are indoor public spaces that don’t charge you money; street beggars can go in and stay warm in winter time. Everything happens at the libraries. February 2020, I introduced myself to librarians at Gottsundabiblioteket and Stadsbiblioteket and
parametric (adj) relating to the parameters of something (meaning in the Cambridge English Dictionary) In
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asked what they needed. In brief, the collective requirements were: 1) elements of hanging systems to define different spaces in multipurpose rooms, 2) temporary construction (not a fixed shell) that responds to multiple use, and 3) visual permeability for librarians. I concluded that they need design solutions for defining space with visual permeability, that are adjustable in dimension by everyday people and also helps with acoustic concerns. The devices need to allow for spaces that can be both dedicated to a single individual (metaphorically how children build their huts), and to a large group of people. I was clear that what the library staff wanted was a mobile solution that can easily enable adaptation and change.
Form-finding for space-making
I began exploring possibilities in form-finding and space-making with anti-preconceived form. Frei Otto’s series of experiments with soap bubbles was my point of departure for geometry-based 3 experimental exploration. Frei Otto’s lightweight and tensile structure innovation inspired me to test and explore a relationship of form, structure and material. The initial part of the degree project was mainly focused on model making using folded, cut, modular origami, Snapology (designed by Heinz Strobl ), or pressed paper and other flat materials. My procedure starts by sketching, then I make 4 physical models, then I do drawing, and then I scale up/down physical models with available actual materials. To avoid using computer-assisted design tools and staying away from flat computer screens is also my main concern. Using 3D modelling software helps to visualize forms in limited controlled environments, but many factors from unpredictable circumstances will be missed. To shape forms and to sense tactile feeling of materials is intended to gain directly through hands and fingers. With translation from paper models to textile models, I also realised that working with
Frei Otto (31 May 1925 – 9 March 2015) was a German architect and structural engineer, who was a pioneer
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in lightweight and tensile structures. As I wanted to challenge myself to preconceived forms approach in architecture, I had been recommended by Tor Lindstrand to Frei Otto’s experiments.
Heinz Strobl, the creator of Snapology. Snapology is one kind of unit origami which uses only strips of
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Fig 1. Index-like images of 54 days (121 days in total). A simple idea of making a model everyday for 121 days and sharing my progress online via Instagram. #121daysofspring
textiles in smaller and full-size scale models is confusing, while drawings are not able to illustrate the behaviours of textiles. The strength of paper is also different from textile in general. At this early stage, a design process was not clearly formulated. Nonetheless, a main idea remaining was how to occupy more space with lightweight structures or less materials.
Infra-ordinary and materials
Thinking about the Everyday
How should we take account of, question, describe what happens every day and recurs every day: the banal, the quotidian, the obvious, the common, the ordinary, the infra-ordinary, the background noise, the habitual? — Georges Perec
Perec,G, L’Infra-ordinaire, Cause Commune (Perec 1973)
As a daily realm seeing piles of post-used industrial carpets and unmatched coloured fabric
remnants, I set out to work intuitively with the materials without prioritising any colours, patterns, or textures. I created at least one model every day for 121 days (Fig. 1) in order to explore how paper and textile can influence a space, and how to combine various materials in relation to one another. I had no predefined concepts and forms in mind. Practicing and reflecting at daily rituals, is a core of a practice of making and thinking by hands. To gain a deep understanding, I wanted to connect my head and my hands. The result of this process and way of making is an inventory of my own learning experience through materials and of materialising ideas resourcefully.
Pattern and proportion
To develop a deep understanding of patterns that I am interested in, I tried to capture patterns of birch-tree branches by tessellating in polygon cells (Fig. 2). It turned out to be very complex. In 5
to tessellate (v) (of shapes) to fit together in a pattern with no spaces in between. In the Cambridge English
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Fig 2. Early method for form-finding. Extracting open spaces between branches by using paper polygon mesh. Fig 3. Early drawings and models. Simple laser-cut patterns within felt materials and various manipulative ways to
transform flat surfaces.
Fig 4. Studying with a model and a mockup to understand the behaviour of the felt and to achieve expected shapes Fig 5. Testing ~ 3 m. height mockup while gravity pulls all connected units down and makes an overall silhouette
narrower.
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comparison of two branch samples, their branch orderings were different. Why do we, as humans, deploy patterns in our man-made environment? Forms of regularities in the surrounding seems to be one answer among many. Popper stated specifically about order, nature and human need in this passage:
It was first in animals and children, but later also in adults, that I observed the immensely powerful need for regularity—the need which makes them seek for regularities.
K.R. Popper, Objective Knowledge (Gombrich 1979, p.1)
My analogue process of pattern-making was based on each material’s property, proportion, and behaviour. I deployed paper-cutting techniques on a variety of textile materials to stretch and add geometric precision. Then I manipulated them by adding solid components to provide support and structure (Fig. 3). Observing their physical performance, working with the nature of materials against gravitational force, is to form patterns directly in the materials themselves.
With the constraints of the material, the basis of the pattern-making was to manipulate flat sheet fabric into three dimensional forms with visual permeability, acoustic quality, and planning of operations. When scale, dimension, and proportion are being discussed, actual dimension is still depending on individual perception. Neither 0.50x0.50 nor 1:1 scale unit has the same value (Fig. 4). To multiply small-scale patterns, or to apply bigger patterns, depends on how users or designers want three-dimensional space to be perceived. Irénée Scalbert pointed out that the dimension of William 6 Morris Willow Bough and Kelmscott pattern was a 1:1 translation of an actual Willow tree. The pattern is well-proportioned. Not too big, and not too small.
Irénée Scalbert is an architecture critic based in London. He gave an online lecture: William Morris,
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Fig 6. Prototype no. 1 testing with three artificial light sources. Perception Studio. Fig 7. Prototype no. 1 testing with two artificial light sources. Perception Studio. Fig 8. Prototype no. 1 effecting with natural light 23.03.2021, 17:00, Stockholm Fig 9. Prototype no. 4 testing with one artificial light source. Perception Studio. Fig 10. Prototype no. 4 effecting with natural light 08.04.2021, 14:13, Uppsala
Object and its spacious shadows
In Thailand, close to the equator with hot humid weather, we learn at an early age to find and stay in the shade. Objects that offer shade and protection from the heat are often used to occupy spaces temporarily. That inspired me to think about how an object and its spacious shadow can turn into a temporary shelter. Another interesting function is the interplay of the mockups, lighting and patterned shadow effects on the floor and the walls, which is enhanced by natural light throughout the day, and artificial light sources by night. I had an idea to create ambient space with dappled lights, to make an enclosed space with less wall or free-wall and to occupy space passively, but I did not have time to explored that thoroughly, although I explored and documented continuously with both natural light and artificial light as a means of getting to what potentials lie beyond (Fig. 5-10).
Material-driven design methods with an analogue parametric design
The laser cutting machine was the main testbed for my experiments. In generating and exploring forms using analogue parametric design, various kinds of fabric are laser cut with different lines, shapes, and patterns. Parametric modelling software generate form depending on a set of data and computer algorithm, and altering the set of data generates a different form. In my case, the set of data was the variation of cut patterns, the number of anchor points, the distance of overlapping lines, the different kinds of fabrics, the number of layers, and the applied force—tension. Geometric
calibration and properties of materials (different thicknesses and layers) were applied manually (by adding more layers of fabrics or other materials like paper, and wood veneer). Once each piece had been cut, I observed how the force of gravity shaped three-dimensional forms. Additionally, when one or more layers of fabric are laser cut, the fabrics are heat bonded (melt bonded) together at every outer edge without sewing. Comparative analysis reassessment is consider with physic driven
Experimentation: Prototype no. 3 Stalagmites and Stalactites
Fig 11. One layer of fabric cutting with various four geometric patterns.
Fig 12. (Bottom) Two materials (textile, paper) cutting with oval patterns. Transformation of the surfaces are
completely distinct. The oval paper tuns into conical shape while the white-green fabric becomes a long line. Fig 13. Two layers of fabric adding stiffness into the pieces. They have more resistance against gravity than one
layer and also hold 3D shapes better.
Fig 14. Two layers of fabric with mixed square cutting patterns.
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Experimentation: Prototype no. 1 Gravity Screen Fig 15. Exploring with fabric thicknesses, layers, types.
Fig 16. Forms generated after hanging each unit in the air. (Bottom) The most rigid piece among others showing smooth bending curve with presence.
Fig 17. (Middle) Yellow and red fabric stiffened with wood veneer.
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This project has been a material and process driven search of possibilities in upcycling of used carpet and curtain fabric remnants, in order to shape space passively. After the early period of creating my own inventory, I chose four prototypes to develop further at larger scales. A design proposal was established, offering not one definite design but a smörgåsbord of spatial configurations. The 7 prototypes were developed in parallel, addressing five basic rules. First, each prototype was made of a single module with a systematic way to construct each based unit. Second, all prototypes were created with the same technique—laser-cut on flat materials. Each prototype was designed with one precise laser-cut pattern. Third, the spatial configuration of each mock-up needed to be flexible and adaptable. It should be able to form both horizontal and vertical surfaces. Fourth, permeable quality of enclosures were designed within the module units, which involved how cutting patterns were applied and gravitation on textiles. Fifth, the prototypes had to have a lightweight quality, which meant very low material intensity with very large occupied space. An aim was also to demonstrate a portable and foldable soft shell. (Prototypes no. 1, ”Gravity Screen”, and no. 2, ”Weaving Space”, got their names based on the process of making them, while prototypes no. 3, ”Stalagmites and Stalactites”, and no. 4, ”Murmuration”, were named by their final appearances.)
Prototype no. 1 Gravity Screen
This process started with striped cut pattern on felt floor covering. A few pieces of samples were manipulated by shaping or adding solid pieces of wood for the purpose of giving stability and
structure. A few samples were created (Fig. 3). A handpicked model with ≈ 55 cm. height to scale-up in size with the same material as the model (Fig. 4). A mock-up of a series of identical sections in a repeating pattern measured ≈ 3 m. in height but the gravity stretched and slenderised an overall shape (Fig. 19). The gravity and the identical sections formed an overall appearance of this mock-up into
The Swedish word smörgåsbord was adopted into English smorgasbord which can also mean ‘many
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different types of something that are offered' In the Cambridge English Online Dictionary. Retrieved from www.dictionary.cambridge.org/dictionary/english/smorgasbord?q=smörgåsbord
an organic shape. The mock-up was explored further in 3 matters: to stiffen based unit with various materials, to condition its spatial configuration (Fig.18,19).
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Prototype no. 1 Gravity Screen: exploration and experimental design process.
Fig 18. Top row. Pattern drawing and models. Connecting identical modular units. Cut flat sheets tuning into a hanging room divider.
Fig 19. Bottom row. Prototype produced to understand its behaviour and tested in different places to achieve a portable and foldable room divider.
Prototype no. 2 Weaving Space
Beginning with striped cut pattern on felt, I manipulated a 1:100 model by borrowing bamboo-weaving technique. This design outcome featured a turning pattern made out of twisted bands (Fig. 20). Developing further in a scale 1:1 prototype using the same material as the model, long and narrow strips of cut felt were woven by using custom-made acrylic joints (Fig. 21). The geometry was perceived differently depending on viewing angle, visual access in depending on the subject’s position. Unfortunately due to limitations of studio space and time, a development of prototype no. 2 was paused during week 16.
Prototype no. 2 Weaving Space: exploration and experimental design process.
Fig 20. Drawing of laser-cut pattern, laser-cut sheet felt, models, isometric. Felt ribbons woven together. Fig 21. Mockups with custom-made acrylic joints holding the ribbons and controlling varied gaps between
each ribbon.
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Prototype no. 3 Stalagmites and Stalactites
Starting with outlines of basic geometrical shapes (circle, oval, square, rectangular, pentagon,
hexagon) on end of roll curtain fabrics, concentric symmetrical cut patterns of the shapes were cut on the pieces. Once they came off the laser cutting bed, the ready cut fabrics obtained three dimensional forms or defined volumes of space from plane surfaces (Fig. 22). In a following step was an
analogue geometrical calibration in varying an amount of anchor points and concentric lines, in order to achieve two objectives: various pyramidal/cone/cylindrical units, behaviours in various thickness. A chosen form was almost like a column. While I installed them upward and downward, they formed stalagmites and stalactites, like in caves (Fig. 23).
Prototype no. 3 Stalagmites and Stalactites: exploration and experimental design process.
Fig 22. Top row. Observing expandable 3D forms. They are generated at multiple scales, dimensions, thicknesses.
Fig 23. Bottom row. Prototype in development process. Installing them in different spaces. Being adapted to different sites and creating atmospheric changes due to different quality of light and shadow.
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Prototype no. 4 Murmuration
Inspired by Frei Otto’s soap-bubble experiments, I started making a pyramid frame based on three triangular. For finding minimum surface on the frame, I dipped the pyramid frame into soap bubble solution, a thin layer of soap bubble attracted the frame and created the surface in between. The process continued with various kinds of materials at hand to imitate the bubble surface (Fig. 24). I tried stretching the cut fabric pattern along a rigid shape, but that did not turn out well. I realised that I should try and use as little fabric as possible. Then, by introducing semi circle wires, the structure became self-supporting, and took on an organic form (Fig. 26). Their shapes were reminiscent of a murmuration, the fluid shapes created when starlings fly together, coordinating and forming different patterns in the sky (Fig. 27-28).
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Prototype no. 4 Murmuration: exploration and experimental design process.
Fig 24. Top row. Experimental model with soap bubble and isometric diagrams studying of 3D surfaces. Fig 25. Bottom row. 3D wood frames with or without curved surfaces. The surfaces are different depending on
their own physical properties.
Prototype no. 4 Murmuration: exploration and experimental design process.
Fig 26. Top row. Physical manipulation of an expandable fabric hanging with curved metal wires. Fig 27. Middle image. Hanging points can be adjusted. It shows a smooth shape changing. Fig 28. Bottom 3 images. Different hanging points create a variety of 3D organic forms.
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PROPOSAL
Endless potentials of alternative spatial configurations for pubic space
My proposal is creative ways for reusing material that has been cast aside, into modular room defining systems for both indoor and outdoor use (in different contexts and conditions). The systems enable users to personalise and individualise their interior environments. The laser cutter makes it easy to quickly scale the designs and adapt new prototypes on site, decreasing the need of
transportation. The result of my project shows the potential as four prototypes: 1. Gravity Screen, 2. Weaving Space, 3. Stalagmites and Stalactites, and 4. Murmuration
Prototype no. 1 Gravity Screen consists of identical rectangular pieces, interlocked and held together with three custom-designed acrylic joints to make hanging structures. The structure is adaptable to different thickness and height. It can be used as a modular ceiling system, as a partition, and as sound absorption (Fig. 5-7,29,30).
Prototype no. 2 Weaving Space is a system of weave-able strips held up with joints and by tensions. It is a truly flexible model that can be applied as a partition, a canopy, or as an intervention (Fig. 31- 36). The movable joints, holding the turning and twisting bands, create endless possibilities for pattern proportion and size.
Prototype no. 3 Stalagmites and Stalactites. This prototype features hanging conical pyramidal self-expandable fabric pieces upwards and downwards (Fig. 37- 41). With high ceiling and open space at Seminariegatan exhibition space, I installed both hanging elements (‘stalactites’), and elements rising from the ground (‘stalagmites’), to demonstrate how two-dimensional surfaces can be turned into three-dimensional forms. Its permeability allows cross views to other students’ work. This prototype is interesting as it uses very little material, but still creates a large space. I was happy to see how it made the exhibition audience slow down, walk around and inspect it from top to bottom.
Prototype no. 1 Gravity Screen
Fig 29. Isometric diagram of spatial profile system: Portraying modular add-ons and variation.
(Top right image) Mockups with add-ons modular units at the top and in the middle of each divider. Fig 30. Isometric drawing. Vertical and horizontal spatial configurations. Various combination of dividing
and creating ‘room within room’
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Prototype no. 2 Weaving Space
Fig 31, 32. Outdoor use. A proposal introduce a woven textile intervention in Stureplan area. Fig 33, 34. Indoor use. Two woven screens varied in patterns’ dimensions.
Fig 35, 36. Indoor use. Canopy design with the same weaving technique.
Copyright: Background image of figure 33,35. Inside Uppsala Stadsbibliotek. Library Ranking Europe by Maija Berndtson & Mats Öström.
Prototype no. 3 Stalagmites and Stalactites
Fig 37,38. Models on laser-cut bed. The laser bed is where my experimental 3D forms generate.
Fig 39. Exploring a model outdoors. The model becomes semi-transparent. It catches the daylight and projects shadow on a wall nearby.
Fig 40. An installation at Seminariegatan in natural light.
Fig 41. An installation in Perception Studio with controlled artificial lights. Artificial blur and sharp shadows created.
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Prototype no. 4 Murmuration. This is a composition of expandable lace-like fabrics that function as screens and membrane hanging elements. It reminds the viewer of a flock of birds in flight—a murmuration—as it creates a space within the open space. During the Spring Exhibition, I installed them as a canopy which was conceived as light/harmony to host/house information boards (Fig. 32,33). n as the structure and materials transform throughout the day and night.
All of the prototypes are conceived as sculptural textile objects, decorative soft membranes or room dividers, and their geometric (cut) patterns are adaptable to a variety of spatial conditions.
Successively the modular units show the possibility of calibrating various factors: air, light, sound, systematically.
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Prototype no. 4 Murmuration.
Fig 42. Testing light and shadow in controlled environment, Perception Studio (a dark room). Diffused and directed light sources are placed to play and explore shadow and silhouette.
Prototype no. 4 Murmuration. Textile prototype appears different from one another in different contexts. Fig 43,44. Installing the prototype outdoors. It becomes a sort of semi-translucent fabric.
Fig 45,46. Installing at Seminariegatan during the Spring exhibition. Perforated fabric seems not stand out among others, which is my intention to make people getting close to the work. Hanging at different levels with proper height that people can walk and stand under.
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DESIGN REFERENCE
People, objects and native cultures have inspired me in my creative process. Various approaches of their works represent a characteristic combination of craftsmanship, technology and/or reproduction, in which my teacher Sergio Montero Bravo introduced research tools to analyse, reflect on, and define my standpoint. There are three references; fashion designer Iris van Herpen, mathematician Théodore Olivier and Thai craft teacher Saijai Chareonruen (สายใจ เจริญรื่น) that I derive methods and materials from.
Iris van Herpen explores new experimental approaches in haute couture. She combines
craftsmanship with innovative technologies, explores the relationship between body and the space around, and focuses on the process of making with new materials that the final look of her haute couture collection emerged.
Hyperbolic paraboloid string model, designed by Théodore Olivier, is one of a series models communicating complex geometrical configurations. This analogue model can illustrate surfaces simultaneously. It is an effective tool to explore and visualise three-dimensional surfaces and forms.
Another source of inspiration is the Thai traditional paper-cutting craft book (title in Thai: พวงมโหตร) authored by Saijai Chareonruen. The book contains 20 designs of paper craft which are commonly used for decoration in community festivals or private celebrations. The author creates and documents her work, step by step. That makes it easy for anyone to follow her thinking and to develop further.
CONCLUSION
The starting point and foundation for the whole process was the laser cutter. I discovered that the process of manipulating textiles by precision cutting had endless possibilities. I discovered the potential to create and shape space by turning flat surfaces into three-dimensional forms. I
discovered the dramatic change in behaviour between small-scale models and the full-size pieces, and how gravity affects fabric at different scales, and that the architects method of visualising by making small-scale models did not work in this context. With so many discoveries, and so many unknowns, I had to let the process lead me to the final outcome.
My aim for the 2021 Spring Exhibition was to show these discoveries. At the beginning I had imagined my exhibition to show an imperfect combination of textile installation. The outcome, however, was not a collection of refined elements, but a set of prototypes. The prototypes
demonstrate the potential of using precision-cut textile materials as spatial boundaries, how to deploy them, how to scale up in mass production, and how this technique can be developed further in
combination with other planar materials (aluminium sheets, acrylic sheets, thin plywood, etc).
I was encouraged by the positive reaction from the exhibition audience. People perceived my work as both beautiful and visually interesting. I was happy to see how the audience moved around and through my installation. The installation interrupted the path through the exhibition, and seemed to pull the audience into the centre of the installation.
LIST OF REFERENCES
About Iris van Herpen, Iris van Herpen, viewed 9 March 2021, (https://www.irisvanherpen.com/ about).
Blaisse, P. 2007. Inside outside : Petra Blaisse. Rotterdam: NAi Publ.
Chareonruen, S. 2012. พวงมโหตร (Mahoat or Tung: Northern Thai paper-cutting craft). 1st ed. Bangkok: Sataporn Books Available from: http://book.ml.ac.th/read.php?n=846
Christopher Alexander - Patterns in Architecture (1996) YouTube video, added by Peter Petrash [Online]. Available at https://youtu.be/98LdFA-_zfA [Accessed 17 December 2020]. Gombrich, E.H. 1979. The sense of order. 1st ed. Oxford: Phaidon.
Hyperbolic Paraboloid String Surface Model at the Musée des Arts et Metiers Krüger, S. 2009. Textile architecture : Textile Architektur. Berlin: Jovis.
Sennett, R. 2008. The Craftsman. Yale University Press. New Haven. Available from: ProQuest Ebook Central. [11 November 2021].
Thomsen, M. R. and Bech, K. 2015. The textile interior: Imagining a transformative architecture. Design Ecologies, 5: 1+2, pp. 48–81, doi: 10.1386/des.5.1-2.48_1
100 Day Studio: Irénée Scalbert - Ornament and politics (2020) YouTube video, added by
Architecture Foundation [Online]. Available at https://youtu.be/pkTGT-AZ_h0 [Accessed 15 April 2020].
