TEXTILE

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From the Bazaar to Space Architecture: Fabrics

Reshape Material and Spatial Qualities of Built
Environments
Filiz Klassen
To cite this article: Filiz Klassen (2006) From the Bazaar to Space Architecture: Fabrics Reshape
Material and Spatial Qualities of Built Environments, TEXTILE, 4:3, 256-269
To link to this article: http://dx.doi.org/10.2752/147597506778691512

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Date: 27 October 2016, At: 05:35

From the Bazaar to Space

Architecture: Fabrics
Reshape Material and
Spatial Qualities of Built
Environments

256

Filiz Klassen

Abstract

his paper is a study of new

possibilities for creating
and transforming our personal
boundaries made feasible
by recent materials research
characterized especially by hybrid
textiles. The purpose is to discuss
the use of soft cladding materials
as signicant, integral components
of built spaces and to challenge
typical assumptions that textiles
only serve as decorative or as add-

on elements to the hard or solid

surfaces of architectural spaces.
The paper discusses examples of
interdisciplinary research in art,
interior design, and architecture
within an historical and theoretical
context to enhance the signicance
of textiles in built environments
as they continue to redene the
physical and emotional boundaries
of spaces we inhabit.

FILIZ KLASSEN
Filiz Klassen is Associate Professor at Ryerson
University, Toronto, Canada, and the co-editor
of Transportable Environments 3, the third book
on portable architecture and design published
by Spon Press (2006). She is the recipient of a
research/creation grant from the Social Sciences
and Humanities Research Council of Canada for
her project entitled Malleable Matter. Scheduled
to be exhibited in 2008, this project involves a
life-size architectural installation of building
components such as walls, ceilings and furniture
that makes creative use of textiles and related
materials innovations.

Textile, Volume 4, Issue 3, pp. 256269

Reprints available directly from the Publishers.
Photocopying permitted by licence only.
2006 Berg. Printed in the United Kingdom.

From the Bazaar to Space

Architecture: Fabrics Reshape
Material and Spatial Qualities
of Built Environments
Introduction

Magazine in 1929, asked the

question: Is not architecture
All operations in the textile arts
determined by new materials and
seek to transform raw materials
new methods? He commented
with the appropriate properties
that we are still employing
into products, whose common
masons and carpenters on the
features are great pliancy and
job, to work in rain or snow, or
considerable absolute strength,
fair weather, while factories could
sometimes serving in threaded
turn out to perfection that which
and banded forms as bindings
we accept poorly executed.
and fastenings, sometimes used Industrialization, prefabrication,
as pliant surfaces to cover, to
material production and assembly
hold, to dress, to enclose, and
technologies have come a long way
so forth. (Semper 1989: 215)
since the 1920s when they were
rst advocated by Le Corbusier
The form and language of
along with many others. Although
architecture is constantly in ux,
traditional construction practices
reecting cultural change and
and materials still dominate
contemporary technological
the construction industry, more
innovation. Architectural
and more frequently architects
materiality in the nineteenth
are taking advantage of the
century was characterized by
potential of new materials and
massive, heavy construction that
production technologies in an
derived primarily from the use of
effort to generate diverse and
solid materials like stone, brick
more personalized spaces for
and wood. Technical innovations
inhabitation and also to enhance
in the production of concrete, steel our perception of the built
and glass eventually contributed to environments.
the development of larger, lighter
Recent innovations in many
buildings in the twentieth century highly specialized elds of
(Manzini 1989: 107; Addington
materials technology are setting
and Schodek 2005: 3). Light,
new standards of material
airy structures and glass-clad
strength, lightness, and exibility
buildings, symbolic of modern
for better performance, as well as
architecture as a whole, dominate responsiveness to user need and
todays built environment. Le
desires that bring a new approach
Corbusier, in an article that
to the expression of materiality.
appeared in Architectural Record
New, engineered textiles have

From the Bazaar to Space Architecture: Fabrics Reshape Material and Spatial Qualities of Built Environments

brought fabrics to the forefront

of lightweight architectural
applications as replacements for
heavier construction materials such
as wood, metal and glass (Klassen
2006: 12235). These material
innovations have spurred curiosity
and stimulated an increasing
number of investigations into a
wide range of architectural and
product design applications that
have the potential to further
reshape the material and spatial
qualities of the built environment.
While there is a wealth of
literature on the classication
and use of textiles in architecture
as exemplied in tensile and
inatable structures, what is
missing, hence the focus of this
paper, is the developments in
textiles that give a new direction
towards the creation of more
personalized, user-centered and
responsive spaces. In this paper, I
discuss recent research into what
I have termed malleable matter
(Klassen 2006) and its range
of innovative interdisciplinary
applications related to the built
environment. With this term I refer
to a class of hybrid, soft materials
composed in part of exible
textiles and in part of non-textile
materials such as glass, metals,
carbon or ceramics (Braddock and
OMahony 1998: 55). This class
of materials combines strength
with lightness and exibility in
contrast to traditional materials
that are inexible, solid, or hard.
The purpose of this discussion is to
investigate the use of soft cladding
materials, that have the potential
of bringing a new material
expression in architecture, as
signicant, integral components of
built spaces and also to challenge

typical assumptions that textiles

only serve as decorative or as
add-on elements separate from
the conceptualization of the hard
or solid elements of architectural
spaces. In addition to material
applications, it is my intention to
discuss transformations in our
perceptions of personal space
and ideas of physical boundaries
in built environments (Braddock
and OMahony 1998: 67).
Therefore, the range of examples
chosenincluding historical and
contemporary projectsfocus on
built and prototypical experiments
in malleable space: projects that
create their forms, spatial concepts
and expression from the physical
and metaphorical qualitiese.g.
pliancy, elasticity, expansion
and retractability as well as the
tactilityof textiles. This article
presents the potential of textiles as
a hybrid art and architectural form
that brings technology, design and
ornament together in built spaces.

Overview
The art of dressing the bodys
nakedness . . . is probably a
later invention than the use of
coverings for encampments
and spatial enclosures . . . It
may be that climactic inuences
and other circumstances
are sufcient to explain this
cultural-historical phenomenon,
and that the normal, universally
valid process of civilization
cannot absolutely be reduced
from it; nevertheless, it remains
certain that the beginning of
buildings coincides with the
beginning of textiles. (Semper
1989: 254)

259

Fabrics and textiles are the

most common form of what I call
malleable matter and have been a
part of the built environment in the
form of nomadic tents, awnings,
or temporary structures used for
shade as long as mankind has built
shelters. The form and expression
of these structures allow and carry
complex imprints of geographical,
cultural, social and personal
inuences. The nineteenth-century
architectural theorist Gottfried
Semper (180379), whose ideas
transformed the theory and
practice of modern architecture,
signicantly gave priority to
textiles in his historical account of
architecture.
Woven fabrics almost
everywhere and especially
in the southern and warm
countries carry out their ancient,
original function as conspicuous
spatial dividers; even where
solid walls become necessary
they remain only the inner and
unseen structure for the true
and legitimate representations
for the spatial idea: namely, the
more or less articially woven
and seamed-together, textile
walls. (Semper 1989: 255)
These textile walls, whether
they form the whole skin of a
temporary tent, part of an interior
room in a permanent structure,
or a window or ceiling covering,
still allow the inhabitants to leave
their imprint (Figure 1). Weaving,
braiding, knitting, patterning
and embroidery techniques
sometimes demonstrate strong
artistic expression of an individual
or sometimes only reveal the
textural qualities achieved by the

260

Filiz Klassen

Figure 1
Kirghiz yurt.

textile production methods, either

by hand-crafting or mechanized
manufacturing, and sometimes a
combination of the both.
Textiles still provide a common
exible construction element that
complements xed facades and
walls of buildings. For example,
cotton awnings, known as toldos,
still cover the spaces between two
buildings throughout the streets
of Spain. In many Middle Eastern
countries, temporary bazaars in
an urban context, reminiscent
of nomadic tents, are created
by stretching fabric in between
buildings or by the simple use
of post and ropes (Figure 2). In
these applications, these soft
additions only serve as functional
blank canvases stretched across
to provide shade more so than

framing a portion of the sky with

an individualistic expression in the
vast urban fabric.
In the history of modern
architecture, art and design,
textiles have continued to play
their original function of primary
material expression and spatial
division, albeit mostly devoid
of their decorative/ornamental
qualities. In the early twentieth
century, fabrics were transformed
by a constructivist design attitude
in the textile and clothing designs
by Alexsandr Rodchenko and
Varvara Stepanova. More recently,
as in the soft sculptures of Claes
Oldenburg, Dennis Oppenheim,
Louise Bourgeois and Olafur
Eliasson, artists have looked to
fabric and other similar materials
to fundamentally transform the

From the Bazaar to Space Architecture: Fabrics Reshape Material and Spatial Qualities of Built Environments

261

Figure 2
Bazaar, Turkey.

materiality of the artistic object

and the spatial experience.
Beyond the areas of fashion
and the arts, early designers also
brought soft materials into the
spatial realm of architecture. Lily
Reich, an important pioneer of
modern design in Germany during
the 1920s and 1930s, created
her professional design career in
the cross-disciplinary context of
exhibition design, clothing and
furniture design, and architecture.
In collaboration with Mies van
der Rohe, she designed the
Velvet and Silk Caf in 1927. In
this exhibition space created for
display of womens fashions, she
created a group of small spaces
that ow into one another by use
of black and yellow silk draperies
suspended from curved metal
rods. In this display space, the
oating fabric walls expressed
new qualities of spatial exibility,
ow, and interpenetration with a
strong aesthetic that emphasized
the surface and textural qualities
of hung, draped and pleated silk.
The qualities developed through

experimentation with textiles were

later reproduced in the creation of
solid architectural spaces of many
modern architects such as those
of Mies van der Rohe (McQuaid
1996: 25).
An innovative, contemporary
expression of lightweight textile
construction, as a divider,
enclosure, and shade provider
in a domestic context is Shigeru
Bans Curtain-Wall House (1997)
(Bell 2001: 503). Bans project
uses a large curtain as one layer
of the exterior building envelope,
either inside or outside of a
sliding wall (Figure 3). By this
strategy, he creates an ephemeral
architectural wall-like presence
with paradoxical qualities of
enclosure and permeability,
separation and openness, opacity
and movement that connects the
interior of the house with the
urban exterior through complex,
changing experiences of form and
space. With this design gesture,
the Curtain-Wall House gives
design credibility as a construction
material to what otherwise is

considered a decorative interior

element. In another example of
contemporary textile construction,
artist Do-Ho Suh draws upon the
idea of clothing as space. For
Suh, inhabitable installations
made of textiles are an expansion
of the idea of clothing on the body.
In his Perfect House II project, he
uses tailoring techniques that are
native to fashion design to recreate
the architectural space, enclosures
and furniture of a typical New York
apartment from translucent nylon,
transforming hard architecture into
soft space.
Since the mid-1960s, Frei Otto,
a pioneer in the creation of tensile
fabric structures most notably the
Munich Olympic Stadium of 1972,
has set new standards of material
performance and aesthetic in
textile architecture with tent,
net, pneumatic and suspended
constructions. He has created
structures of extreme lightness
combined with high performance
by making optimum use of thin
membranes of synthetic PVC
fabrics and cables of high-strength

262

Filiz Klassen

Figure 3
Curtain-Wall House, Shigeru Ban.

steel. A follower and apprentice of

Frei Otto, Bodo Rasch continues to
develop retractable or convertible
roofs made of textiles for largescale public buildings, such as the
large umbrellas providing shade
for the courtyards of the Masque of
Madinah, and other event spaces.
His projects have contributed to
advancements in development of
lightweight fabric constructions
and highly efcient movement
systems (Schanz 1995: 192201).
The abstract geometric aesthetic
of the umbrellas appears to be a
re-interpretation of the Islamic
patterns that works well within
the context of an iconic religious
building.

Inuenced by Frei Ottos work,

FTL Design Engineering Studio of
New York has innovatively used
textiles in architecture for the past
twenty-ve years (Kronenburg
1997: 20). In many recent projects,
such as Power Shade and Room
for Spacewalks for the New Space
Shuttle they have explored the
use of new forms of hybrid textiles
in the creation of architectural
spaces to extend the use of textiles
beyond conventional building
applications (T. Dolland, personal
communication, 2004). In both
projects, the intrinsic surface
properties of the mesh fabric and
the Kevlar webbing dominate
the visual language and the form

From the Bazaar to Space Architecture: Fabrics Reshape Material and Spatial Qualities of Built Environments

emphasizing the textural qualities

of the three-dimensional surfaces.
Power Shade is based on the
development of a mesh fabric that
directly incorporates exible solar
panels (Figure 4) (Iowa Thin Films
PowerFilm) into its construction
and can either be deployed over an
existing tent or built as a standalone structure. It is a lightweight,
energy conscious design
application as a sunshade and
power generator tent for temporary
shelters in diverse contexts; for
example, urban parking lots, rural
recreation areas or open elds,
and portable structures for military
and for disaster relief efforts (T.
Dolland, personal communication,
2004).
In addition to new applications
of textiles on earth, new
applications to house live/work
environments for space exploration
and travel have been investigated
(Herwig, 2003: 14655). Room
for Spacewalks, conceptualized
also by FTL, is a research and
development project in support of
NASAs Space Launch Initiative.
This structure is a temporary
pressurized airlock that functions
to allow astronauts to leave

the space vehicle and perform

spacewalks. The TransHab
Module, a proposal by NASA for
the International Space Station, is
foreseen as a deployable, inated
habitat that will orbit the earth.
Both space projects, utilizing a
combination of composite fabric
shells that include advanced
fabrics such as Kevlar webbing,
Nextel ceramic fabric, and scuff
resistant Nomex cloth, are
expected to be deployable and
at the same time withstand the
extremes of temperature and
resist the impact from space
debris and meteorites (Kronenburg
2000: 1549; Hart 2002; Klassen
2006). Though these concepts
are developed for the extreme
conditions of space, the innovative
technological application of
textiles exhibited in these projects
is certain to prompt innovations in
terrestrial building applications.

Research Field
The new textile technology is
bringing together art, design,
engineering, and science in a
unique aesthetic that denes a
new architectural language in
the twenty-rst century. Current

Figure 4
Powershade, FTL Design Engineering Studio.

263

research in textiles reveals the

thought-provoking creative
potential of material developments
achieved by integrating
communication technologies,
electronics, luminosity, graphics
and advanced manufacturing
technologies.
High-performance or
engineered textiles now combine
fabric with glass, ceramics, metal
or carbon to produce lightweight
hybrids with extraordinary
properties that make them resist
impact or heat, stretch spans and
carry weights that are unimagined
before. Sophisticated nishes
such as silicone coatings and
holographic laminates transform
color, texture, and even the
form of textiles in architecture
(Braddock and OMahony
1998: 4897). Institutions such
as the Fabric Workshop and
Museum in Philadelphia have
been encouraging material
advancements and sponsoring the
creation of new works in fabric or
other unconventional materials
by leading artists and designers.
For this purpose, artists such as
Anish Kapoor, Rachel Whiteread,
Doug Aitken, Hella Jongerius, Mel

264

Filiz Klassen

Chin, Jorge Pardo and Bill Viola

have produced works that cross
the boundaries between art,
architecture and materials science
(Stroud 2002). An example of this
kind of work is Canadian artist Jana
Sterbaks Oasis project, which
proposes a media/technology
shelter built from a technologically
advanced steel ber. Innovative
experimentation with materials for
this project included hand-woven
copper, nickel-plated Kevlar, and
silver-plated knit nylon. Further,
it demonstrates the potential
fruits of innovative collaborative
approaches to research and
design with the carrying out of
computer generated form-nding
exercises for this project by FTL
Design Engineering Studio (Stroud
2002: 272).
So-called smart fabrics
are often considered a logical
extension of the trajectory
in materials development
toward more selective and
specialized performance. While
the conventional textiles are
considered to be static, smart
fabrics are dynamic and can
respond to energy elds due
to their enhanced physical
and chemical properties that
improve their performance in
specialized applications such as
energy exchange or distribution
or phase-change in response
to environmental conditions
(Addington and Schodek 2005:
35). Intelligent properties of
advanced fabrics are now also
being planned and built into
their atomic structure as in phase
change fabrics, examples of which
are mostly seen in sports clothing
or garments that keep us cool or
warm in extreme conditions.

Another area of exploration

focuses on making visible the
immaterial spatial qualities of built
environments such as touch, smell
and sound, which in turn enhance
ones overall personal experience
of a space. This approach is
creating a new design paradigm
shift that engages the users as
part of the social and emotional
dynamic energy generators and
not only as the inhabitants who
perform mechanical tasks in
the space. Electronic textiles,
integrating electronics and textiles,
computation and conductive
yarns, are mostly used in
fashion and known as wearables
(wearable computers). Artists
and researchers such as Joanna
Berzowska, Maggie Orth and
Rachel Wingeld are constantly
experimenting with seamless
integration of computation and
textiles, thus making fabrics and
other materials interactive to either
external or internal stimuli initiated
by the user/wearer (Berzowska
2005: 59). In built environments,
electronic textiles integrating
electronics, sensors, color change
materials and computation are
appearing mostly as one-off
surface application for walls or
furniture. An example of this is
Rachel Wingeld and Mathias
Gmachls architectural installations
such as Reactive Surfaces, Walls
with Ears, and Weather Patterns
where they combine traditional
surface decoration with modern
display technologies (Gmachl and
Wingled: 2006) which is also
the direction many designers are
exploring to revive the role of craft
by using digital technologies.
Along with these advancements,
the tactile and surface qualities of

From the Bazaar to Space Architecture: Fabrics Reshape Material and Spatial Qualities of Built Environments

textiles reassert the potential that

they offer for personal expression
in a space. The convergence of
industrial and digital production
techniques in textiles capture
the essence of labor-intensive
hand-craft that is lost or cannot
be achieved due to economic
conditions and symbolize a
contemporary design spirit.
Although decoration is still frowned
upon as a negative spatial
attribute in architectural spaces,
the new surface qualities that are
intrinsic to woven textiles are seen
as more than just unnecessary
embellishments or decoration.
This prevalent approach to new
ornamentation, decoration or
integration of dynamic surface
qualities is allowing designers to
manipulate the visual qualities
of materials in their search to
create spaces that respond to
physical or emotional needs of
users, allowing them to perceive

Figure 5
3-D Tex, Mayser.

details and patterns from small to

large scale.
Three-dimensional woven or
formed textiles are seen more as
alternatives to static materials as
they create breathable, exible and
malleable surfaces. An example of
formed textiles, 3D-Tex (Figure
5) is an inll fabric made out of
polyester, polyamide or cotton
used for panel structures. The
degree of elasticity or stiffness
of this building material can be
controlled when it is impregnated
with resin. So far used only as
a spacer/stiffener for building
panels, this material brings
the potential of surface relief
in creation of architectural
surfaces. In another example,
Rapid Manufactured Textile
experiments of designers Jiri
Evenhuis and Janne Kyttanen of
Freedom of Creation (FOC), the
idea of weaving is taken much
further. They research production

265

of woven garments using rapid

manufacturing techniques (Figure
6), such as laser sintering instead
of the jacquard loom, for which
layers of powder polyamide are
fused by heat from a laser, one
layer at a time, until the knit
fabric is formed. This experiment
presents the potential of bringing
woven materials into the realm of
construction as it deals with the
issues of mass-production of a
specialized material.
As advocated by Le Corbusier
and other modernist icons, we
have to turn to mass-production to
achieve perfection and economy,
yet we must take advantage of the
same technology that is offering
a reconciliation of the handmade craft with the factory-made
approach. Textiles, by allowing the
poetic and the meaningful mark of
the self, can bring back the tactile
sensation that seems to be missing
in our physical environments,

266

Filiz Klassen

Figure 6
Rapid Manufactured Textile, FOC.

expressing the recent resurgence

of a new sense of ornament in built
spaces.
What is required is a spirit
of interdisciplinary design
experimentation and innovative
collaborative frameworks for
research and development, within
which appropriate transfer of
recent innovative technologies into
architectural textile applications
can be encouraged. In the context
of professional practice, Kennedy
and Violich Associates (KVA) have
been involved with research and
development of advanced fabrics
for architectural and industrial
design applications. Expanding on
the tradition of portable screens
in architecture, their Give Back
Curtain (Figure 7) integrates
photo-luminescent pigments with
synthetic or natural bers to create
a curtain/privacy screen that
absorbs or emits light. This
creates a dynamic medium that
responds to the luminosity
conditions in a space over time
(Lupton 2002: 154).

A natural extension of the Give

Back Curtain, KVAs Zip Room
project illustrates an adaptable
interior wall prototype. This fabric
wall, named Nextwall (Figure 8),
is an integrated light emissive
and interactive surface that
responds to different conditions
of use and human touch. It is
pliable and powered by lowvoltage DC electric current that
allows digital light and information
delivery to an architectural
surface. Thus Nextwall brings
the effects of color, light and
information display into the
spatial realm from the domain
of various products functioning
independently in a space (McQuaid
2005: 1947).

Conclusion
Despite the many examples
of innovative use of fabrics in
architecture, fashion and design,
their use in conventional built
environments remains largely
limited to decorative additions
to space after the construction

From the Bazaar to Space Architecture: Fabrics Reshape Material and Spatial Qualities of Built Environments

Figure 7
Give Back Curtain, Kennedy and Violich Associates.

Figure 8
Zip Room, Kennedy and Violich
Associates.

267

268

Filiz Klassen

process is complete. I believe that

use of malleable materials can
provide adaptable, exible, and
sustainable design solutions as
long as we as designers exploit
the evolving potential of malleable
materials to produce new forms of
design adaptability to different and
changing functions, complexity and
responsiveness. Experimenting
with the integral relationship
of light, information display,
thermal control and the molecular
properties of malleable materials
demonstrates that a space can
expand or contract physically,
become luminous or opaque, and
become a living architectural
skin by integrating sensors at
microscopic scale for heat,
color and light moderation.
Integrating digital display
technologies that a user can
manipulate can produce effects
that directly recall an emotional
response to a built space.
A cross-disciplinary contribution
to research and creative work
that promotes a greater
understanding of the potential
of existing and new material
innovations and fabrication
processes in creation of new forms
of exible built spaces capitalizes
upon possibilities offered by
new materials and construction
methods rather than relying on
conventional building methods
and the often inadequate materials
available through manufacturers
catalogues.

Bell, E. (ed.) 2001. Shigeru Ban.

New York: Princeton Architectural
Press, pp. 4954.
Berzowska, J. 2005. Electronic
Textiles: Wearable Computers,
Reactive Fashion, and Soft
Computation. Textile 3(1): 5875.
Braddock, S. and OMahony,
M. 1998. Techno Textiles:
Revolutionary Fabrics for Fashion
and Design. New York: Thames and
Hudson, pp. 67, 4897, 156.
Gmachl, M. and R. Wingled. 2006.
Reactive Surfaces. Available from
http://www.loop.ph/bin/view/
Loop/WebHome (accessed: April
15, 2006).
Hart, S. 2002. There is No
North Arrow in Outer Space.
Architectural Record 2(12): 18.
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conteduc/archives/0212space1.asp (accessed: December 5,
2003).
Herwig, O. 2003. Featherweights:
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