January 10 - February 9, 2018
Banvard Gallery at the Knowlton School of Architecture
Ohio State University, Columbus, OH
The use of hair, fur, and fibers have long been expressed in architecture as a textural phenomena. Flocking can be traced back to circa 1000 BC, when the Chinese used resin glue to bond natural fibers to fabrics. Fiber dust was strewn onto adhesive coated surfaces to produce flocked wall coverings in Germany during the Middle Ages, and in France, flocked wall coverings became popular during the reign of Louis XIV of France. Camel and Yak hair continues to be collected today, either by shearing or combing, and felted or woven by nomadic cultures to create a durable textile for tents.
If architecture can be hairy, how might we draw hairy drawings? In 1925, the architect Le Corbusier, asked the then 21-year-old artist Salvador Dalí if he had any thoughts on the future of architecture. Dali retorted, with some disdain for Le Corbusier’s work, as he viewed Le Corbusier as the inventor of the architecture of self-punishment, that the architecture of the future would be “soft and hairy.” Hairline Drawing explores the use of custom gcode scripting for 3D printing to create a surface, not unlike a technological flocking or a bioplastic weaving, that depicts Notre Dame du Haut, a work where, perhaps influenced by Dalí, Le Corbusier expressly sought to deny the “machine age aesthetic” of his previous work—a return to the soft, and drawn here, as hairy.
Rael San Fratello, Ronald Rael, Virginia San Fratello, and Barrak Darweesh. "Hairline Drawing" Banvard Gallery at the Knowlton School of Architecture (2018).