Mention architectural textiles and most of us will immediately conjure up in their minds images of Russian engineer Vladimir Shukhov's tensile structures for the Nizhny Novgorod Fair in 1896, Buckminster Fuller's textile panels in modular and prefabricated pods or Frei Otto's tensile membranes. Yet - Samira Boon docet - these are just a few examples of architectural textiles.
Since founding her studio, the Dutch architect, textile and accessory designer has been developing intense research for innovative fabrics. Boon has so far designed a variety of experimental textiles characterised by an architectural twist and a strong tactile power. Boon's vocabulary of shapes includes three-dimensional waffle-like structures, dynamic folds and membranes that evoke the screens and doors of Japanese houses.
The designer has also been collaborating with architectural studios: one of her latest projects conducted together with NEXT Architects was focused on designing a foldable glow-in-the-dark space divider for the Theaters Tilburg to reduce the concert hall during intimate musical performances.
Studio Samira Boon's latest fashion project is instead a sort of "behavioural" shawl collection called "Changing Identity" inspired by the fact that our identities are becoming more and more visually linked to our fingerprints and iris code.
The shawls, available in grey or pink, are made from banana leaves from the abaca plant. A heat-reactive yarn used in the shawls creates either a fingerprint or iris scan pattern, changing colour in response to heat.
The heat-reactive yarn becomes indeed white when warmed up for instance through body heat, showing either the image of an iris scan or fingerprint, both symbolising our identity. When it cools down the shawl returns to its original colour. Different body temperatures will cause the pattern and the final image to change (and the shawls can also be customised with a a personal fingerprint).
Can you tell us more about your studies, your practice and your designs?
Samira Boon: Educated as an architect, I lived in Japan for four years where I started my design studio. In 2002 I designed the “Get Well Soon Masks”: regular masks printed with animal faces. These masks were a great success and, shortly afterwards, I developed the “Furoshiki Shiki” series, vinyl bags inspired by a Japanese folding technique. Back in the Netherlands again, I shifted my focus to the development of three-dimensional textiles. Technologically advanced textiles function differently in various interiors, resulting in a wide array of products. One of the most innovative product series is the “Instant Collection”: pre-programmed different layers and seams resulting in (nearly) finished 3D products straight out the machine. In 2011 I did a one-year residence in Seoul to collaborate with Korean companies and designers on various projects and an exhibition about folding. The studio is currently located in Amsterdam.
Do disciplines such as art and architecture inform your work?
Samira Boon: My architectural education trained me in translating technique into spatial and functional design. That is exactly how I would like to develop and apply my textiles. Art inspires very much the visualisation of complex concepts ranging from natural issues such as “light” to cultural and political criticism (Ai Weiwei).
Do you have a favourite artist/architect?
Samira Boon: I find the following ones inspiring for their research, new perspectives and critical visions they explore - Issey Miyake, Ai Weiwei, James Turrell, Janine Benyus and Yoshioka Tokujin.
Can you tell us more about being involved in the Architextiles Project and about its results being showcased in April at the TextielMuseum Tilburg?
Samira Boon: Last year I was invited to become part of the multi-disciplinary team that conducted research into innovative applications of textiles in the interior - the Architextiles Project. I expanded my research into creating space and volume with textiles. We discovered that, by combining structure and different weaving techniques, we could create volume with textiles, without using other supporting materials. We were able to weave in three layers with three different materials. The layers came flat out of the machine but could be opened as a spatial honeycomb-like structure. By using different materials, the created spaces had different characters. The installation we designed was hung at the entrance of the TextielMuseum during the final presentation. Our second project was the elevator. An elevator is a large mechanical (functional) moving device in which people are unintentionally close to each other’s comfort zone. We wondered how this more or less awkward space could be transformed into a more dynamic place. What would happen when the walls of the elevator interacted with its passengers? So we experimented with heat reactive yarn. We covered the walls of the elevator with woven fabric made with the heat reactive yarn. The yarn changed its colour in response to heat. When passengers leaned against the wall of the elevator the fabric changed its colour in response to the heat of the body.
You collaborated with NEXT Architects to develop the caterpillar-shaped separation for the Tilburg City Hall – which was the most difficult aspect of this project, the fact that it had to be foldable?
Samira Boon: During the project for the Tilburg Theatres there were quite a few difficult aspects. In accordance with the demands of the Theatres Tilburg the divider had to be adjustable and easily packed away so it could be built up in two hours; it therefore needed to be very practical. The folding and the delicate fabric was another difficult aspect; the fabric needed to be semi-transparent, but at the same time it had to be strong enough for folding.
For this projects you also employed a felt yarn by Lineapiù, a manufacturer from Italy that also provides the yarns for Azzedine Alaia. Do you have a favourite yarn manufacturer?
Samira Boon: For each and every project I do research into new innovative yarns. The properties of the yarns are more important than the spinner, however, quality is very important too and Lineapiù is famous for that!
What kind of yarns do you prefer?
Samira Boon: I like various yarns; from very innovative ones to yarns made out with natural materials.
So far which is the most challenging technique you applied to make your designs?
Samira Boon: That would be the 3D textiles and the programming of the weaving machine so that products come out almost finished.
Is there a technique you'd like to experiment with in future?
Samira Boon: I would like to extend my research on smart textiles. For instance, I would like to integrate energy generators like solar cells into textiles.
There is a lot of talk at the moment about smart textiles - do you feel that new technologies will help us developing genuinely innovative and functional garments in the future?
Samira Boon: I think useful applications are definitely of interest. We are currently working on a project for the TextielMuseum in Tilburg about this subject. But I also have my doubts. Fashion that is trendy now turns into waiste in about three months and the recycling process of garments with electronics is complex. I think such garments would have to be useful in the long-term and/or they will have to be highly recyclable. Smart textiles go beyond what you can imagine when it comes to various applications and sustainable development of such products in interiors and in otehr fields will imply the cooperation of multi-disciplinary teams including companies and specialised individuals.
If you could launch a collaboration with a scientist who would you choose?
Samira Boon: It would be of great pleasure to work with Janine Benyus. She is a scientist specialised in biomimicry, innovation inspired by nature. She seeks sustainable solutions by emulating nature’s designs and processes, for instance, solar cells that mimic leaves.
Will you be taking part in any events soon?
Samira Boon: In June we have an presentation scheduled at the Mori Art Museum in Tokyo, Japan, and in Autumn an exhibition at the TextielMuseum in Tilburg.
Studio Samira Boon, Cultuurhuis Diamantslijperij, Tolstraat 129 / A.2.17, 1074 VJ Amsterdam, The Netherlands.
All images courtesy of Samira Boon
1. Tilburg city Hall, Theatres Tilburg
2, 3. Changing Identity Collection
4. Furoshiki Shiki card holders
5. Waffle Sleeves
6. Detail, Tilburg city Hall, Theatres Tilburg
7. Stereo cushions
8.3D textile
9, 10. Waffle screens
11.Rabobank
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