TEXTILE ARCHITECTURE

TEXTILE FACADES

INTERIOR TEXTILESSMART FABRICS

FUTURE POTENTIAL

LIGHT CONTROL

ACOUSTICS RECICLED FIBERS

2. Make a two diagrams that shows current design methodology of architecture, and how the object, process (think of be fabrication technique, software etc) or material has changed the design methodology of architecture and enabled a di�erent aesthetic, performance, function, production etc

Recycling

Composite PVC membranes and textiles

Selective dissolving Regenerated solvents

Additives

Solvent regeneration

PVC precipitationPVC+solvent

Polyester �bres Supple PVC

THE TEXTILE IN TECHNICAL APPLICATIONS

TEXTILE TECHNOLOGY USED IN ARCHITECTURE

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Circa 1750, an illustration showing the hand combing of woolen �eeces, prior to their spinning. Hulton Archive / Getty Images

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From the 1980s the Western European textiel industry su�ered constand decline, resulting mainly from the strong competition of low-wage countries such as china or several eastern european countries. �is heightened competition led to the loss of thousands of jobs and to the closing of numerous factories in what was once a kew European business ector. A lot of manufaturers traditionally involved in the clothing industry are endeavouring to move into high valu-added markets,less a�ected by labour costs and o�ering better pro�t margins.

Today new technical �bres �bres represent an increasingly large part of the textile markets in Europe, notably in Germany, France and Italy, but also in the USA and JApan.

In the move, already well underway, toward functional textiles for technical applica-tions, the new constraints are the physical, mechanical and chemical performance requirements.

. �e �rst stept concerns forming the yarn using an assembly of

�laments that vary in number from one to severall undreds. �e heated material is introduced and pushed through a spinneret ( a metal piece serving as a mould), which gives it an elongated from before being stretched

�e second step, teh weaving of the yarn, give birth to the actual fabric, at this stage still termed 'raw', as it has not been bleached or otherwise

�e third step consints of applying a 'condi-tioner' to the raw fabric, usually of PVC,silicone or PTFEbase, enriched with chemical compo-nents such as fye, softeners, thermal stabilisers, antifungal that may be repeated several times

�e application of a surface varnice, the fourth step, completes the manufacture of the textile,

packaging in the form of bolts.

Crushing

Fibre separation

In the case of coated textile, the raw fabric undergoes a certain number of pre-treatments before being coated on one or both sides, as mentioned, with PVC (polyvinyl chloride), with silicone in the case of plyeste fabrics, or with PTFE (polytetra�uoroethylene). �e varnish itself usually consists of a �uori-dated lacquer that waterproofs the surface, in the manner of a polyester fabrics coated with PVC, in order to make them more resistant against stains, mould and ultra-violet rays.It is the combination of di�erent functions that de�ne the technical character of the textile. �us the �nal product has qualities variously adapted to the intended use: a weight or grammage, ranging between 250 and 1500g/m2, a thickness varying from 0.5 to 1.5mm, a width measured in centimetres, a breaking strenght in traction and tearing resistance betwene 150 and 1500 daN/5cm (the rupture of a 5cm band occurs at a traction that corrrectponds to a load ranging from 150 to 1500 daN according to the fabric). �e range of qualities may also include: streching under static load, a greater or a lesser porosity, �re-resistence (some textiles are even rated non-combustibile), a resisttance to micro-organisms, plus other mechanical resistances suc as abrasion.Textiles can be produced with colours that withstand heat, humidity and ultraviolet rays, that are either able to transmit or to re�ect light, even solar energy, or that exhibit ccertain acoustic and thermal properties (very thin materials can absord up to 60% of acoustical waves-textiles for blinds can block 70% to 965 of solar heat)

TECHNICAL TEXTiLES

COATED TEXTILES

88Textile technology used in architecture:

�ree types of membrane make up 90% of those used in modern architectural designs: glass �bre a composite material reinforced by glass �laments usually associated with polymers- coated with PTFE, PVC-coated polyester, and ETFE (Ethylene-Tetra�uoroethylene) sheet.Glass �bre coated with PTFE (te�on), is the material that has been most used for pneumatic structures. Coated fabrics require practically no maintenance and are quite easy to replace. PTFE has only been used in buildings since the 1970s, while transparent high-performance ETFE sheet became established in the middle of the 19902. Today PTFE-coated glass �bre is much more expensive. IT is less elastic and has a low degree of �exibility, making it moew susceptible to crazing and auto-abrasion of the coating.

Apart from these three principal membrane materials there exist many others: non-coated, perforated and micro-perforated membranes with good sound absortion capacity, non-coated or impregnated textile with a looser or dense weave for indoor uses, polyester fabrics with inner coating for low �ammability, low emissivity glass fabrics with �uoridated polymer coating and a structure that absorbs noise. New, more resistant �bre materials are continuely developed.Architectural textiles today can serve as �lters to remedy undesired environmental e�ects such as direct sunlight. �ey can also produce electricity in case of integration of thin photovoltaic panels, photonic textiles.

In the construction industry, textile and polymer technology is even now weaving its way into concrete structures. Fibres help to improve concrete's �re resistance by channelling steam to the surface, thereby preventing the explisve spalling that results from rapid intense heating. Polymers may be applied to coat metal reinforcement, and �bres can increase concrete's impermeability, two factors which e�ectively reduce the concrete thickness normally required for reinforcement corraoosion protection, which in turn leads to lighter more e�cient structures and savings in construction costs. Fibres can be added to concrete as reinforcement against cracking, allowing the conventionally used steel mesh reinforcemnt to be ommited. Tehre are even treated �bres taht, when added to the mis, enamble concrete to conduct electricity.Unlike traditional textiles, a sector showing little dynamics in Wurope, technical fabrics are a rapidly expanding �eld.However their development requiers expertise in new technologies that allow further cost reductions such as automation, and the improved reliability of both compotnents and processses. �e future TTA not only depends on improving the �exibility of the manufactur-ing system, but also on the creation of productis with very high added value such as intelligent �bres/smart �bres; these are interactive or adaptive products, namely textiles with information 'sensors' and �bres that reach to speci�c information.�e manufacture or materials used in textiles for technical applcaitons depends on reseach and processes that are much more compli-cated than the simppy assembly of yarns

body technology -electronic textiles-illuminationg fabric-embedded �bres-subtle surveillance-emotive intefaces

synthetized skins -exoskeletons-robotic skins-sport skins-forti�ed fashion-instant armour-�uid-based fabrics-sensory skins-soft skeletons

Surfaces -perceptual surfaces-invisibility

Hypersurfaces -Switchable Surfaces-Textural Interfaces-Textiles for Virtual Words-Second Life

Vital Signs: -Antimicrobial Fabrics-Biotextiles-Diagnostic Textiles-Medicating Fabrics-Smart Bandages

Sustainability -biomimicry-spider silk-upcycled chic-weaving social links

Contemporary art -textile installations-second skins-subversive stitches

Interior Textiles -soft walls-�bre furniture-reactive surfaces-sensory membranes-smart carpets-reactive rugs-thermosenstice materials-lighting-�ber optics-electric embroidery

Textiles for Architecture Textiles for Architecture-membrabe structure-metal textile-carbon �bres-in�atable structure-fabric formwork-girli concrete-geotextiles

high-performance fabrics with materials or weaves designed to accomplish some speci�c objective

fabrics that exhibit some form of property change

fabrics that provide an energy exchange function

fabrics that in some way are speci�cally intended to act as sensors,energy distribution, or communication networks

SMART FABRICS

computational weaving that combines traditional principles with today's digital (CAD/CAM) tools to develop a�ordablefabrication techniques.

Weaving in Architecture

Figure 1. Comparison of traditional weaving and digital weaving. (a) Traditional basketry.(b) Weaving an interlacing bamboo partition (photo © Andry Widyowijatnoko).(c) Interlacing bamboo for a wall (photo © Paul Oliver). (d) Peter Testa’s CarbonTower (© Peter Testa). (e) Jenny Sabin’s eBraid tower (© Jenny Sabin).

Figure 2. Sensing the structural behavior of a woven object. (a) �e interwoven surface. (b) �e surface translated into a structuralgrid. (c) Structural analysis of the knot scale. (d) Structural analysis of the plaiting scale. (e) �e weaver’s sense of touch. (f ) �eweaver’s use of threads as cutaneous appendages. (g) �e dynamic touching of the weaver’s movements. © 2010 Rizal Muslimin.

Figure 3. Conversion from traditional weaving to digital weaving throughcomputational reasoning. (A) Visual embedding. (B) Structural optimization.(C) Materialization. © 2010 Rizal Muslimin.

COMPUTATIONAL WEAVERINGEXAMPLE 1

Figure 4. Weaving with bricks. (A) Bricks corresponding to the pattern of pixels.(B) �e label and spatial relationship rules resemble the motif of the originalpattern. (C) �e process of assembling the shelter structure. (D) Comparison of aconventional brick-and-mortar wall and a woven brick wall. © 2010 Rizal Muslimin.

Figure 5. Weaving with wood for shelter construction. (A) Finite element analysis optimizing the distance between notchesfor each beam. (B) Parametric rule for overlapping plywood. (C) Application of the rule using a 90° angle for four beams.(D) Application of the rule using a 120° angle for three beams. (E) Application of the interwoven beam grammar in shelter

SOURCE : Learning from Weaving for Digital Fabrication in Architecture

Rizal MusliminMassachusetts Institute of Technology, Cambridge, Massachusetts, USA rizal@mit.edu

Figure 6. Material behavior in the interwoven paper beam. (A) A piece of the bent paperbeam. (B) Shape grammar rule (left and middle) and the result (right). (C) Parameterized ruleapplication results in a new initial shape for the next iteration, including surface deformationcaused by the bending moment of the paper. “Moment of force” (or simply “moment”) is thetendency of a force to bend, twist, or rotate an object. © 2010 Rizal Muslimin.

Figure 7. Comparison between traditional weaving using continuous materials (top left and top right)(photos © Andry Widyowijatnoko) and computational weaving using

SOURCE : Learning from Weaving for Digital Fabrication in Architecture

Rizal MusliminMassachusetts Institute of Technology, Cambridge, Massachusetts, USA rizal@mit.edu

�e projects show the conversion from and application of traditional weaving to digital weaving in designing woven shelters that combine conventional building materials (bricks and wood) with fast, easy, and cheap construction.Weaving in Architecture�e use of weaving in contemporary architectural design as well as in this research is less aboutcreating a new genre but more about a journey to the origin of architecture. In his “four elementsin architecture” proposition, Gottfried Semper states that the origin of architectureoverlaps with the creation of textiles, for people invented interwoven fences as the earliestvertical spatial enclosures, which then led to the invention of woven objects on a more domesticscale [6]. In addition, Frei Otto argues that the �rst human dwelling was constructed by weavingliving plants (young conifers, bamboo, or branches obroad-leaved trees) because they were easy to harvest and manipulate by hand (Figure 1a) [9]. Moreover, the terms “technology” and “textile” areboth derived from the Latin texere, meaning to weave, connect, and/or construct [10].Given this intertwining history between architecture and woven surface, it is necessaryto place the notion of weaving on a transcendental levelbetween the �elds of architectureand other disciplines that bene�t from weaving (art and craft, textiles, material science)and focus more on the overlaps between those �elds when weaving is used to meet acertain goal in design (geometrical composition and load distribution). For instance, we couldcompare knots in basketry to joinery in traditional grass roofs. By associating various aestheticand functional values between these �elds, we might gain valuable inspiration on the versatilityof weaving in di�erent applications. Based on this rationale, the term “weaving” in this researchis framed as a system of interlacing objects into a structurally interdependent pattern, in whichthe object can be parameterized with various material properties, the structure can be recon�gured with di�erent loading con�gurations, and the pattern may be embedded with otheradaptable geometry for given material properties and structural con�guration.

EXAMPLE 2

Integrative Computational Design Methodology for Spacer Fabric Architecture

Spacer fabrics are 3D warp-knitted fabrics that have a volumetric structure. Together with the capacity to di�erentially stretch and contract, these materials allow three dimensional con�gurations that are speci�c to spacer fabrics.

�is research proposes a computational design methodology that enables the generation of shape based on its material characteristics and material manipulations on both global and local scale. �e Proposed process allows for the generation of functional surface articulations and the articulations of spatial textile geometries.

As a resin-infused composite structure the spacer fabric can serve both as an architectural construction system and as a building envelope. �is methodology of developing �brous and textile morphologies is contrary to a traditional hierarchical design process, which is based on a linear strategy: from design to implementation. �e developed method is based on analogue material experimentation and integration of the material behavior into a computational design tool. Such a feedback process can unfold the potential material morphologies and performance characteristics of spacer fabric as an architectural material.

source:http://icd.uni-stuttgart.de/?p=11877

Nike Flyknit, yarns and fabric variations are precisely engineered only where they are needed for a featherweight, form�tting and virtually seamless upper.

While reducing shoe weight is one aspect of helping runners, the Nike Flyknit upper is also engineered for a precision �t, creating a feeling of a second skin.

An additional environmentally sustainable bene�t to Nike Flyknit is that it reduces waste because the one-piece upper does not use the multiple materials and material cuts used in traditional sports footwear manufacture. Nike Flyknit is truly a minimalist design with maximum return.

NIKE design-designed with very light soles in order to minimize the space between the ground and the foot.- taking into considerations the locomotion of our foot.- make the user feel that it is an extension of its body-shock absorption and grip factor whenever the foot makes contact with ground produced the precise placement of the material that allows the right grip and gives the right cushioning e�ect.

Ron Luna foam was used to produce the comfortable cushioning and placed in a piston shape in order to distribute the pressure .XDR rubber is used for its durability in the heel part for intensive usage.

Upper side of the shoes uses the same material as the Nike �y knit to minimize the weight and gives structure and support to the shoe.

�e Upper of “Nike �y knit” was �nished in what is represented by a pressure mapping technology on the stressed area on the foot and relieving further stress from it.

�e tight stitches on the sides and the forefoot area to give it a sense of stability , elasticity is added to the forefoot area to allow the foot to bend easily. In addition, adding the elasticity around the ankle, and I �t and sits on the ankle well so that it does not slip.

EXAMPLE 3

PRODUCT CUSTOMIZATION

-TEXTILE ARCHITECTURE

I am interested in textiles as innovative materials that create new opportunieties to utilise them in both architecture, interior design and product design. Textiles in architecture

attracted me with their special (translucent) forms of the fabric structures make possible and with their unusual character as soft and lighweight materials. I am interested in

exploring them rather in regard with a small scale object/interior design object or as a soft mesh on a facade or as an interior mesh (for sure not as membrane/tensile complex structures as I did in the

past). Together with their functional and structural properties, textiles possess a range of capabilities equally suitable for occasional and everyday building tasks. So I am interested in

creating an 'every day' or 'spectacular' open product with them . As there are just a few methodologies of digital fabrication of them, I think it is worth researchint how textiles(�exible composite materials) can become mass customized, according to their speci�c

proprieties .