2.50-250-120.2-Alu
INSTALLATION
Der in Falten gelegte Stoff, sodass es unendlich viele Falten geben könnte, die einen kleiner als die anderen
Plica ex plica
Jede Falte stammt aus einer andere Falte
Immerzu Falte in der Falte, Höhlung in der Höhlung
Deleuze definiert die Falte nach drei Punkten
Punkt Eins: Das Innere und das Äußere
Die unendliche Falte trennt oder verläuft zwischen Materie und Seele, zwischen Fassade und geschlossenen Raum, zwischen dem Äußeren und dem Inneren
Punkt Zwei: Das Oben und das Unten
Das Vollkommene Zustimmen der Spaltung oder die Auflösung der Spannung geschieht durch die Verteilung auf zwei Etagen
Das manifestiert sich im Drang nach oben und dem
Einsinken nach unten
Punkt Drei: Das Entfalten
Das ist gewiss nicht das Gegenteil von der Falte noch auch deren Auslöschung, sondern die Kontinuität oder Ausdehnung ihrer Tat, die Bedingung ihrer Manifestation.
So ist das Entfalten niemals das Gegenteil der Falte, sondern die Bewegung, die von den einen zu den anderen geht.
Die Faltenwürfe des Entwurfs verweisen zunächst auf die Tätigkeit der Person, die es ausdehnt und dann auf die Bewegung der Person selbst.
Insofern Falten nicht dem Entfalten entgegengesetzt ist, ist es Spannen – Entspannen, Zusammenziehen – Ausdehnen, Komprimieren – Explodieren
1 Deleuze, Gilles. Die Falte : Leibniz und der Barock. Frankfurt am Main: Suhrkamp, 2000.
Art Weekend Basel, space25, 2022
in collaboration with Eva Ott, Plisseebrennerei Basel
‘What becomes of the future we are dreaming of? .. Each fold contains a span of countless possibilities. … That’s the future isn’t it?
Imagine, that this is our mission as human beings to first acknowledge the physical weight of things on Earth, and then convert it to a lighter and more ethereal realm of being. And when we thus convert, what will emanate from the body and remain ever afterwards will be traces of light through space.’1
In times of constant and unpredictable change, we have not yet found spaces appropriate for the contemporary lifestyle. In an environment surrounded by unstable, transient, phenomenological and relativistic spaces we must find the minimum fixed system to convert phenomenal spaces into durable architecture. Therefore, we look at textile as one of the most adaptive and comforting materials.
What is the contemporary lifestyle exactly and which technique to work the textile will equal a relevant architectonic expression?
In my design, I reflect on my contemporary living condition while taking the current pandemic into consideration. What makes a home a home? Is a house inevitably a home? Where do we find flexibility in the expression of the concept of a home? Investigating these questions, my design is that of a contemporary nomadic tent, suitable for the highly mobile lifestyle of today.
The materials gesture of textile that I have been investigating is the technique of pleating. Pleating has an ancient tradition in fabric manipulation. It offers, by its quality of expansion and contraction of the folds, the desired flexibility. Pleating is best suited for polyester because it holds the pleated form over time. There is a wide range of pleated patterns such as the most common one: knife pleat.
The fabric is put inside the paper mold, rolled up tight and put inside a steam cabinet.
This process allows the fabric once pleated to create a three-dimensional structure of sensation and comfort. It allows air moving through and its own expression of form and texture. The thinness, lightness and durability together with the technique of the pleats allow the textile being transported easily from one place to another, because even rolled up, it will keep its pleats and remembers its form and shape. Its ephemeral yet permanent nature is therefore maintained and reinforced.
The textile chosen for the design is an aluminium-vapour coated polyester.
In my design the body is the protagonist.
The body does not only give life and motion, but also enhances, streamlines and adds dimension to it. It is therefore the interminable invocation of movement. You are persuaded to dance, to dance another you.
It gives the inhabitant a sense of lightness
- you feel lighter, more supple, and free.
It establishes an architecture that inverts the classical relationship between inside and outside. New forms of intimacy are emerging: The textile becomes a sort of screen, it is the membrane, full of mystery, delicate yet though. The textile acts as an outer screen in order to register a ghostly image of the inside.
1 Kabuyashi, Y., 'Pleats' in Miyake Issey Exhibition. The Work of Miyake Issey, S. 220-221.
in collaboration with Eva Ott, Plisseebrennerei Basel
‘What becomes of the future we are dreaming of? .. Each fold contains a span of countless possibilities. … That’s the future isn’t it?
Imagine, that this is our mission as human beings to first acknowledge the physical weight of things on Earth, and then convert it to a lighter and more ethereal realm of being. And when we thus convert, what will emanate from the body and remain ever afterwards will be traces of light through space.’1
In times of constant and unpredictable change, we have not yet found spaces appropriate for the contemporary lifestyle. In an environment surrounded by unstable, transient, phenomenological and relativistic spaces we must find the minimum fixed system to convert phenomenal spaces into durable architecture. Therefore, we look at textile as one of the most adaptive and comforting materials.
What is the contemporary lifestyle exactly and which technique to work the textile will equal a relevant architectonic expression?
In my design, I reflect on my contemporary living condition while taking the current pandemic into consideration. What makes a home a home? Is a house inevitably a home? Where do we find flexibility in the expression of the concept of a home? Investigating these questions, my design is that of a contemporary nomadic tent, suitable for the highly mobile lifestyle of today.
The materials gesture of textile that I have been investigating is the technique of pleating. Pleating has an ancient tradition in fabric manipulation. It offers, by its quality of expansion and contraction of the folds, the desired flexibility. Pleating is best suited for polyester because it holds the pleated form over time. There is a wide range of pleated patterns such as the most common one: knife pleat.
The fabric is put inside the paper mold, rolled up tight and put inside a steam cabinet.
This process allows the fabric once pleated to create a three-dimensional structure of sensation and comfort. It allows air moving through and its own expression of form and texture. The thinness, lightness and durability together with the technique of the pleats allow the textile being transported easily from one place to another, because even rolled up, it will keep its pleats and remembers its form and shape. Its ephemeral yet permanent nature is therefore maintained and reinforced.
The textile chosen for the design is an aluminium-vapour coated polyester.
In my design the body is the protagonist.
The body does not only give life and motion, but also enhances, streamlines and adds dimension to it. It is therefore the interminable invocation of movement. You are persuaded to dance, to dance another you.
It gives the inhabitant a sense of lightness
- you feel lighter, more supple, and free.
It establishes an architecture that inverts the classical relationship between inside and outside. New forms of intimacy are emerging: The textile becomes a sort of screen, it is the membrane, full of mystery, delicate yet though. The textile acts as an outer screen in order to register a ghostly image of the inside.
1 Kabuyashi, Y., 'Pleats' in Miyake Issey Exhibition. The Work of Miyake Issey, S. 220-221.