The use of fabric formwork for concrete casting differs from rigid formworks by taking advantage of the concrete’s fluid state to produce variation (through gravity and a membrane in tension).1 By nature, this means the results of the process are unpredictable, and demands an understanding of the fabric not only texturally, but in its fiber strength and elasticity. For this reason, understanding other disciplines working with fabric (sewing, gathering) may be useful.
The combination of concrete in a flexible formwork allows for structurally optimal form to be ‘found’ (catenary curves), so the method can produce physically strong work.2 Aesthetically, the material surface also has inherent variability depending on the kinds of fabric used; material surface traces can have the effect of softening or texturizing. If other objects are also integrated into the formwork (such as small weights to hold the fabric in a certain form), texture might also be impacted as something cast into the material, rather than simply imprinted. Because of the nature of fabric when filled, the method lends itself to some degree of control of texture, since air pockets or objects within the pour can be adjusted to an extent.3 What attitude might the concrete take on through its texture--is it part of a narrative about history or place? is it functional?
Fabric may be used in tandem with other armatures such as those produced through CNC mill, wooden frames, or wax.4,5,6 The interplay between membrane and restrictive corset can be iterative.
However, if no additional material is used, the potential for formwork to be entirely fabric and thus virtually waste-free is intriguing. Formworks using fabric produce less waste than works produced by CNC mill, for example, yet can be manipulated in similarly parametric ways.7 If the goal is quick parametric iteration, the place for digital tools might be most appropriate in design and simulation. The most common pure-fabric formwork methods seem to produce columns types,8 so exploring a “no-waste” method for casting curtain wall panels may yield new territory. The CAST method employs a reusable sheet that can be used to create repeated positives and negatives of the same panel, but it does employ a rigid frame.9 What might be the challenges of producing a concrete wall panel with the constraints of creating minimal process waste, even less than is produced by CAST? This question, joined with a study of techniques to manipulate surface effects, could become a guiding constraint.
1. http://www.fabricforming.org/membranemould/cases/papersICFF2012/KI.pdf
2. http://www.fabricforming.org/membranemould/cases/papersICFF2012/P6.pdf
3. http://www.fabricforming.org/images/papers/Kenzo_Unno_Article.pdf
4. http://www.fabricforming.org/images/papers/Kenzo_Unno_Article.pdf
5. http://www.fabricforming.org/membranemould/cases/papersICFF2012/P24.pdf
6. http://www.fabricforming.org/membranemould/cases/papersICFF2012/P15.pdf
7. http://www.fabricforming.org/images/papers/G0304paper.pdf
8. http://concretely.blogspot.com/2013/03/fabric-formed-concrete-columns.html
9. http://umanitoba.ca/cast_building/assets/downloads/PDFS/Fabric_Formwork/Fabric-Formed_Precast_Panels.pdf
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