Tese Fashion and Architecture

8/3/2019 Tese Fashion and Architecture

1/112

:..


2/112

Mais KaradsMasters of Architec

The University of Detroit Mercy [Scof Architect

AR150 + ARAssociate Prof. Julie Ju-Youn

April 30.2


3/112

abstract project thesis papersummary

pgA-5 pg.6-7 pg.8-16

precedent independent site analysisanalysis research

pg.17-38 pg.39-42 pg.43-51

project design final projectprogram process

pg.52-62 pg.63-89 pg.9O-106

conclusionpg.1 07-1 08

endnotespg.109-11o

bibliographypg.111-112


4/112

abstract pg.4-5succinctly states thebasic premise o f the fullthesis effort


5/112

An investigation of skin and a range of textural elementswishes to seek a parallel study of the body and itsrelationship to [applying] architectural clothing. Thepractice of reinterpret ing textures, sounds, colors,smells, etc ... invites the potential for an event ofamplified stories and memories. Engaging the localcontexts through the use of our senses establishesthe core of a considered architecture. The experiencesof passing through space, considering the wholeengagement of the parallels of archi tecture and fashionis established through the interpretation of the specificmethodological principles and strategies; which thenbegins to initiate an invigorating side effect to oursenses. It is through the formation, deformation, andreformation of an articulate body that architecture canredefine beauty and utility through space.


6/112

. o o ~ t i ; project pg.4-5summary

pg.6-7a meaningful statementthat translates thethoughts that guidedthe development of theoverall thesis.


7/112

"fashion designers create garments for the human body. whilearchitects create buildings large enough for many bodies toinhabit simultaneously" .skin+bones.Regardless of scale, the body shape is a perfect exercise inspatial design, a testing ground fo r ideas and techniques toapply to buildings. The practice of origin fo r both architectsand fashion designers is the body. In fact, there is a strikingsimilarity in the 'making' process; it is the approach to constructa complex three-dimensional design from a two-dimensionalmedium. Openings, folds, panelizing, pattern-making - conceptsand problems are much the same, whether it's a sleeve or acurtain wall. Technological innovations have influenced the designof buildings as well as garments. Therefore, garments andbuildings share stylistic or structural qualities, or obtain commoncreative impulses. Designers in both fields have inspired eachother with certain methodological strategies. Terminology of the'making' has been exchanged and adapted to the strategies ofboth practices. Architects borrow and adapt vocabulary fromthe fashion world, draping, wrapping, weaving, folding, printing,and pleating surfaces and materials. Through the process ofinvestigating the tectonic skins of a building or garment, thisthesis expands on developing an experiential existence of thebody within architectural clothing. Using the design of "AnEducational Facility fo r the Visually Impaired," this thesis begins toengage and delight all of the senses in a considerable way at themultiple scales of the building and of the bodies within it.


8/112

is intended to be athoughtful and critical text that carefullydescribes all the background informationthat is relevant to thethesis and builds up anargument for the thesisposition.

ij ...... "'l0lJ" thesis paper summarypgA-5 pg.5-7 pg.8-16


9/112

Regardless of scale, the body shape is a perfect exercise inspatial design, a testing ground for ideas and techniques toapply to buildings. The practice of origin for both architectsand fashion designers is the body. In fact, there is a strikingsimilarity in the 'making' process: it is the approach to constructa complex three-dimensional design from a two-dimensionalmedium. Openings, folds, panelizing, pattern-making - conceptsand problems are much the same, whether it's a sleeve or acurtain wall. This project explores the inherent connections thatexist between the fashion of architecture and the architecture offashion. Technological innovations have influenced the design ofbuildings as well as garments. Therefore, the garments and thebuildings share stylistic or structural qualities, or obtain commoncreative impulses. Designers in both fields have inspired eachother with certain methodological strategies. Terminology of the'making' has been exchanged and adapted to the strategies ofboth practices. Architects borrow and adapt vocabulary from thefashion world, draping, wrapping, weaving, folding, printing, andpleating surfaces and materials. Investigating the contemporaryresults of technology and manufacturing offers a new visionof 'making' in architectural design. However, it is important toacknowledge and identify that the 'body' is the origin connectionof the two practices. Buildings have often been described asbodies, and, still anatomically speaking, the interior of a buildingcan be defined as its inner skin- a membrane of changingthickness that may be marked, pierced or wrapped. [Throughthe process of investigating the tectonic skins of a building orgarment, this thesis expands on developing an experientialexistence of the body within architectural clothing. Using thedesign of "An Educational Facility for the Visually Impaired,"this thesis begins to engage and delight all of the senses in aconsiderable way at the multiple scales of the building and of thebodies within it.]the parallelsThe parallel link between fashion and architecture can beenviewed as part of a historical continuum. Both garments andbuildings are invaluable anthropological artifacts that indicateimportant conditions. stylistic preferences and new developments in technology and materials. In addition, the designers andarchitects of today continue to be influenced by such artifacts,


10/112

introducingthe parallelsof fashion andarchitecture:PeterEisenman'smodel for the[Max ReinhardtHausj, andYeohlee Teng's[infanta skirt/bodysuit] theparallel ofgeometry andcolor

reinterpreting them for a contemporary context. "The connection between clothing and shelter dates as far back as the IceAge, when people used animal skins to cover themselves and tofashion exterior walls for simple structures." 1 Today a number ofcontemporary architects are looking to create facades with morevisual interest and have begun to explore folding and draping,including other techniques. "The Medieval propensity for extremeverticality can be seen in both Gothic dress and architecture.Sharply pointed shoes, sleeves and hennins relate directly to theogival arches and soaring spaces of Gothic structures such asthe thirteenth-century cathedrals at Amiens, France, and Salisbury, England." 2 Recently, the Gothic arch was the inspirationfor a dress designed by Yeohlee Teng, in which pattern piecesin shape of ogival arches were sewn together to form its skirt.Architecture is a significant source of inspiration; her study ofbuilding methods, tectonic properties, and various architecturalconcepts are evident in her garment designs.Between the two disciplines, deeper and more complex parallels have developed- the result of new industrial technologies andmanufacturing processes. In the past twenty-five years, fashionand architecture have followed ever more similar aesthetic directions, as mentioned, due in part to an increasing cross-disciplinary dialogue between the two fields. A more complex subject thataddresses the two parallel texts is the adoption of deconstruct ivestrategies. Fashion's obsession with deconstruction is not astheoretically influenced as that of architecture, deconstructedgarments with grayed edges exposed seams, and deliberateholes and cuts began to appear in high fashion in the influentialearly collections of some fashion designers.It is evident to capture the method of deconstruction in FrankGehrys Santa Monica, California residence. He started witha conventional structure and, using readily available materials, ended with something innovative and unexpected. Gehrydismantled parts of the exterior envelope of the existing houseand integrated off-the-shelf industrial materials like plywood andchain link to transform the house into a complex new spatialvolume. Essentially, deconstruction is the act that breaks downthe pieces to revel and undermine the established hierarchy thatexists between them. "The rhetoric of deconstruction- 'dismantling, disjunctive, rupture, layers'- was picked up by a number of


11/112

isabel toledo[packing dress]from collectionspring;summer1998. wherea flat piece offabric forms athree-dimensional shape toenclose the bodymade from twocircles of fabricsewen togetherwith holes cut fohead. arms andlegsyeohlee teng,[catenary harness] dressfrom collection,autum/winter2006. theimportance ofgeometry asa generativesource for herwork.

disciplines, which inc\ude- art, film, fashion, literature, and architecture." 3 This vocabulary is taken in by many practices and itemploys a variety of creative outcomes. Deconstruction itself isoften misunderstood as the 'taking apart' of constructions. Consequently, any provocative architectural design which appearsto take structure apart- whether it be the simple breaking of anobject or the complex dissimulation of an object into a collage oftraces- has been perceived as deconstructive. On the contrary,deconstruction gains all its sensibility by challenging the veryvalues of harmony, unity, and stability, and proposing instead adifferent view of structure. The view that flaws is natural to thestructure. A deconstructive architect is therefore not one whodismantles buildings, but one who locates the inherent dilemmaswithin the building and creates a form of experience, awarenessto its existence.integrating the strategiesThe strategies of design that are being developed by fashiondesigners and architects shape the envelope, spatial volume, andsurface of individual garments, and buildings, Geometry has longbeen employed to generate form in architecture. However, infashion design it is not often that you will find geometrical forms,since conventional garments are made of multiple pieces of fabric that are cut and assembled to complement and conform tothe shape of the body. Although, you will find that an explorationof geometry has appeared in the practices of both Yeohlee Tengand lsable Toledo. Teng usually works economically with a limitedor shortened length of fabric to construct her garments, Some ofher garments are precise geometrical forms that can be reassembled into puzzle like pieces and then back to its original pieceof cloth, but once shaped on a body, the geometrical shape of thegarment disappears. I t takes on a completely different shape dueto gravity, which causes it to hang or drape, and the body, whichfills out its form. One other architectural inspiration is suspension or more specifically. the study of suspension bridges, resulting in several suspension dresses where skirts are hoisted withcables or straps to provide volume and surface articulation. Asfor Isable Toledo, her approach is also inspired by geometry, butin an organic. less logical variety. She takes a reductive approachto pattern-making -what she calls "romantic mathematics"- byparing each garment down to its simplest geometric form,4 On


12/112

teng drawsinspiration froman infatuationwith the work ofRobert MalletStevens and theawe-inspiringengineeringof suspensionbridges,particularly theflawless ropebridges thathave threesupport cablesheld up by thestays. Thecollection iscomprised ofa wide rangeof fabrics incontrastingweights, fromwhite gossamercotton to blackdouble face wool.

office dA, the[zahedi house].the corrugationis conceivedas a taut skin,holding a veryconstrainedprogram within.the distortions ofthe skin reflectthe shifts inwrapping thatoccur within themisalignmentof the programmatic elementsand the need foropenings

the body, her clothes undergo a transformation as well, as piecescut from squares, circles, and triangles lose their flatness and be come delicate, flowing organic shapes. Toledo has studied fabricsto a great extent, and understands the detail that fabric performs on the body, calling the results "liquid architecture."5 HerPedestal Dress and Suspension Dresses are current examples ofthe way she has adapted architectonic principles to explore andmanipulate the structure and volume of her garments. Therefore, her focus to design follows function rather than a conceptor theme design. Just as an arch itect might design based onthe program of activities that it will house, Toledo looks at whata particular garment needs to do, how it will be used, and how itshould work. She responds to gravity; she incorporates preciseengineering principles to ensure that garments will fall, wrap, orenclose the body in a particular way. She also develops a structural framework- often as simple as a single seam- that will carrythe weight of a dress.In 2004, a major section of "Metamorph", the vast internationalexhibition organized by Kurt W. Foster for the Venice Architecture Biennale, explored the properties of building "skins", whichcan be defined as the continuous exterior surface that coversthe structural framework, or "bones" of the building.6 Skin as anarchitectural element is a remarkable innovation that can be sophisticatedly challenged when creating the envelope of a building.The translation of drapery folds into rigid building skins is seen intwo projects by Boston-based architects Office dA. The ZahediHouse in Weston, Massachusetts, the architects wrapped a tautskin of corrugated metal around a wood-frame house. On onefa


13/112

alba d'urbano"II sarto immortale" [theimmortal tailor)garments thatcover the bodywith photographic imagesof itself. Thisproject dealswith the relationship betweenbodies, externalappearance,and technology,with a specialemphasis on thetopic of sewingand the variousoperations it in volves. It includesall elementsconnected withfashion. Thework of tailoring:cutting, measur ing, analyzing,and putting backtogether again

creases; pleating is a subset of folding, in which regularly shapedfolds or creases occur at close intervals. This strategy is a similarapproach used by Teng, where she uses only one piece of fabricto create the entire garment. The idea of a continuous fold thatwraps around the landscape of the body to create a completeskin, involves the techniques of making origami. Morphos is's SunTower in Seoul features a perforated aluminum surface wrappedaround the building, culminating in origami-inspired folds at thetop, Since the 1990's, architects have used folding as a device tocreate a greater visual interest through dramatic effects of lightand shadow on a buildings exterior and to manipulate the volumetric forms of the interior.sWith these methods incorporated it is essential to continuouslyconsider the scale of the body, The evocative folds of the architectural skin allow the inhabitant, fo r a still moment, to experiencethe exterior conditions- the notion of the sunlight leaking throughthe openings, expressing the form of the exterior as well ascasting a shadow of forms in the interior- employing the sensualexperience through its entirety.investigation of skin+bodySkin is a complex multilayered, multipurpose material. Besidesbeing the medium that harbors touch, it also is an importantlayer of protection. Skin is the body's largest sense organ, registering warmth and cold, pleasure and pain, and an infinite arrayof textures. 9 The skins of objects, buildings, and garments todayrespond to input from users and the environment, from shifts intemperature or light to a range of textural information. Contemporary designers approach the surfaces of products and buildings as similarly complex, ambiguous forms. Manufactured skinsare richly responsive substances that modulate the meaning,function, and dimension of things. Incidentally, skin has a likenessto the function and qualities of fabric and clothing, This comparison has been interpreted through the work of Alba D'Urbano.D'Urbano created a series of garments that cover the body withphotographic images of itself. 10 The artist clearly establishes alink between the expressive and protective qualities of skin andclothing. Furthermore is the notion that skin [a layer that encloses a number of existing elements of the body) can be related tothe fabric of a building in the sense that they are both thin-membranes wrapping a complex series of elements. This 'skin' can be


14/112

interpreted as an enclosed envelope or as an added protectivelayer to the existing struc ture. The function of the structure or ofthe 'body' provides the developed framework of the tectonic skinThe function and qualities of 'skin and body' is important. The skincollects information through the sense of touch, which allowsthe inhabitant to identify space and gain a memory of time. Wehave an innate capacity for remembering and imagining places.Perception, memory and imagination are in constant interactionwith the body, allowing the inhabitant to be in conscious or sub conscious awareness to the identity of space they dwell within.The body's interaction with space helps collect information thatis transformed into our inherent understanding of how we movethrough space. An individual is more likely to experience a spaceon a deeper level if they actively engage in it, move through it,rather than solely observe it.Our engagement in the space embeds in us a sort of memorythat is registered through the layers of experiences. Understand ing architectural scale implies the unconscious measuring of theobjects or the building with one's body, and of projecting one'sbody scheme into the space in question. Wrapping, extending,covering, exaggerating our bodies' innate functions, we haveadapted through our lifestyle to the use of these mechanisms ofthe human form. We feel pleasure and protection when the bodydiscovers its resonance in space. "When experiencing a struc ture, we unconsciously mimic its configurations with our bonesand muscles: the pleasurably animated flow of a piece of music issubconsciously transformed into bodily sensations."11 The archi tectural program should then assists some type of formationin a condition that the inhabitant will engage and feel the spacethrough the physicality and senses of their body. Place speaks tothe soul through a medium we call our body with the ambiguityof a poem.12 We constantly involve our body in experiencing theelements of the world, whether it's the interior space or exteriorspace. Juhani Pallasmaa poetic reflection: "I confront the citywith my body; my legs measure the length of the arcade and thewidth of the square; my gaze unconsciously projects my bodyonto the fayade of the cathedral, where it roams over the mould ings and contours, sensing the size of recesses and projections;my body weight meets the mass of the cathedral door; and myhand grasps the door pull as I enter the dark void behind." 13


15/112

Every touching experience of architecture is mUlti-sensory; qualities of mat ter, space and scale are measured equally by theeye, ear, nose, skin, tongue, skeleton and muscle. 14 Architectureallows fo r a collaboration of senses to interact with each otherto discover and identify our surroundings. All the senses, including vision, can be regarded as extensions of touch; the sensesare specializations of the skin. You can identify the senses as theinterface between the skin and the world, the interface betweenopaque interiori ty of the body and the exteriority of the world. Oursenses mediate information fo r the judgment of the intellect, andthey are also channels that ignite the imagination and articulatesensory thought. Transparency and sensations of weightlessness and flotation are central themes in modernity. In recent de cades a new architectural imagery has emerged, which employsreflection, gradations of transparency, overlay and juxtapositionto create subtle and changing sensations of space, movementand light. 15 This project wishes to explore this new sensibility thatpromises an architecture that can turn the relative immaterialityand weightlessness of recent technological construction into apositive experience of place and meaning.conclusion-departing thoughtsSo as the boundaries between fashion and architecture continue this project explores and commits to the inherent connections that exists between the two methods of design and linksthe relationship of the bodies that inhabit within and around thearchitecture. It is important to acknowledge and identify that the'body' is the origin connection of the two practices. Thereforethe investigation and outcomes of these notions engage and de light all of the senses at the multiple scale of the building- througha delicate set of techniques such as: folding, wrapping, draping,weaving, piercing, etc- and which is essentially lead through theprocess of studying the tectonic skin of the building/garmentand the human scale as a reference to spatial experiences.Using the design of an educational facility for the visually impairedas a programmatic design vehicle, which is pursued by thequestions of the thesis within this specific architectural situation.Because the predominant audience is visually impaired, thisprovides a rich and complex set of opportunities to investigatethe capacity of a material presence overlaid with the sensual toaffect the perceptions of space and experience. Certainly, there


16/112

would also be individuals who are not visually impaired who woulduse this space. The archi tecture would map their experiencesas well but in a different way. Where the architectural clothingspeaks to the inhabitant and becomes an experience of allour given senses. The authenticity of architectural experienceis grounded in the tectonic language of the building and thecomprehensibility of the act of construction to the senses.We touch, listen and measure the world with our entire bodilyexistence.


17/112

abstract project thesIs papersummary

pg45 pg.6-7 pg 8-16

a study of influential workthat expresses the largerquestions of the thesisproject. the precedentsthat i've researchedexpress an interest inthe making and joining ofarchitectural elements inthe construction of anarchitectural tectonicskin.

precedentanalysispg.17-38


18/112

shigeru ban::curtain \/\/all house::[biography]Shigeru Ban was born in tokyo, japan in 1957. Hestudied architecture at SCI-arch and Cooper Unionbefore working briefly for Arata Isozki in Tokyo. Heestablished his own practice in 1985. Mr. Ban hasserved as a professor of architecture at TamaArt University, Yokohama University, and NihonUniversity. He became a consultant for the UnitedNations high commissioner for refugees when hisshelter design fo r Rwandan refugees was adoptedin 1995 that same year he established thehumanitarian organization, voluntary architectsnetwork. Mr. Ban's work has won numerousarchitecture awards in Japan including the 1996Kansai architect grand prize from the JapanInstitute of Architects and the best youngarchitect of the year 1997

[curtain wall house]The clients for the 1995 curtain wall housewanted a contemporary home that would carryout the openness of the traditional Japanesehouse. The project, situated on a constrictedintersection in / t a b a s h / ~ k u , Tokyo consists ofan elegantly spare two-floor block of open livingspaces sandwiched between a large, overhangingtriangular roof and deck that extend almost to thecurb line. Around the perimeter of the triangle Banhung billowing white curtains that can be openedor closed to regulate the degree of transparencybetween interior and exterior. The house displaysa taste for the surreal and demonstrates aninventive reinterpretation of local constructiontechniques. Ban describes the curtain as a 'thinmembrane' [that] takes the place of shoji screens,fusuma doors, shutters and sudare screens in atradit ional japanese house. The house is totallytransparent "visually" but not "physically" becausemost of the glass windows are fixed. The japanesehouses are totally transparent "visually" when allthe sliding screens are open, even "physically"transparent because outside spaces are alwaysintegrated with inside spaces.


19/112

floor plan shows a curved wall of the mastersbedroom and two squared-shape bedrooms forthe children at the right. the two story curtainscan either be drawn closed, creating privacy, orleft open, revealing the interiors of the house andthe movements of its occupants. if closed duringthe day, soft light filters through the fabric into theliving areas on the second floor and the bedroomson the third floor, functioning like the rice-papershoji screens of the traditional japanese architecture. parking is on the ground level.view with curtains open. the outer skin of thehouse is comprised of two elements: transparentglass panels and opaque fabric curtains. whenthey are retracted the result is an almost palpable"nakedness" that even those who live in glasshouses might find surprising

"Always we are depending on trust. not onthe agreement. Always we try to keep agood relationship with the client. If I do someexperimental building, if some problems happenafterwards-as long as I keep a good relationshipwith the client and as long as the client likes thehouse, it's no problem. We just have to fix it .."-Shigeru Ban


20/112

significance of[cur ta in wall house]Shigeru Ban's "curtain wall house" demonstratesan interesting concept that relates to the inves tigation of fashion and architecture, with the useof fabric as a dominating interior/exterior curtainwall, It begins to integrate a 'physical' and 'visual'connection with outside spaces. The significanceof this project becomes an important explorationto the ideas of relating the study of 'skin' as anexterior envelope to an applied struc ture. [this precedent study has formulated a series ofconcepts to help guide and strengthen the thesisprogram].the transparent glass and opaque fabric curtainsdraw in natural light..the winds play freely with the unfixed curtain walls,swinging them from the inside out onto the street[with .the house being elevated it does not inter rupt traffic]..the cantilevered [open] terrace is exposed to thestreet creating a public setting..the public setting allows fo r social interaction ..the curtains when closed create private spaceson both levels, yet still feeling the presence of na ture through its opaqueness..the openness of the floor plan, allows for any indi vidual to engage the space with their own interpre tation.


21/112

office dA::man t r a res tauran t : :[offce dA history]Architecture and design firm located in boston.Established in 1991 by principal partners MonicaPonce de Leon and Nader Tehrani. The firm's workranges in scale from furniture to urban designand in frastruc ture, with a focus on architecture.office da seizes on the challenges unique to eachproject-the peculiarities of a site, requirements ofprogram, material properties- as the catalysts fortransformation in architecture. An investigationof the potentials of materials and constructiontechniques. often imported from fields outside ofarchitecture, is the foundation fo r every design.Office dA explores unique material qualities in conjunction with both traditional and digital techniquesof design assembly, and resolves every project toa high level of detail. office da's simultaneous rigorand sensitivity have allowed the firm to develop aportfolio of projects around the world-from bostonto caracas to beijin-which uniquely marry localcraft and tradition to global and contemporarytechniques[mantra restaurant]Is located in a historic bank lobby in downtownBoston, Massachusetts. the existing space,composed of tall spaces clad in a richly grainedmarble and a steel-lined vault with a monumentalthree-foot-thick door, served as a fantastic site forintervention of various kinds. The thematic transformation of the space is achieved using indiansilks, tents, and jali screens, among other allusivetechniques, to provide different dining environments-some public and others-are manipulatedusing methods adopted from apparel design. Twopieces stand out as backdrops for the activity ofthe restaurant : a reflective steel mirror, laserscored. ripples as a folded ribbon behind the barand a monumental wooden structure fashions apleated still life inside the restaurant space, actingas a lounge space for appetizers. Both structuresare treated as fabric liners. articulating the shapeof the restaurant.


22/112

A colossal wooden structure fashions a pleatedstill life inside the restaurant. Known as the hookahden, the structure serves to anchor the main axisof the restaurant. A monumental figure with theurban interior, the structure houses low intimatecouches as a space of repose. The mantra restaurant emerged out of a divergent architecturalstrategie. The existing space, worn down yetcomposed of tall proportions was a simple archeological approach of renovation and reconstructionwhich was all that was needed in order to restorethe space to its original aura and splendor.The restaurant required spaces of varying kinds,some public while others more private and intimate. as such, a second strategy incorporatestechniques of inserted spaces. The culture of therestaurant served as an alibi to give particular al lusions to the various installations. Responding tothe menu, drawn from french culinary techniquesand indian spices, the archi tecture of the restaurant is hybrid in approach- working with indiantypologies, materials, and references while at thesame time using techniques specific to contemporary architectural and constructional culture.


23/112

significance of [mantra restaurant]The concept of having a private and public spacein an environment that is meant for social inter action, creates an experience for an individual toinhabit private space through a screen like structure. A structure such as this creates a distortedperception of the surrounding area. The thematictransformation of the space provide different din ing and leisure environments while giving culturalspecificity to the proposal. [the use of indian silk,and japanese screens]. Also the significance of theinstallation is the underlying structure that cre ates the form of a 'wave' and is applied over withwooden slates that act like a second skin whichflows with the inner structure.[this precedent study has formulated a series ofconcepts to help guide and strengthen the thesisprogram].skin as a formless shape, but with the structure ofbones it creates its shape.formation, deformation, and reformation.Iayering of skins, textures and membranes.poetic inhabitations.balance of open space [public] and closed space[private]


24/112

office dA:: harvard university::[Harvard Graduate School of Design renovation]Located in Cambridge. Massachusetts. Completion of renovation.2oo0-2001The design of this project results from experimentation with new technologies, emerging techniquesof fabrication and economical material. Workingwith cad-cam technologies, much of the designis composed of complex routing. formwork, andbending techniques, defamiliarizing the very materials from which each piece is fabricated to transform the appearance overall

[installation wall piece]


25/112

[installation wall piece]


26/112

behnisch architects[school complex for disabled children]Hervrectingen, Germany 2004The new school for a good 100children with mental or physical handicaps is situated in a natural park inHerbrechtingen on the "Schwi3bische Alb".Behnisch, Behnisch & Partner propose aflexible and open structure, acomposition of several small one-story high buildings offering protected,individual worlds grouped around a centralcourtyard.Both the buildings and the naturalenvironment with a small waterfeature offer numerous opportunitiesto communicate, to play and to learn.Terraces for "open-air" lessons, trees andhedges which provide shelter withouthiding anything create an atmospherein which the children can develop theirimagination and their social awareness.


27/112

pugh & scarpa architects[ LATTC ]Los Angeles Trade TechnicalCollege Physical Education andGymnasium Buildings, Renovation,repair and modernization ofexisting 1960's Buildings G andJ on the LAnC campus. BuildingG is a 13,690 square foot onestory concrete structure thathouses the college's basketballgymnasium and associatedfacilities. Building J is a 15,068square foot two-story concretestructure that houses theCollege's Education Department,fitness center etc. Building will beLEED certified


28/112

shift to the right....[the process of making]


29/112

[analysis-artifacts]

"I


30/112


31/112


32/112


33/112


34/112


35/112


36/112


37/112


38/112

The artifacts created are explorations of thetectonic skins, which investigate and analyze theresearch gathered. Specifically looking at the skinsof a building and abstracting the idea of skin andbody. 'Skin' acting as the layers that envelope orconceal the body, and the 'body' acting as thestructure of the building.


39/112


pg45 pg.G-7 pg 8-16

other forms of researchthat i have investigated,separate from the precedent studies.

independent c , researchnalysIspg.17-38 pg.39A2


40/112

fcBi:n ricrrlta:rure/ardia:ture offcBi:n[elena manferdini]She approaches the design of agarment as she would the skinof a building by using tools andtechniques more commonly applied to architectural and aeronautical design. Trained as botha civil engineer and an architect,Manferdini has included fashionin her interdisciplinary practice aswell. She creates garments usingmaya three-dimensional modeling software, translating patternsthrough a machining computerapplication to laser-cut individualpieces of fabric and texturize themwith slashes, cuts, or perforations.Her 'clad cuts' collection, includedesigns that both reveal andconceal, cleave to and flow fromthe body. "It was a trial and errorat fist ...There are things you can'tpredict with the computer abouthow a fabric will fold .. .The cuts aremeant to create three-dimensionality on the curvature of the body.They move and stretch, they openand distort as you walk.


41/112

\ j.. the \ 3 U S1 I

architecture of fashion[isabel toledo]She approaches clothing designby focusing on function. Just as anarchitect might design a buildingbased on the program of activitiesthat it will house, Toledo looks atwhat particular garment needsto do, how it will be used, and howit should work. As part of determining what a finished garmentshould look like, toledo considershow it will respond to gravity; sheincorporates precise engineeringprinciples to ensure that a garment will fall, wrap, or enclosethe body in a particular way. Shedevelops a structural framework.She investigates the properties offabrics the same wayan architectstudies building materials.Toledo's study of suspensionbuilds on her investigation into theeffects of gravity on clothing. Sheexplores various distributions ofweight and uses tension, torsionand compression as structuraland esthetic elements. Instead ofbeing hindered by the forces thatmake rigid structures vulnerable,she uses them to coincide withthe shape and articulation of thebody.

[graphic design project]intention-create a catalog of isabeltoledo's work.


42/112

architecture of fashion[hussein chalayan]he is one of the most innovative,experimental and conceptualfashion designers. known fo rcerebral collections that, epeciallyin the context of the performancehe stages to present his work,are more connected to the artworld than to commercial fashion.he takes his inspiration from awide range of dif ferent disciplinessuch as architecture, philosophyand anthropology. chalayan isa designer with the heart of anartist and with the brain of ascientist. the twice-crowned britishdesigner of the year becamefamous in fashion by usingunconventional materials andunorthodox techniques - puttingthe creative process itself on view.blown-up skirts, armchair coverswhich transform into dresses,chairs into suitcases, a coffeetable reveals itself to be a woodenskirt... this and more will give youan idea how chalayan uses fashionas a medium for expression.


43/112


pg.4-5 pg b 7 pg.8-16

[context of consideredactions]describes site conditionsthat would be beneficialto the development ofthe project.focused on the qualitative.explores rural, urban andsuburban.

I! analysIspg 1738

researchpg.39-42

site analysispg.43-51


44/112

[greenwich village, ny city, new york]the site chosen is located between littlew. 12th st. and 13th st. it runs along side the 'high line' [ an elevated railwaythat stretches for 1.45miles], it alsoruns along the hudson river. the site iscurrently going through a massive mas ter plan in which the abandoned 'highline' is the main design focus. It was con structed in 1929 to help support 2 fullyloaded freight trains. the highline is 3060 feet wide and 18-30 feet high. thissite offers many subtle existing condi tions, which possess strong tactile quali ties: the scent of existing vegetation, aresult of the abandonment of the tracks,the sounds and smells of the waterfrontand the streets, all intended to continueto have a strong presence, regardlessof the intervention. the most dominant isthe sound and smell of the hudson riverat the western edge. The sounds of thesoft current that caress the waterfrontare very tame, but splashing water ex cited by passing watercraft resonates atthis place.in order to address the experience of avisually impaired individual, it becameclear that the site analysis boards andsite model studies had to focus on thequalities that would present a clearunderstanding through different sensesother then sight. the sense of touch,smell and sound signify the sites ele ments.


45/112


46/112


47/112

the site chosen is located between little w. 12th st and; 3th st. it runs along withthe 'high line' [ an elevated railway that stretches for 1.45miles], it also runs alongthe hudson river. the site is currently going through a massive master plan in whichthe abandoned 'high line' is the main design focus. It was constructed in 1929 tohelp support 2 fully loaded freight trains. the highline is 30-60 feet wide and 18-30feet high. this site offers many subtle existing conditions, which possess strongtactile qualities: the scent of existing vegetation, a result of the abandonment ofthe tracks, the sounds and smells of the waterlront and the streets, all intended tocontinue to have a strong presence, regardless of the intervention. the mostdominant is the sound and smell of the hudson river at the western edge. Thesounds of the soft current that caress the waterlront are very tame, but splashingwater excited by passing watercraft resonates at this place.in order to address the experience of a visually impaired individual, it becameclear that the site analysis boards and site model studies had to focus on thequalities that would present an understanding through different senses other thensight. the sense of touch, smell and sound signify the sites elements.L I- ........greenwhlch village] nel' york city, ne yorkthe high line

musIc

I sound


48/112

little w 12th street


49/112


50/112

~ . ca._ I , ......j~ 1 1 _ 8 . ]

- ....I - . ; ! "- '- 'W ' . _ - " I I - ,- - -- ,...:.... --- . . ~;. .I!,. , . . . .....

" '. . i :,...J IJ +_ , 'I . ._ ~ . ? J ( * [ _ . . . . . . 111 ..'*. . . ,. c::=I:I t, 8 I .\

I

-I


51/112

meatpackIn9

- ;;; : VlE Horatio 51 -5_ f _ ~

shops

~ - ...lrestaurants


52/112


pg.4-5 pg 67 pg 816

precedent Independent site analysIsanalysIs research

pg 17-38 pg.39-42 pg.43-51

[educational facility for thevisually impaired]

quantitative summaryspace details

projectprogram

pg.52-62


53/112

[program quantitative summary]doing or making things

:crafts- partitioned work studios 3 [partitioned] = 1,800 sqft height- 12 ft :physical activity - 4 assorted spaces [training, martial

arts. pool, meditation] 10,000 sqft height- varies 16 ft - open completely

experiences with friends- games, competition, playing, partying:Ioungejcafe- 2 spaces [private and public]

private- 500 sqft public- 900 sqft height- 12 ft working together- helping, teams, sharing, advising, counseling

:conference rms- 3 spaces.2 [375] student rms- 750 sqft 1 instructor rm- 400 sqft height- 12ft:administrative rms- 4 rms [advising, counseling, offices] 4 rms- 800 sqftexperiences at home- learning to [fold clothes, clean up. cook,wash] sleeping, dining ...

:Iiving spaces - 9 total 9[400]- 3,600 sqft height- 16ft:dining- 2 [formal/informal] formal- 1,600 sqft informal- 1,300sqft height- 16 ft experiences with books- reading, telling stories, writing

:reading rm private- 250 sqft height - 12 ft :group gathering public- 430 sqft height- 12 ft

experiences with family- traditions, birthdays, presents, holidays,death, birth:'traditional' gathering space

.800 sqft:informal gathering space

.700 sqftexploring the arts- dancing, singing. instruments, music, painting,drawing, galleries

:2 music rms- instrumental, choir instrumental- 1,500 sqft choir- 900 sq ft


54/112

:dance studio.1 large space- 1,800 sqft

:2 galleries- public exhibition. informal exhibition. public- 4.000 sq ft. informal- 630 sqft

total square footage=: 32,660 sqftin addition 20 % circulation =: 39,192 sqft:: the list below is a continued extension of experience that occurin the spaces conducted above::experiencing emotions and a sense of well being- feelings.sickness. growing. freedom. imagination. love. hate. anger.anxious. clamexperiences with eating- food. meals. cooking. eating. preparing.serving. putting awayschool experiences- rules. knowledge, classrooms. behavior.promptnesssearching for or finding something- mystery. treasure. paths.trailslearning about people- conversation. interacting. discussing.debating. acting. awareness

:: some of these experiences suggest exter ior spaces. althoughsome are a collaborative of both inter ior and exterior::

experiences with living creatures- animals. pets, birds. dogs. catsexperiences in the community- city [micro to macro].occupations, places in the community. parades. volunteering.private/publictraveling or visiting- relatives. friends, loved ones. neighborsexperiences with weather- changing seasons, rain. snow. fog.hail. ice. wind, sunexploring nature. plants. insects- things in the sky. outdoors.flowers, gardens. nature trails water [Hudson river.


55/112

[space detail][Doing or making things]Crafts/Working StudioQuantities Required

1. unit capacity- 302. number of units- 13. net square feet- 1,800 sqft4. total net area- 1,800 sqft

Purpose/Functionsthis space provides the inhabitant with an opportunity to createand explore the qualities of craft. To challenge the meaning of artthat is invited from the experiences one encounters daily. Allowsfor an invigorating experience with all of the senses.Activitiesthe inhabitant will practice the arts and c rafts with the challengeof being visually impaired. Painting, drawing, sculpting.Spatial Relationshipsthe studio will be considerably open, but with individual areas forthe specific genre of art. Orientation of space is important forthe inhabitant; it is organized to help the process of making morecomfortable.Special Considerationsthe studio will be easily accessible to the exterior spaces, naturallight will be important.Behavioral Considerationsthe students will need to understand and identify with the spaceeasily, tools and equipment will be located in categorized areasfo r a smooth transit ion into making and crafting.[Physical Activity]DanceQuantities Required

1. unit capacity- 302. number of units- 13. net square feet- 1,800sqft4. total net area- 1,800sqft


56/112

Purpose/Functionsthis space provides the inhabitant with an opportunity to explorethe qualities of a physical activity, to encourage a healthy life style.To challenge the relationship of body and space and creates anexperience that promotes all of the senses.Activitiesthe inhabitants will practice the art of dance, a time forstretching, learning, and teaching with the opportunity to collaborate with the movement and sound.Spatial Relationshipsthe dance studio will be considerably open with appropriate floormaterials, for sensitivity to sound and the touch of the body,windows are not important in this space.Special Considerationsthe dance studio will be easily accessible to the lockers/bathrooms and music room.Behavioral Considerationsthe studio is designed so that the students will be seen fromthe ground level gallery space. the wall detail is a screen likestructure, so the view is distorted and all that is seen is theshadow of the body moving through the space.

[Physical Activity]YogaQuantities Required

1. unit capacity- 5-152. number of units- 63. net square feet- 6004. total net area- 2,800sqft

Purpose/Functionsthis space provides the inhabitant with an opportunity to explorethe qualities of a physical activity, to encourage a healthy life style.To challenge the relationship of body and space and creates anexperience that promotes a relaxing, meditation peroid.Activitiesthe inhabitant will practice the art of yoga, a time for stretching,and learning, with the challenge of being visually impaired.


57/112

Spatial Relationshipsyoga/meditation space needs a quiet atmosphere separatefrom any loud environmental conditions.Special Considerationsthe spaces will be easily accessible to the exter ior spaces,natural light will be important.Behavioral Considerationsthe students will need to understand and identify with the spaceeasily. the design of this space is intended to be a double-levelexperience. the upper-level is more private then the lower level.[Physical Activity]SwimmingQuantities Required

1. unit capacity- 202. number of units- 13. net square feet- 2.770sqft4. total net area- 2,770sqft

Purpose/Functionsthis space provides the inhabitant with an opportuni ty to explorethe qualities of a physical activity, to encourage a healthy life style.To challenge the relationship of body and space and movementthrough water.Activitiesthe inhabitant will practice swimming and the experience of bodyand water, a time fo r stretching, learning, and teaching with thechallenge of being visually impaired.Spatial Relationshipsthe pool space needs finish material appropriate for wet area,natural light during the day, and accessible to locker rooms andshowers.Special Considerationsthe spaces will be easily accessible to the exterior spaces andgarden space [high line]Behavioral Considerationsthe students will need to understand and identify with the spaceeasily. the space is easily accessible to exter ior spaces, as it is


58/112

designed along the highline, provides a private and public space.Mechanical/Electrical Systempumps and other equipment needed to comfortably ventilate thepools atmosphere.

[Exploring the Arts]Singing/ChoirQuantities Required

1. unit capacity- 202. number of units- 13. net square feet- 900sqft4. total net area- 900sqft

Purpose/Functionsthis space provides the inhabitant with an opportunity to explorethe qualities of a vocal exploration, to encourage a musicalenhanced life style. To challenge the relationship of body, sound,and language which creates an experience that promotes thesense of sound.Activitiesthe inhabitant will practice as a choir, with an opportunity forperformance. Learning to read lyrics and present them in asensible way with conducted music from the instrumentalprogram.Spatial Relationshipsthe choir room needs space fo r students to gather and practicesinging, a space for learning and teaching the music and a spacefor private individual practice.Special Considerationsthe spaces will need the correct spatial attribution fo r music tosustain in the room, echo resistant materials.Behavioral Considerationsthe students will need to understand and identify with the spaceeasily. The spaces will be considerably organized fo r the specificactivities and is sensitive to the more private practices allowingfor decreased distraction caused by the alternative singing andmusic practices.


59/112

[Exploring the Arts]Instrumental/BandQuantities Required

1. unit capacity- 202. number of units- 13. net square feet- 1,500sqft4. total net area- 1,500sqft

Purpose!Functionsthis space provides the inhabitants with an opportunity to explorethe qualities of a instrumental exploration, to encourage amusical enhanced life style. To challenge the relationship of body,sound and language which creates an experience that promotesthe sense of sound.

Activitiesthe inhabitant will practice as a band, with an opportunity fo rperformance. Learning to read lyrics and present them in asensible way with conducted music.Spatial Relationshipsthe band room needs space for gathering of the students topractice certain instruments, a space for learning and teachingthe music and a space for private individual practice.Special Considerationsthe spaces will need the correct spatial attribut ion fo r music tosustain in the room, echo resistant materials.Behavioral Considerationsthe students will need to understand and identify with the spaceeasily. The spaces will be considerably organized fo r the specificactivities and is sensitive to the more private practices allowingfor decreased distraction caused by the other music practices.[Presentation]GalleriesQuantities Required

1. unit capacity- 50-1502. number of units- 23. net square feet- 1OOOsqft4. total net area- 4,700sqft


60/112

Purpose/Functionsthis space provides the inhabitant with an opportunity to explorethe qualities of presentation, with invited jury, to encourage anexperience of communicating ideas and allowing fo r criticalanalysis. To challenge the relationship of personal and public.

Activitiesthe inhabitant will practice presentation of crafted art, with anopportunity to learn how to communicate ideas, and allow fordiscussion with outside visitors. A networking system.Spatial Relationshipsthere is a formal gallery space and an informal gallery space.Located near the art studios and cafe.Special Considerationsthe spaces will need the correct spatial attribution fo r differentscale models and art pieces, appropriate lighting and no windowsin the larger gallery.Behavioral Considerationsthe students will need to understand and identify with the spaceeasily. The spaces will be considerably organized for the specificactivity of presention and allows fo r a comfortable walk-throughfor the outside visitors.Mechanical/Electrical Systeman appropriate lighting system for the gallery is necessary.

[Experiences with Friends]Lounge/CafeQuantities Required

1. unit capacity- 502. number of units- 23. net square feet-1 ,OOOsqft4. total net area- 2,OOOsqft

Purpose/Functionsthis space provides the inhabitant with an opportunity to explorethe qualities of gathering and socially communicating with others,and relaxation. Connecting with friends and family.


61/112

Activitiesthe inhabi tant will have the opportunity to casually lounge andsocialize: reading, eating, drinking, conversating, playing gamesand hosting private parties.Spatial Relationshipsthere are two cafe spaces, one that is public that allows for moreloud activities and one that is private and acts as a relaxationgetaway. It is open towards the gallery space and exterior space.Special Considerationsthe spaces will need the correct spatial attribution for differentscale of activities, appropriate lighting and windows that bring innatural lighting during the day.Behavioral Considerationsthe students will need to understand and identify with the spaceeasily. The spaces will be significantly organized fo r a relaxingatmosphere fo r all social inhabitants.[Working Together]Conference Rooms/AdministrationQuantities Required

1. unit capacity- 352. number of units- 73. net square feet- 700sqft4. total net area- 4900sqft

Purpose/Functionsthese spaces provide the inhabitant with an opportunity toexplore the qualities of the facilities status as an academicschool. Interaction with the all the faculty and students.Activitiesthe inhabitant will have the opportunity to meet for counselingand advising for personal and school issues.Spatial Relationshipsthere are two conference rooms fo r students to use fo rorganization meetings, and one larger conference room fo r thefaculty. The administration has 4 separate areas, on open spacefor public administration and 2 private rooms fo r counseling andadvising.


62/112

Special Considerationsthe spaces will need the correct spatial attribution for differentcounseling and advising behavior, appropriate spatial orientationis necessary fo r private meeting.

[Experiences at Home1Dorm BuildingQuantities Required

1. unit capacity- 102. number of units-93. net square feet- 400sft3. total net area- 3,600sqft

Purpose/Functionsthese spaces provide the inhabitant with an opportunity toexplore the qualities of living independently. an on-campus livingspace.Activitiesthe inhabitant will have the opportunity to experience normalhouse routines such as cleaning, laundry, and cooking. learning tobe independent and take care of oneself.Spatial Relationshipsthere is a total of 9 living spaces. fo r each two rooms there isa bathroom to share. the rooms also have an outdoor balconywhich is screened off with a curtain wall, to allow the inhabitantto be less distracted by the busy street front.Special Considerationsthe spaces will need the correct spatial attribution for livingarrangements. allowing fo r two students to live in each room.


63/112

abstract prOject thesIs papersummary

pg 4-5 pg.6-7 pg 8-16


pg 17-38 pg.39-42 pg.43-51

project documentation ..springboard.building design

OJ t. programpg.52-62

designprocess

pg.63-89


64/112

[springboard- schematic design]exploring the conceptof an exterior skin inter acting with the naturalelements.

same artifact with analternate view, suggeststhe concept of a plan andcrossing paths. narrowpaths.

a detail view of theartifact with an edit toits materiality, suggeststechnique of wrapping.


65/112

exploring the concept of weaving. materials repre set the body and the skin.

same artifact with analternate view.

a detail view of the ar tifact with an edit to itsmateriality, suggests aconceptual skin.


66/112

exploring the concpet of one plane extending itselfand wrapping creating. anew plane




67/112

exploring the conceptof a skin and its flexibil ity, creating texture anddimension to a materialthat once was flat.

new artifact with a de veloped idea of skin andtexture. this is a sugges tion of a wall.

an alternate view of thesame artifacte. showingthe space inbetween ora narrow path. personalscale to the inhabitant.


68/112

this view suggestes thatthe exterior wall alsoholds the same charac teristics as the interior.


this view suggests theconcept of whats above.the inbetween spaceabove is a suggestion ofmechanical placement.


69/112

exploring and developing on the idea of folding of amaterial, where one plainbegins on ground and cre ates different planes asit folds around from theinterior to its exterior.




70/112

exploring the exposedstructural elements tocreate an art of shadow.layings of shadow cast anew skin to the existinglayers.

a different view of thesame artifact. exploringfolds.

studying the materia lity of.the artifacts. whats solidand whats translucent.


71/112

an artifact that studies the folds of a twodimensional plane whichevolves into a three-dimensional form.

same artifact with different view.

same artifact with differentview.


72/112

exploring sectional vi gnette with the intentionof showing texture thatone can read the imagethrough the sense oftouch.


this view suggests ascene of a proposedprogram: dance. explor ing what it is to occupya space when practicingdance. body and space


73/112

exploring the act ofpainting with blind folds.realizing that orientationof body to tools/canvas isvery important.

painting two.

I.

painting three.


74/112

painting four.

\

using a leaf to explore its texture and form throughdifferent media- paint

. ,"

, I, "


75/112

[building design phase]exploring the act of wrapping or drapping thearchitectural skin.

piercing the two skins,with the wrapping tech nique, suggesting arelationship of the existingbuilding and the addition.

reinterpret ing the model to allow a different level ofform studies, that sug gest whats bellow andwhats above.


76/112

same artifact with different orientation, showingthe possible layers of theprogram.

same artifact, showing adetail view, which startsto translate the ideas oflight and dark spaces.

reinterpreting the model to allow a different level ofform studies. that suggest the exterior layer is acomplex three-dimensional fold. which then relatesto its adjacent programs


77/112

an overview of the program layout on the site.the plan view relates tothe edges of the site aswell as the instructionlines of the shi rt-pattern.

a view of the model as avertical elevation.

showing the techniquesof folds and how theybecome an interactiverelationship of the ex terior elements,castingshadows as the skin peelsaway from the surface orthe piercing of light intothe interior spaces


78/112

expressing a new skinthat wraps around theexisting building.

multiple layer of texturesallow fo r different pro gram spaces. rough andsolid, solid and flexible,flexible and translucent.

showing the exterior wall detailas a textural material overlayinga smooth material.


79/112

[detail of textured wall]


80/112

[expressive drawings]

expressing the solidsand voids of the programwrapped around the site

delaminating of exter iorskin. creates an evoca tive moment of light anddrark. open and closed

edges and curves


81/112

in section this drawingwas inspired by a dresscreated by isabel toledo.

I

a sketch of a section thatsuggests the wall interactions with the humanscale.

a sketch of a wall. the ap- perance of delaminatingthe layers of the skin

.!


82/112

a section that suggestsa program of the experi ence of reading and com municating with others.

a deconstructive wall detail.


83/112

a detail of the highline and.the active move of foldingor overlaping layers tocreate a space for inhabitants to experience

evaluating the width of a path within the programof the building. a staircasesuggests an open andinteractive multi-layeredspace.


84/112

exploring the experienceof inter ior volume in sec tion. expressing the ideaof light and dark.

expressing the activitiescreated in these spaces.


85/112

using origami as a technique to create a formor a space within thearchitecture. folding a twodimensional plane andcreating a three-dimensional space.

the act of folding also explores the materiality, andwhat enables the flexibilityof such a form.


86/112

during the final design process, a focus on the de sign technique of 'making' became more coherent,where fashion design starts to inform the makingof the architecture. the techniques are: folding,draping and wrapping. each of these are creat ing the architecture from the interior level to theexterior envelop of the building.


87/112

fold

wrap .

drap


88/112

[final process of building design]


89/112


90/112


pgA-5 pg 6-7 pg.8-16


pg 17-38 pg 39-42 pg 43-51

final documentation ofthesis project

li r Jil i i l ! ! ! l ~ final projectprogram processpg.52-62 pg.63-89 pg.90-106


91/112

This thesis investigates the parallels of [the skin + body of architecture],and [the fashion of architecture]. Regardless of scale, the body shapeis a perfect exercise in spatial design, a testing ground fo r ideas andtechniques to apply to buildings.The architecture as a body concealed within a layer or layers of skin iswhat is most intriguing to me. The methodology employed in this thesisinvestigation was to perform a series of in-depth studies of tectonicskins, surfaces, and materials. Using the design of an educational facilityfo r the visually impaired as a programmatic design vehicle, i pursuedthe questions of the thesis within this specific archi tectural situation.Because the predominant audience is visually impaired, this providedme with a rich and complex set of opportunities to investigate thecapacity of a material presence overlaid with the sensual to affect theperceptions of space and experience. Certainly, there would also beindividuals who are not visually impaired who would use this space. Thearchitecture would map their experiences as well but in a different way.[skin + body of architecture]The final investigation cumulated by developing a series of study modelslooking specifically at a sensitivity to the idea of 'skin'. The 'skin' presentsitself as a textural element, which invites the idea of experiencing spacewith the sense of touch. Allowing the inhabitant to engage the buildingat a delicate level of textural quality. The skin acts as protect ion, or aconcealed layer/element of the body of architecture. There, exists thebones or the structure of the building, which intentionally is sealed andnever revealed. Leaving the skin to constantly form itself around thestructure of the building.[fashion of archi tecture]An overlapping, continued investigation is the idea that fashion informsthe 'making' of architecture and vice versa. The practice of origin forboth architects and fashion designers is the body. Fashion designerscreate garments for the human body, while arch itects create buildingslarge enough fo r many bodies to inhabit simultaneously.There is a striking similarity in the construction, the approach ofcreating a complex three-dimensional design from a two-dimensionalmedium. Garments and buildings share a stylistic or structural quality,or obtain common creative impulses. Wrapping, folding and draping asa fashion designers vocabulary has influenced my approach to designingthe architecture. One in specific that occurs as the interior layers ofthe building is folding. Exercising the idea of origami and constructing athree-dimensional form from a two-dimensional plane. This techniqueconstructs the vertical layers of the building, encasing the activities ofthe building, which belong to learning, craft-making, music, dance andmeditating. Therefore, the architectural clothing of the building leads tospecified functions or activities within the program.The highline, [which exists on the third level] acts as a public and privatespace in an environment that is meant fo r social interaction, it createsan experience for an individual to observe private space through a


92/112

screen like structure. A structure such as this creates a distortedperception of the interior space, yet allowing the person to experiencethe music and life that comes out of the building. The technique ofdraping occurs within this section. A continued wall from ground levelis folded and drapes into the third level where the highline exists andthe path is created. The draping of the wall on the third level allows forinhabitants to si t and rest, as well as observe the activities of the buildingwithin. The constructed path that cuts through the building is distorted,so that the north end of the path is at least 20 ft wide and as you headcloser to the south end it becomes as narrow as 10f t in width. The ideafor this construction brings in the inhabitant at a personal level with theindividuals in the interior spaces of the building.The exterior clothing of the building is constructed through the techniqueof wrapping, as if you were wrapping a fabric mater ial to construct agarment. The str ips that wrap around the building envelop acts like a skinthat conceals the buildings structure and the inter ior volume. As thestrips separate in some areas [acting like a slit in a dress], it allows forlight to pierce through the building and for a relationship of the inter iorand exterior environments.As a whole the building is clothed in three inspiring techniques, folding,draping, and wrapping. In certain cases these techniques expand ondeveloping an experiential existence of the body within the architecturalclothing, allowing the body to engage and delight all of the senses in aconsiderable way at the multiple scales of the building and the bodieswithin it


93/112

[fourth floor) \ C [ l\ - l[: -

FLrnR PLANS[tile f a s h ! ~ ~ 0 . L ~ ~ ~ ~ ~ ~ ~ : e ~ . t school 01 architectu'" julie kim mastef'; studio scale 1/32",1'


94/112

[fourth floorl[open and densel

e , ~ e m ~ ! ; ~ ~ : ~ ! ] dwellteachinglearningliving

[third floor]1[open and denselexperience with 1-'iriendscommunitylearnhg

publ cprivatemeditate physical II~ r , I I ~ ~ ~ ~ 1-'1movement ateriality It..,r\\i

[second floor][open and denselexperience with

irlendslea"ning~ ~ ~ n g per for mqUiet/loudreadingst,'lressmovement

I ~

[first floor][open and denselexpe"ience Wit .]irlendsgatheringcommunity C

ea"OIngteaching rafta,ingpresentingcraft ng

FLOOR PLANS[the f a S ~ ~ D e 0 ~ ~ ~ ~ , ' ~ ~ ( ~ : ~ ~ L school of architecture Julie kim masters studio scale 1i 32", 1


95/112


96/112


97/112


98/112

[section explanation]

curtain wall folds overbuilding and drapesdown on the third levelof the building, creating aresting area through thepublic path way.below illustration, sameintent different sectionview.

I I'" I " I II I I II I I) , I II

II,

.--1----'---'- '

I

-e , ~ - = : : : : ; ; ; : ] I l ! I ~ " .' II j l . . . { '. t P".. u,I III II I I. [ r C a - J ~ - i = !

1 i 1 IL _


99/112

/, _ ......_--- '

/I f ---J.-'~ ~ ~ ~ ~ = = = = = ~ = = = = = = = = = = = = = = ~ = = iPi=

I IC.J

IIIthe technique of foldingis shown as the verticallayer of the interior vol ume, this section showsthe fold encasing thevertical circulation of thebuilding, leading up to thethird floor.above illustration showsthe gallery space on thefirst floor, dance studio onsecond floor, yoga spaceon third floor and theliving space on the fourthfloor.

IU


100/112


101/112

[models]

interior model shows the vertical layer ofthe building. the folds encase the activitiesthat withhold the facilities program.craft-makingmusIcdancesingingphysical tra iningmartial artsyoga

exterior model expresses the building as awhole in the context of the site conditions.the model shows materiality, illustrating thetechnique of wrapping and draping.


102/112


103/112


104/112


105/112


106/112


107/112


pg.4-5 pg.6-7 pg 816


pg 1738 pg.39-42 pg 4j-51

prOjectprogrampg.52-62

design final designprocess

pg,63-89 pg 90 lOC

summary of the overallprocess, focusing on therelaionship between thethesis position and thefinal building proposal

conclusionpg,107-10B


108/112

So as the boundaries between fashion and architecture continue thisproject explores and commits to the inherent connections that existsbetween the two methods of design and links the relationship of thebodies that inhabit within and around the architecture. It is importantto acknowledge and identify that the 'body' is the origin connectionof the two practices. Therefore the investigation and outcomes ofthese notions engage and delight all of the senses at the multiplescale of the building- through a delicate set of techniques such as:folding, wrapping, draping, weaving, piercing, etc- which is essentiallylead through the process of studying the tectonic skin of the building/garment and the human scale as a reference to spatial experiences.Using the design of an educational facility fo r the visually impaired asa programmatic design vehicle, which is pursued by the questionsof the thesis within this specific archi tectural situation. Because thepredominant audience is visually impaired, this provides a rich andcomplex set of opportunities to investigate the capacity of a materialpresence overlaid with the sensual to affect the perceptions of spaceand experience. Certainly, there would also be individuals who arenot visually impaired who would use this space. The architecturewould map their experiences as well but in a different way. Wherethe architectural clothing speaks to the inhabitant and becomes anexperience of all our given senses. The authenticity of architecturalexperience is grounded in the tecton ic language of the building and thecomprehensibility of the act of construction to the senses. We touch,listen and measure the world with our entire bodily existence.As the investigation and the design process lead to the final design, theproposal of the architecture focuses in on three specific techniquesof design. The interior volume is encased with an 'origami' inspiredvertical layer that folds itself from the ground floor all the way to thethird floor. Within this folded layer exists the program activity. Drapingas a second technique is created on the exterior of the building. Acurtain wall, that facades the east side of the building, folds itself overthe building top and drapes down onto the third level. This 'draping'creates a functional seating area, a resting space for the activity thatexists on the highline path. The third technique, wrapping, is an exteriorskin. Woodsiding wraps itself around the building and slips apart tocreate window openings.With this deep interest in investigating and analyzing the similaritiesof fashion and architecture, brings together an evocative kind ofarchitecture. Allowing the building to speak, to breathe and redefineits existence through its appearance and through the experiencethat it allows an inhabitant to receive. With an extended interest inthe innovative physical environment the possibilities are endless. Theinvestigation of materials has continued to encourage the potentialto dislodge the conservative mindset we face today. I believe it is aparamount that we inform ourselves about innovative materials andmethods so that extraordinary buildings and products can become thenorm within our physical environment, rather then the exception


109/112


pg.4-5 pg.6-7 pg8-16

precedent Independent site analysIsanalysIs reseal'chpg17-38 pg 39-42 pg 43-51

prOject design final designprograrn processpg 52-62 pg.63-89 PO g010f

includes the relevantreferences.

~ . , , , , " U ' < , ~ r - . endnotespg.107-108 pg.109-110


110/112

I Thames&Hudson. Skin+Bones: Parallel Practice in Fashion andArchitecture p112 Thames&Hudson. Skin+Bones: Paral lel Practice in Fashion andArchitecture p 133 Thames&Hudson. Skin+Bones: Parallel Practice in Fashion andArchitecture p384 Thames&Hudson. Skin+Bones: Parallel Practice in Fashion andArchitecture p1 85 Thames&Hudson. Skin+Bones: Parallel Practice in Fashion andArchitecture p186 Thames&Hudson. Skin+Bones: Parallel Practice in Fashion andArchitecture p197 Thames&Hudson, Skin+Bones: Parallel Practice in Fashion andArchitecture p198 Thames&Hudson. Skin+Bones: Parallel Practice in Fashion andArchitecture p199 Lupton,Ellen.Skin- Surface,Substance + Design p14 210 Lupton,Ellen.Skin- Surface,Substance + Design p1 06II Paliasmaa,Juhani.The Eyes of the Skin, Architecture and theSenses.p4712 "peter lumthor works"13 Paliasmaa,Juhani,The Eyes of the Skin, Architecture and theSensesp2714 Paliasmaa,Juhani.The Eyes of the Skin, Architecture and theSensesp2815 Paliasmaa,Juhani.The Eyes of the Skin, Architecture and theSensesp21


111/112


P9 4 -5 P9 67 P9 b-16


P9 1738 P9 3942 P9 A3 -51

prOjectprogram

P9 52 62

designprocess

P9638 !1

final designP990-106

~ I ~ c ' bibliographypg 107108 P9 109-110 P9111-112

includes the relevantreferences.


112/112

Atelier ManferdinLhttp:jjwww.ateliermanferdini.comjBan,Shigeru.G.G.Portfolio.Gustavo Gilil, SABarcelona. copyright 1997.Ban,Shigeru. Princeton Architectural Press.NY.,NY. copyright 2001Frame-The Great Indoors- Magazine.http:j jwww.framemag.comjarticle.php?id=418&mag_id=53&current=1Land Use Process-New York City Departmentplanning. http://www.nyc.govjhtmljdcpjhtmljsubcatsjlanduse.shtmlLupton,Ellen.Skin- Surface,Substance + Design.Princeton Architectural Press.copyright 2001Meatpaking District.http:jjwww.meatpacking district.comjflash5.htmlPallasmaa,Juhani.The Eyes of the Skin,Architecture and the Senses. Great Britain,London.copyright1996Thames&Hudson. Skin+Bones: Parallel Practicein Fashion and Architecture.Los Angeles,California. copyright 2006

Documents

Tese Fashion and Architecture