Sedikit catatan tentang Textile Tectonics... terutama terkait karya-karya Lars Spuybroek.
Textile Tectonics is one usage of parametric approach in
digital fabrication. Since the key of parametric design is variability, textile
tectonic also has a cumulative variation in its curvature and surface (ie. variation
in scale, angle, size, distance etcetera). In textile tectonics, this
variability is based on interlaced curvature. (Spuybroek, 2006) Research in-depth
about textile tectonics was initiated by Frei Otto and Gottfried Semper. The
research then continued by Lars Spuybroek who innovates a reversal concept
which is goes beyond Semper’s research.
Lars Spuybroek in the interview with Maria Ludovica
Tramontin (Architectural Design, 2006) explains that textile tectonics is not
about hard material mimicking softness and liquidity, but about how soft
material become rigid and strong through process like weaving bundling,
braiding, interlacing, knitting, and knotting.
The other point which is important in textile tectonics is
morphogenesis process. In order to generate curvature-interlace surface, the
material is calculated using a complex set of scalar manoeuvers. In this term
Spuybroek explains that the calculation include consideration of microtectonic
and macrotectonic of the edifice. With that calculation soft material such as
soap film, paper, sand, and wool threads can be developed into rigid structure.
Spuybroek states that textile tectonics concern on
continuity issue. The shape delivered is not a roof, wall, floor, but it is all
of it altogether. It is possible because textile techniques played in the level
of structure, not substructure. In his interview he imply that through textile
tectonic he wants to be far away from sculpturism.
He gives an example of what he categorizes as sculpturism: Gehry’s Bilbao
Museum, because it hides the structure behind the panels. Spybroek calls Bilbao
Museum as “hardened geometry”.
Last point which he asserts in the interview is that textile
tectonic is not an ornament. His thesis is that textile techniques use multiplicatory
techniques. One generated-solution continue with other process and both gives
information back and forth. There are communication on the whole part. In
textile techniques the variation and generation of surface, structure, and volume
has already achieved. He agrees with Samper’s concept that “textile drives
everything”.
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