Author Archives: Kate Bogenschutz

P2C_Kate Bogenschutz

Adaptive architecture can take on various meanings for different people. In the context of my project one and two, I saw it as an opportunity to redefine form, material, and space as they exist on an architectural and urban scale. In contemporary architecture, adaptive building systems include fritted glass that changes densities based on program, interior partitions that move independently to create ever-changing space, and dynamic building facades that interact with social and environmental conditions. Adaptation in architecture has branched from biomimicry to computer-aided design to parametric forms. As technology advances, so do the ways in which architecture grows to fit a changing world.

>> Petra Blaisse: Adaptive Curtains << Click for Video

Above is a video with Dutch designer Petra Blaisse. Here she discusses her work in the Dutch Pavilion in Venice where she uses the dynamic movement of curtains to recreate an otherwise empty and generic space. Her adaptive systems utilize movement, transparency, color, and light to re-envision a space that’s becomes new every time you visit it.

I saw the prompt for project one, fabric in architecture, as a platform to experiment with the ways fabric is traditional used at an architectural scale. Fabric by itself is inherently non-structural and completely dependent on other forces. It stretches to the will of its supports and moves in the wind where not tethered down. It is this non-static nature that originally drew me to the material. It can be moved, cut, and altered. From here, the problem I recognized with the use fabric in architecture was in its integration, or lack there of. Fabric tensile structures are most often thought of as canopies or tents, there are very few examples of fabric truly being integrated into a building and it’s structure. By taking a fabric, in my case crocheted yarn, and dipping in plaster I was able to infuse some structural capabilities into the material and giving it the adaptability of becoming more than just a canopy tethered to supports. It was my thought that the crochet would take on a gradient, where the holes in the pattern would grow smaller or larger depending on program and the fabric would go from soft to hard and back again depending on where it was in relation to the façade. At its most rigid moments, the fabric would become a part of the building skin, fully integrated and almost unrecognizable as fabric. As the program changes from private to public and inside to outside the fabric would gradiate from hard to soft, beginning to pull from building, unwrapping into the landscape and adapting to its surroundings as a soft, fluid, and dynamic fabric piece. It is through this change in material that the building and its skin can adapt and move.

Project one became more of an analog interpretation of adaptive architecture, an exploration in making physical adaptations. Project two took on a different meaning. It was an exploration of adaption in the technological sense, a utilization of grasshopper scripting to adapt a city grid to zoning regulations and buildings. It was an experiment in how to take plots of land, generated by the lines of the surrounding environment, and translate them into a functional, successful city.

From these two projects, it became incredibly apparent how important adaptive architecture is. It is the architecture, the process, the materials, and the buildings. It’s in everything we create and allows us to formulate architecture that is most reflective and useful to changing program and people.

P2B_Kate Bogenschutz

P2 Kate Bogenschutz

P1F Kate Bogenschutz

Yarn Construct Overall

P1E Kate Bogenschutz Schematic

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P1C_Kate Bogenschutz

P1_Kate Bogenschutz_Spider Webs in Architecture