Morpho Textura

M orphoTextura

TEAM MEMBERS

Lijia Ding 22088868, Lemeng Shi 22102909, Qiyao Wang 22101846, Fangyin Wu 22030448

TUTORS

Guan Lee, Daniel Widrig, Christopher S.Fischlein

RESEARCH CLUSTER 6, 2022-23

BARTLETT SCHOOL OF ARCHITECTURE, UCL ARCHITECTURAL DESIGN

TEAM MEMBERS

Lijia Ding 22088868, Lemeng Shi 22102909, Qiyao Wang 22101846, Fangyin Wu 22030448

TUTORS

Guan Lee, Daniel Widrig, Christopher S.Fischlein

RESEARCH CLUSTER 6, 2022-23 BARTLETT SCHOOL OF ARCHITECTURE, UCL ARCHITECTURAL DESIGN

CONTENTS

•INSTALLATION DESIGN IN ARCHITECTURAL SPACE

CHAPTER

REVIEW TERM 1

1:

•PHYSICAL MODEL PROBLEM SOLVING

•DIGITAL MODEL FORM REVIEW

•DESIGN LANGUAGE EXPLORATION

•IMPROVENMENT OF WAX BRUSHING PROCESS AND MATERIAL USE

FABRICATION RESEARCH SETTLEMENT OF RESIDUAL ISSUES

The problem of not being able to remove the external frame, which we faced during the materials experiment last term, was solved by the following process.

DESIGN LANGUAGE EXPLORATION

combination with 8 modules (same)

Frame dependent knitting

Brushing with resin to give the structure its initial shape

Splicing of units formed by the above steps

Dipping in the melted wax to reinforce the splice points and finalise the shape

Sculpture design

INTRODUCTION

Trafalgar Square has become a symbolic centre for London; a social and historic focus reflecting London’s diversity, while maintaining its role as a place of protest and dissent, celebration and informal gathering.

It is a site for cultural and community based events as well as a popular destination for the capitals’ many visitors. The Fourth Plinth Commissioning Programme is an important aspect of the Mayor’s vision for Trafalgar Square and is accompanied by a significant London-wide Public Programme, including the popular Fourth Plinth Schools Awards.

CHAPTER 2: INITIAL RESEARCH

•REFERENCES

•CRAFT REFERENCE

•FORM REFERENCE

PlANE FORM REFERENCE

Artists have done a lot of projects based on elastic fabric and soft material, including both structural and surface treatment to create organic and unique form.

Combination of process and material through soft material for woven joints.

STEREOSCOPIC FORM OF REFERENCE

Fabric formwork, which casting metal in the structural fabric membrane molds, is one of the new methods appeared in the early 1900s.

Using the soft formwork of textiles, specific forms were designed and displayed in other rigid materials for use in artwork, furniture, installations, etc.

3. Judy Nakagawa Textile

4. Dame Phyllida Barlow DBE RA

1. Richard Tuttle “Matter” at Marian Goodman, Paris

2. Dame Phyllida Barlow DBE RA

4. Sommer Roman's Rugosa

1. Brazilian Artist Ernesto Neto Creates Giant Installation in Zurich's Central Station 2-3. Danish artist and designer Mathias Bengtsson

Attempts at multiple textures: e.g. hooks, nested structures

Attempt at multi-materials mixing

Attempt at multiple rope layers

CHAPTER 3: MATERIAL AND CRAFT EXPERIMENTS

•REFERENCES-ROPES, KNOTS AND WEAVING

•ROPES, KNOTS AND WEAVING

•INITIAL MODEL MAKING

•DESIGN

•REFERENCES-ROPES, FABRICS AND TWISTING

•INITIAL MODEL MAKING

•EXPERIMENTS IN ROPE FORMS

•TWISTING STUDING

•DESIGN

1. TOMO MORI 2. Hajime Kinoko、 Reality Production Management (RPM) Zak Shibuya

4. Tomás Saraceno

3. Jacqueline Bell Johnson

1. Magdalena Abakanowicz

2. Hajime Kinoko、Reality Production Management (RPM) Zak Shibuya

1 3 2 4

4. Janaina Mello Landini

INITIAL MODEL MAKING

Main material:Wax Cord

From the weaving method

INITIAL MODEL MAKING

Main material:Cotton thread

From the knot guiding the rope net form

From the geometric unit body

EXPERIMENTS IN ROPE FORMS

A natural sagging structure formed by twisting a hybrid materials.Its surface has a loose, tangled texture of fabric

A structure formed by twisting a soft, stretchy fabric around wool, which has a number of voluminous nodes

A

tree-like structure formed by twisting multiple layers of ropes of varying hardness and texture, this structure is rich in rhythmic and textural variation.

This twisted structure uses materials with various softnesses, including nylon ropes, soft cotton cloth, wool yarn and cotton cords.

CHAPTER 4:

FORM DESIGN

•Form Exploration

•MATERIAL SELECTION AND MATERIAL PROPERTIES

•PlANE FORM

•TABLE FORM

AGGREGATION METHOD | CONNECTING EXPRIMENTS WITH PHYSICAL DESIGN

FABRICATION PROCESS

In order to develop new possibilities for the use of soft materials of fabrics and ropes and to take advantage of the properties of the materials, the use of wax as the main curing material was considered and a hot air gun was used to allow for a better fusion and hardening of the wax and the material.

Depending on the amount of force applied, the twisting rope will knot itself to produce different effects.

Use a heat gun to further adhere the wax and enrich the texture.

The final post-wax form is presented.

Wool, fabric, and cotton threads are screened as the main mixing materials.

STEP 1

Use a mixture of microcrystalline wax and paraffin wax and heat for brush wax curing.

STEP 4

Initial creation of warp and woof on the board twisting on the frame.

STEP 2

STEP 3

STEP 5

STEP 6

MATERIAL SELECTION AND PLANE FORM

This fabric has a high degree of elasticity. It is twisted around the wire, allowing the overall form to be shaped and at the same time creating a volumetric texture.

Cotton and wool yarns are used in combination in the middle layers to enhance the overall volume while filling in the missing parts of the underlying weave.

The base layer is woven using a diversity of materials. Wool, cotton thread and cotton fabric are twisted and woven in the same way to show different textures and characteristics. The base layer weave also guides the overall trend and direction.

wool yarn

wool yarn cotton cords

cotton cords cotton clothes

cotton clothes

CHAPTER 5: CASTING

CASTING

CASTING PROCESS FLOW CHART

THE RESULT OF CASTING - TWISTING SINGLE UNIT OF MIXED MATERIALS

THE RESULT OF

CASTING

- TWISTING IN THE SHAPE OF A TREE BRANCH

Waxing tree branch with wax structure

Elevation view 1

Elevation view 2

Top view

CHAPTER 5:

STRUCTURAL AND PATTERN SYSTEM

•STRUCTURE SYSTEM

•LINEAR FORM SINGLE UNIT（PHYSICAL PART）

•LINEAR FORM SINGLE UNIT（DIGITAL PART）

•PATTERN SYSTEM

•SINGLE PATTERN（PHYSICAL PART）

•SINGLE PATTERN（DIGITAL PART）

•PATTERN COMBINATION

•INSTALLATION DESIGN

CONSTRUCT SYSTEM

cotton clothes wool yarn

wool yarn

wool yarn wool yarn

cotton cords

cotton cords

cotton cords

SINGLE UNIT COMBINATION COLUMN

Part of Form Line Mirror the Structure of the quarter

Main Line with twisting string Whole Structure lines

CHAPTER 6:

PATTERN SYSTEM

SINGLE PATTERN（PHYSICAL PART）

ARCHITECTURAL FACADE DESIGN

ELEVATION AXONOMETRIC DRAWING

ANALYSIS OF THE IMPACT OF FACADE ON INTERIOR LIGHT

Summer (June-August)

Winter (December-Feruary)

Source of data location: Beijing

CHAPTER 8:

APPLICATION OF DESIGN TO INSTALLATION SCALE

•INSTALLATION DESIGN IN ARCHITECTURAL SPACE