warp ikat>> blur>> slip>> phase>> multi>>

Transcription

1 warp ikat>> Ikat is a technique in weaving where the warp or weft, or sometimes both, are resist-dyed before being woven on the loom. In Indonesia, warp ikat is often performed on a backstrap loom where the weaver, leaning back into a strap that is in turn connected to the loom bars, provides the requisite tension on the warp. The whole apparatus is attached to a fixed point. As the threads are dyed, the resist wrappings allow small amounts of dye underneath them, creating a blur effect in the final product. blur>> slip>> phase>> multi>> While a wide range of cultures, including ones in central Asia and South America, practices this method, ikat is an Indonesian language word. As a noun, it can mean cord, thread, or knot, and as a verb it means to tie or to bind. Thus, the term refers to the tie in tie-dye. Although most likely developed independently by multiple cultures, ikat identifies strongly with Indonesia, where a strong trade and (more recently) tourism have placed large demands on the skill of the local weavers. In 2011, the Republic of Indonesia will petition UNESCO for Intangible Cultural Heritage accreditation for its ikat weaving. Often mystical, symbolic, and intensive, Indonesian ikat patterns are manifestations of a complex society. Gender roles are reinforced in the production of these textiles while the floral patterns and abstract geometries provide the requisite aniconic imagery associated with Islam.

2 Resist material is tied onto the warp while it is on the frame.

3 After the dye bath, the resist is removed.

4 {frame} {loom} blur>> The warp is wrapped on the frame in a continuous loop. The resist material binds both the upper and lower portion of the loop. The length and number of warps in the binding depends on the pattern. slip>>

5 {loom} blur>> slip>> phase>> multi>> When mapped onto the loom, the warp is wrapped in a continuous figure eight. Two "sheds" are then able to be manipulated by the heddles.

6 The heddle allows alternate strings to be pulled up in one movement, allowing the weft to effectively weave in and out of each warp.

7 As the warp is pulled over each weft, the material is squeezed and widens at the point of contact. As it passes the warp from the opposing shed, it contracts to allow room to pass.

8 blur>> slip>> phase>> multi>> The technique usually produces a blurred effect, when the dye seeps under the resist material a bit. The warp may also be pulled slightly tighter on one loop in order to change the resolution of the resist binding. If the frame is a different length than the loom, the pattern will become out of phase. These effects may be combined.

9 Blur and slip are used to differentiate the pattern mapped onto the loom from the one initially tied onto the warp with resist material.

10 The warp faced weave reveals a diamond pattern as it is pulled tightly over the structuring weft.

11 The diamond pattern of the fabric structure is coupled with the pattern mapped onto the loom.

12 remapping images>>

13 An original image is taken apart, row of pixels by row of pixels, and remade into an image with only one single row of pixels.

14 Simulating the ability to change the proportion between the frame and loom, this Grasshopper script creates a virtual warp that may change height and width while keeping the warp length constant so that no pixels are stretched. The snaking tube that is outputted allows a single row of pixels to be remapped back into an image, pulled in and out of phase.

15 The Chuck Close image is pulled through phasing. A control image depicts how the phasing is occurring. The tubes are all the same length.

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22 Sukarnu, the first President of Indonesia

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26 weaving spaces>>

27 Woven spaces at the scale of structure.

28 Overlaps in woven spaces reveal possibilities for outdoor, breezy passages.

29 Woven spaces at the scale of facade, accommodating variation in floor and ceiling height.

30 Semi-permeable facade study.

31 remapping and blurring program>>

32 program requirements residences: 1728sf leasable offices: 20160sf showroom:3456sf company offices: 1056sf parking: 6192sf The program is understood as a series of pixels, broken into units of 100 sf.

33 As a continuous entity, the program is strung onto an infrastructure that will accommodate site requirements while providing new relationships between each coil.

34 formal/informal: within the formal structure of the required program, pixels may be removed, replaced, or shifted to create "informal" program, such as views to Mecca, outdoor spaces, and shortcuts in the circulation.

35 E S W N E S W N E S W N E S W N E S W N E S W N E S W N E S W N E S W N E S W N facade diagram: on a generic, rectangular geometry, with an appropriate footprint the facade is wrapped as a continuous spiral from the parking in the basement to the residence on the roof. Above floor 4, pixels are removed to accommodate views towards Mecca from the Northwest corners.

36 FAR studies: Using the virtual loom, the program may be compressed and expanded on the site, changing the required height and revealing sub-patterns in the interstitial, or informal spaces, represented in white at regular intervals.

37 When fed a line of pixels that represents the required surface area for each program, given the footprint of the generic building, the virtual loom produces an unwrapped facade.

38 The generic building is remapped with the program-specific facade. Informal programmatic elements are interspersed with formal ones, which consequentially fall in and out of phase as they coil around the building.

39 The remapping can occur at different scales, suggesting different techniques in varying the facade. The floor to floor panels suggested by the previous image are replaced here with the suggestion of a semi-permeable screen.

40 supplanting the generic building>>

41 Mecca wind site Indonesians do not typically look to the street or to the city. However, the Qiblah, direction to Mecca, is an important orientation daily. This axis, coupled with the need to alleviate the heat and humidity with breezes coming from the Northeast, is the genesis in formulating the site strategy.

42 A continuous figure eight allows the deeper areas of the "8" to accommodate the requisite floor area for the programs, while the center becomes an area of thin passages and bridges that permit wind to cross through the building.

43 Hanging gardens from the bridges could produce necessary outdoor gardens in Jakarta, which lacks much suitable public parks.

44 Multiple floor office suite: One loop, one figure eight, this plan configuration offers slim floor plates for cross-ventilation while accumulating, or being subdivided, to account for a variety of tenant occupancy situations.

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46 The program (white solid) is being strung onto the infrastructure, a variation on the original coil.

47 Program "loomed" onto the site.

48 Inside and outside are blurred, as are elements of the program, such as when the display windows at street level overlap and become the cafe.