Material matters: architecture and material practice by Katie Lloyd Thomas

By Katie Lloyd Thomas

Bringing jointly texts and paintings by way of theorists and practitioners who're making fabric significant to their paintings, this ebook displays the varied parts of inquiry that are increasing present fabric discourse. concentrating on the cultural, political, monetary, technological and highbrow forces which form fabric practices in structure, the participants draw on disciplines starting from philosophy, historical past and pedagogy to paintings perform and electronic and low-tech fabrication. via paying serious cognizance to fabric, quite a lot of concerns emerge that are differently excluded from architectural discourse, matters that form and be sure the constructions we make, the approaches we use and the methods we comprehend them. superbly illustrated and designed, this e-book is a distinct assortment as a way to be of serious curiosity to architectural practitioners and theorists who are looking to ponder the broader implications of fabric perform, and to scholars who're constructing their very own method of making structures.

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I don’t mean to be facile when I say that it is easier to think about architecture of line when you are not obliged to keep the weather out. One project we set for students was a visit to the Aran Islands in Galway Bay, to make working pieces that they would place in the landscape, two of which I will discuss here. Guy Dickinson made a patch for his back, gridded with tiny needles. Each one was electronically connected to a matrix of sensors on the rocky inter-tidal 33 A ROYAL GITTERN AT THE BRITISH MUSEUM shore.

7 >Screen, private house, London. 8 >Housing in Silvertown, East London. 9 >Banavari and Muhammad, Untitled painting. The effect of the running suitors in Banavari and Muhammad’s painting, is electrifying – their fleeting trajectory against the sharp stillness of the earth. 9). It seems that depiction and representation were at the point where they had just recently been lifted off the woven surface of a carpet to become graphic images. Everything seems connected within an intertwined, deeply structured system.

While for Semper there needs to be an accord between the outward appearance of structural elements and the nature of that function, such a relationship resists any reformulation in terms of a theory of ornamentation. What has to be opened up is the potential in Semper’s conception of the wall. The wall cannot be separated from the effect of space creation. Potentially what counts as a wall need not have anything necessarily to do with the literal presence of the wall as a structural element, but will be there in terms of what can be described as the ‘wall-effect’.

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