Prototyping fabric formwork

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[Undressing the Composite Column (2010) Concrete, inner formwork boards and fabric formwork jacket, by yours concretely]

Prototype c.1600, from Fr. prototype, from M.L. prototypon, from Gk. prototypon "a first or primitive form," properly neuter singular of prototypos "original, primitive," from protos "first" (see proto-) + typos "impression" (see type). Via

Prototyping Architecture

The architectural prototype is the theme of a exhibition opening at the University of Nottingham in October 2012 and moving to the Building Centre in London in January 2013. The title Prototyping Architecture emphasizes the proces of creating the prototypes and the role of material evidence in the creation of architecture in research and design practices.

”Prototyping Architecture places a particular emphasis on research and experimentation showing how trial assemblies can inform architecture. In post-digital design practice the prototype remains a vital means of design development.” via

 

[The vocabulary of the Composite Column formwork, by yours concretely]

[Detail of the Composite Column]

Concrete as material and process

In fabric formwork the principles of tensioning the fabric, of restraining it, and placing concrete have a direct formal consequence as a material dialogue between relaxation and control; thus the technique highlights an architectural understanding of concrete as material and as process, stereogeneity (a concept coined in my doctoral dissertation).  

Process as prototype

To me the development of formwork principles and the tectonics of the constructed formwork is more the prototype than the final concrete object – but formwork tectonics can obviously only be evaluated as it is filled with concrete.  Essentially the fabric formed prototype must then be understood as the formwork, the process, and the concrete object, and the contribution discusses the future of industrialized concrete architecture by emphasizing the development of prefabricated, intelligent, and lightweight molds as an alternative to heavy and dumb concrete elements.

 [Sketch of the prefabricated formwork principle for the Composite Formwork, 2010 - see more here]

Prefabricated lightweight formwork

The exhibition provides myself with an opportunity to further develop the notion of prefabricated lightweight formwork and I am constructing a fabric formwork for a column/wall element. The aim remains the same as for the Composite Column (2010): to use a minimum of materials which doesn't explicitly add formal or surface qualities to the concrete structure. The specialized bits of the formwork will fit in my suitcase and only a few stabilizing elements are needed on site as well as, of course, the concrete.

 The mold is exhibited, hung next to the concrete object and details of the sculptural concrete object can be compared with its two-dimensional textile origin.

 

[The formwork for thirteen concrete columns fit into three duffle bags, via]

Literally carrying a notion 

The idea of carrying lightweight formwork in a bag has been applied by Mark West on several occasions, for example for Casa Dent in Puerto Rico (2001) designed by the California based Cheng Design. Fabric formwork was in fact also brought to the Royal Danish Academy of Fine Arts by West and his assistant Aynslee Hurdal back in 2007 where they cast three columns. I guess it is somehow appropriate to, literally, bring formwork to a new place.

 

[Three fabric-formed columns cast by CAST for the Creative Systems Exhibition and Seminar, 2007]

I am exhibiting with Cinark –Center of Industrialized Architecture at the Royal Danish Academy of Fine Arts, School of Architecture

Forms and surfaces cast in fabric formwork

I used the nice sunny weather to take some concrete samples - and one of the Ambiguous Chairs, which I have written about here - outside for a bit of documentation.

I never actually managed to take any photos of the chair before so this was about time.

[Image of fabric formed concrete chair by yours truly Anne-Mette Manelius. Photo by Rikke Grendal]

[Surface detail of fabric formed chair]]

Below are a few surface samples I cast a while ago during a workshop I taught but never got around to document. The samples are cast in rigid formwork with fabric treatments - my favorite is the flowery one first one below because subtle changes in the light - or the position of the viewer - makes a huge difference in the experience of the concrete surface.

[Image of concrete surface with embedded silver fibres]

[Image of the same flowery concrete surface - in a different light the surface appears more neutral]

[Image of concrete surface with embedded fibres from fabrics]

[Image of concrete surface with embedded sequins...]

[Another image of concrete surface with embedded sequins...]

Fun as it would be to have a drag queen concrete surface (I mean - a concrete surface with thousands of colorful sequins) - one might as well paint the surface after the pour...

Composite columns or bastard formwork

While teaching last week’s crazy student workshop I had the chance to test a principle as part of a series of investigations on what I call composite - or bastard formwork... The idea is that combining fabric with materials of other properties offers perspectives regarding concrete form, surface and production.

The fabric is used as the constraining system and the piece I made is a 2m high set of columns
An aim of the experiment was to use a minimum of materials which doesn't explicity add formal or surface qualities to the concrete structure.

[Yours truly, Anne-Mette Manelius proudly posing with the bastard formwork after the pour. Photo: Mette Madsen/Pihl]

[Yours truly working at stripping the formwork - everything didn't go all easy-peasy. Photo: Signe Ulfeldt]

 [My lovely assistant, Signe and I with the piece - a very little fellow next to the student works - but he's mine]

One of my favorites among the student works is this lovely piece - the students call it Wall de Mort - haha.

Constructing Knowledge, part II

The hard part in participating at a conference on Knowledge is of course that the question of Knowledge gets addressed to myself – how do I generate knowledge, what is it, at which part of my work does it ‘arrive’. Yikes – not that easy – but the question of knowledge is a framework to look and reflect on my production during the thesis work until now.

3 knowledge generators
Hmm – I have three references to look at from the past six months: a workshop with 60 first year students at the Royal Danish Academy of Fine Arts, School of Architecture; the chairs experiment described here; and the full scale cast in Vermont introduced here and here. This post will get into the 'chairs' because, in a way the chairs experiment is a sort of physical summary of previous literature studies. Literature, objects, images and lectures on the topic of fabric forming all remain theoretical. Only by testing techniques and adding some personal thoughts on details or function do I or anyone generate knowledge – I know –  
you can describe the techniques and the feeling and even show it – not until you actually try it do you get an idea of what this could lead to - sort of like kissing.

Except, and thank you Rikke-Julie for that note - when it comes to the knowledge of kissing, that’s a pretty straight forward goal to pursue, you pretty much know what you’re searching for. When it comes to the architectural exploration of a completely new technology it really doesn’t seem all that simple. What is simple is that the continuous exploration of form and matter – more than just access to sources of descriptive knowledge and reflection and more than experience alone, creates something – let’s call it knowledge – great, so this is what all designers and artists do and have done forever.

Reactions
An extra point of entry comes when the physical object exists with all the layers of reflection and acquired knowledge hidden behind the actual presence of something… it calls for a reaction from others than the maker – reactions, associations, references, discussion, more knowledge – and only because it exists. This shared knowledge is created by an actor network I guess – this is a theoretical approach to the world that I’m still not sure of how to use or if I really want to use but in these lines it does make sense.

[IMAGE: DISCUSSION ON CONCRETE AND SUCH
ON THE BASIS OF A PHYSICAL OBJECT] 

Experimental tectonic practice
A sort of finish in this weaving post is that this might just be the beginning – experimental tectonic practice which is the method of my thesis work - is all about generating knowledge. And like getting the knowledge of kissing, practice is fun!

Constructing Knowledge, part I

I’m on my way to a conference in Aachen, Germany with the broad title Constructing Knowledge. The conference is a celebration of the inaugural (first) issue of a new peer reviewed architectural journal – CANDIDE. Journal for Architectural Knowledge. The name is taken from a fictional character of Voltaire, Candide who travelled on an eager but often disappointed search for knowledge. For now, I'm yet eager and really quite excited about the journal – and the fact that the theme is knowledge and not research; this has the potential of really opening up for a wide range of interesting entries, methods and media which again could generate a wide audience amongst architects and others interested in the field.

What is knowledge in architecture?
So – the opening conference has the title Constructing Knowledge and some open question regarding what is knowledge in architecture and architectural production – what is research by design (or should I say knowledge?); “Do we search for or generate architectural knowledge?”; and not least: “Why should architects write when what they do best is design?” with subtitles: “Architecture, fiction and other stories” and “The digital turn after the ‘end of history’” the black box is open.

Knowledge and fabric forming
The next post will be on knowledge and fabric forming. I'm presenting a poster at the conference and out of four main topics my contribution has been labeled under three of them already - by the organizers that is - I'm not sure myself either to which part of the Knowledge Construction the practice of experimental tectonics belongs.