THE ARCHITECTURE FOR HUMAN BODY
This design and research workshop explores the new computational fashion design methods and techniques as tools for creative expression and design intelligence. The workshop immerses participants into computational design thinking and the exploration of the new design possibilities associated with it and it seeks to create an inventive and collaborative environment in which investigate the overlap between architecture and fashion.
The workshop immersed the participants into computational design thinking and the exploration of the new design possibilities associated with it and it sought to create an inventive and collaborative environment in which investigate the overlap between architecture, technology, nature and fashion. The participants appropriated themselves with the design tools and software needed to design and fabricate complex geometries in computational design; with a specific focus on the generative design process and parametric modeling they create ‘code-structed garments’.
Within this new cultural environment, we have decided to confront the participants with a set of advanced equation-based surface geometries, in particular three base minimal surfaces*: one Gyroid surface and two Scherk surfaces. These surfaces represented the starting point of the geometrical research and design of each the participants’ groups.
on one side as a life-style product represents the association of our identities to a set of cultural aspects to which we identify with. At the same time it needs to be an enclosing practical object. It has to be a well-structured envelope that can resist the exterior forces and perform as a strong container holding items inside. In order to achieve this, we arrived to make the bag out of a single piece of fabric; by avoiding any unnecessary joint, we have reinforced the structure of the bag. Also throughout the study of the pattern, the chosen pattern that was used in the bag to strengthen its surface to resist the physical impact from outside and make up for its uniquely specific outlook. By manipulating the 2d pattern and its way thru the typical folding roles, following the basic principle of the mountain and valley folding logic, we tried to enclose the bag in the pattern’s most natural way. We also designed the hardware closing piece, which was fully 3d printed, and integrated into the design language of the bags it also introduced new sinuous features allowed but the digital fabrication employed for the making of this particular piece. In summary this is a beautiful example of a fully lasercut and 3d printed bag, probably one of the first of its kind soon available on the market.
The armour was a product of our continued research on the same pattern used in the bag design, to test out its further potential in other fashion objects. A single grid of the pattern – which one could say either ‘octogonal star ’ or ‘4 petals’, depending on how it’s looked at – is able to grow in all four directions and follow the body. One challenging aspect was the turning of the corners which in order to avoid expected and conventional conditions, was tested physically and digitally in multiple iterations, till a satisfactory interesting elegant and simple solution was found. The angled corner and symmetry of the armour, adds to the robust look of this futuristic technology aided wearable fashion garment.
The Chevron pattern is a form of rigid origami, meaning that the fold can be carried out by a continuous motion in which, at each step, each parallelogram is completely flat.
An important part of the research was dedicated to understanding the reaction of the folded fabric in relation to the directionality of the pattern.
The aim of my project was to create a wearable garment employing the latest design computation techniques, laster cutting technology and folding. This provided the ability to create clothes which can be unique and at the same time fit any body perfectly and at the same time have the same cost of the mass produced one. Choosing Eco Leather for the patten was to emphasize the geometrical shape that the grid creates by the reflection of light and shadow. The design shows that traditional skirt and top in a new way of making. The cuts are simple and traditional but the result can be sophisticated and elegant.
TENGOKU TO JIGOKU
the geometrical properties or parameters are variated using the folding logic (mountin / valley) to which they are associated with. For instance: the center of the component is moved along one of the axis of the component itself, and so on, with as many parameters and variations as possible explored to create a wide spectrum of configurations.
The process of folding was facilitated by an initial scoring of the material using a laser cutter machine. A few materials were tested, initially to create study prototypes, paper was the starting point. Paper obviously responded well to the folding, providing the right structural stability to hold the folds; the downside was the fact that paper seemed not suitable for a wearable element. Therefore other materials were studied and in the end it was decided to use Eco Leather with a laminated sheet of special type of paper to the inside, merging the wearbility of the leather with the structural support of the paper.
MEDIA PRODUCTION (WWW.ANIMALWALL.EU)
Photography and Art Direction:
Angelo Rosa Uliana
Stefano Paiocchi | Zaha Hadid Architects
Arian Hakimi Nejad | Zaha Hadid Architects
Julia Hyoun Hee Na
PROJECT ORGANIZER AND DEVELOPER:
PARTICIPANTS: Leung Ka Sui, Giuseppe Cotugno, Hila Yemin, Mohana krishna , Maryam Dastmalchian, Iris Van Der Wal, Nanetta Elezabeth, Surendar Jayachandran, Jane Frances Nakabuye , Xian Qiu, Tan Li, Clara Tapia
, etiana Kuzmenko