Moore Thesis by J-force

The Sartorial Project: Towards Starting Portlandâ&#x20AC;&#x2122;s Garment District

The Sartorial Project

Towards Starting Portlandâ&#x20AC;&#x2122;s Garment District by Jeanette Moore

Thesis document submitted in partial fulfillment of the requirements for the degree of Master of Architecture at Portland State University Portland, Oregon June 2014

PORTLAND STATE UNIVERSITY SCHOOL OF ARCHITECTURE COLLEGE OF THE ARTS The undersigned hereby certify that the Masters thesis of Jeanette Moore has been approved as partial fulfillment of the requirements for the degree of Master of Architecture

Thesis Committee: Advisor Nora Wendl Assistant Professor of Architecture

Date

Clive R. Knights Professor of Architecture, Director of the School of Architecture

Date

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Acknowledgements I would like to thank my committee members Nora Wendl and Clive Knights. Without their knowledge and guidance this thesis would not be attainable. I would also like to acknowledge my friends, my classmates and all the professors in this program whose laughter and insight have provided me with such joy and useful thoughts that helped me survive the Masterâ&#x20AC;&#x2122;s program. To my Uncle Bob and Aunt Nenita, I full-heartedly appreciate your support and incessant push throughout my two years in graduate school. I dedicate this thesis to my loving and supportive parents, John and Ofelia Moore. Your wisdom and unconditional love have molded me into the person I am today. I am honored to be your daughter and making you proud will always be part of my goals. And, of course, this thesis ultimately belongs to the present and emergent talented fashion designers not just in Portland but in cities that embrace local talents, products and of course clothing. The character of a place can be defined by people and by what they wear.

Abstract A personâ&#x20AC;&#x2122;s persistence in window shopping is greatly astonishing. Many peopleâ&#x20AC;&#x2122;s yearning for shopping including the desire of voyeurism has been a weighty part in the clothing world. People buy clothes not only to shelter themselves from their everyday routine but also to express who and what they are. Crowds flood shopping malls and stores and look for the perfect outfit that would best describe their personality as well as their social status. The garments are also artistically showcased in those display windows to attract clients and consumers. What mostly is missing is the interaction with the makers. Clothes most of the time, if not all the time, act like mysterious pieces that come from somewhere unknown, almost like a phantasmagoria. This scene is revolving around the realm of shopping and undoubtedly masks the process of creating the garments. What can be a new building typology for fashion and clothing that can be a way to not only bring together local designers and makers but also provide a space where they will be found and acknowledged? What can help to open up the back rooms and allow the contents of garment production to roll down the street pavements? This thesis will carry out investigations and explorations about the culture of fashion in Portland and find out how an architecture strategy can benefit entrepreneurs in extending their network interface. This proposal tries to create a solution using different sewing techniques that showcase the relationship between architecture and fashion. The close integration between the designers and makers is envisioned to extend the intervention of the consumers to a new non-homogenous shopping experience that can responsibly react to the urban framework. These combined experiences for the people of Portland can transform the existing pattern of shopping, production and presentation of garments.

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Table of Contents

01 Hypothesis Overview

Main Research Question ��4

With Garment Production, Proximity Matters ��41

Made in Portland ��5

Urban Manufacturing Lands ��42

Fashion Industry Tries to Stay Local ��6

Site Specifications ��43

Architecture and Fashion Quotes from Famous Personalities ��8

Potential Sites on Central Eastside: Accessibility Study..........................................47

Selected Area of Development..........................................................................................48

02 Identifying the Territory

Geographic & Industry Profile for Fashion Designers ��11

05 Design & Program Organization

The City’s Support to the Local Clothing Industry ��13

Parrallels Between Architecture & Fashion Design ��51

The Portland Fashion Scene ��16

Design Process Overview ��53

The Sartorial Production Project ��17

Creating the Body ��55

Meeting Fashion Designers of Portland ��20

The Components of the Body .......................................................................................... 58

Tracking Garment Production in Portland ��23

03 The Garment Framework

Dressing the Body.......................................................................................................................59

Exploiting the Dart Technique ............................................................................................62

Exploiting the Drape Technique...........................................................................................64

The Fashion Design Industry & Profession.................................................................. 27

Exploiting the Pleat Technique..............................................................................................66

How Clothing is Produced ��29

WEARHOUSE - Portland Garment District Catalyst ......................................... 68

Artifact: One Dress, No Waste ��30

Spatial Organization .................................................................................................................69

Artifact: One Cape, No Waste........................................................................................... 31

Artifact: Classifying Private & Public in a form of a Garment .......................... 32

Spatial Link Analysis ................................................................................................................. 38

A Reflective Thought ��80

Bibliography ...................................................................................................................................81

04 Site Selection & Analysis

List of Tables and Figures fig 1: artifact: conceptual research about architecture & fashion ��1 fig 2: portland garment factory (a small-scale clothing manufacturer in portland) �� 3 fig 3: Michelle lesniak’s “decay” collection (portland fashion designer) ��5 fig 4: artifact: conceptual relationship between architecture and fashion �� 7 fig 5: ARTIFACT: FABRIC MANIPULATION EXERCISE FOR BUILDING FACADE ��9 fig 6: EMPLOYMENT OF FASHION DESIGNERS, BY STATE, 2013 �� 11 fig 7: EMPLOYMENT OF FASHION DESIGNERS, BY AREA, 2013 �� 12 fig 8: NANCY HALES, FIRST LADY OF PORTLAND, WEARING PENDLETON �� 13 fig 9: OFFICIAL PROCLAMATION OF PORTLAND FASHION WEEK �� 14 fig 10: PORTLAND FASHIONXT, 2013 ��15 fig 11: PORTLAND FASHION WEEK, 2013 �� 16 fig 12: PORTLAND FASHION DESIGNERS IN ACTION AT PORTLAND GARMENT FACTORY �� 17 fig 13: MICHELLE LESNIAK AND HER PROJECT RUNWAY WINNING COLLECTION �� 20 fig 14: INTERVIEWED PORTLAND FASHION DESIGNERS �� 21 fig 15: MAPPING GARMENT PRODUCTION IN PORTLAND �� 24 fig 16: the making of fabric artifacts �� 26 fig 17: THE COST OF MAKING AND SELLING A DRESS SOURCE: PORTLAND GARMENT FACTORY �� 28 fig 18: GARMENT PRODUCTION PROCESS �� 29 fig 19: ARTIFACT: ONE DRESS, NO WASTE �� 30 fig 20: ARTIFACT: ONE CAPE, NO WASTE �� 31 fig 21: ARTIFACT: CLASSIFYING PUBLIC & PRIVATE IN A FORM OF A DRESS �� 32 fig 22: GARMENT PRODUCTION, RESEARCH PROCESS �� 33 fig 23: GARMENT PRODUCTION, MATERIAL SOURCING PROCESS �� 34 fig 24: GARMENT PRODUCTION, DESIGN PROCESS �� 35 fig 25: GARMENT PRODUCTION, PRODUCTION PROCESS �� 36 fig 26: GARMENT PRODUCTION, MARKETING PROCESS �� 37 fig 27: PROGRAMMING: SPATIAL LINK ANALYSIS �� 38 fig 28: GARMENT DISTRICT IN NEW YORK CITY �� 31

fig 29: SITE SELECTION: FINDING THE CORE LOCATION �� 32 fig 30: SITE SELECTION: URBAN MANUFACTURING LANDS.. �� 42 fig 31: SITE SELECTION: CENTRAL EASTSIDE POTENTIAL SITE BOUNDARIES �� 44 fig 32: CENTRAL EASTSIDE ART: PLUS MINUS BY ANNIE HAN AND DANIEL MIHALYO.. �� 45 fig 33: POTENTIAL SITES: ACCESSIBILITY STUDY �� 47 fig 34: SELECTED AREA OF DEVELOPMENT �� 48 fig 35: ARTIFACT: THE PROGRAMMING OF BODY �� 50 fig 36: ‘LUCYANDBART’ COLLABORATION OF LUCY MCRAE AND BART HESS �� 52 fig 37: THE DESIGN PROCESS DIAGRAM �� 54 fig 38: STRUCTURAL VIEWS OF WEAVE TYPES �� 55 fig 39: PROGRAMMING: BODY ARRANGEMENT TESTS �� 56 fig 40: ARTIFACT: THE FORMED BODY THROUGH THE USE OF FABRIC �� 57 fig 41: PROGRAMMING: CREATING THE BODY �� 58 fig 42: DRESSING THE BODY: EXPERIMENT �� 60 fig 43: DRESSING THE BODY: DARTS �� 61 fig 44: DRESSING THE BODY:DRAPES �� 63 fig 45: DRESSING THE BODY:PLEATS �� 65 fig 46: WEARHOUSE: AERIAL VIEW ��68 fig 47: SITE CONTEXT & ADJACENT STREETS �� 69 fig 48: SPATIAL ORGANIZATION AT DECK �� 69 fig 49: SPATIAL ORGANIZATION AT FIRST LEVEL �� 70 fig 50: SPATIAL ORGANIZATION AT SECOND �� 71 fig 51: SPATIAL ORGANIZATION AT THIRD LEVEL �� 72 fig 52: VIEW FROM S.E. MAIN STREET & 12TH AVENUE �� 73 fig 53: VIEW FROM MAIN ENTRANCE ( S.E. MAIN STREET) �� 75 fig 54: INTERIOR VIEW OF THE THIRD LEVEL WORKSHOP �� 77 fig 55: PORTLAND MADE COLLECTIVE �� 79

fig 1: artifact from conceptual research about architecture & fashion

Hypothesis Overview

fig 2: portland garment factory (a small-scale clothing manufacturer in portland)

Main Research Question

How can architecture promote the creative aspirations of clothing makers and support the meaningful course of production, presentation and selling of garments? 4

Made in Portland Portland, a city well-known for its green practices, has in many ways proven to have successfully utilized environmentally conscious design strategies. It is also recognized for its culture that supports local businesses and products – particularly in the form of local food consumption. Different policies and approaches are continuously evolving in support of the city’s idea of using their own resources. This is growing to include merchandizing, retail and entrepreneurship. Local commerce – especially the popular food cart movement – is continuously increasing within the city of Portland. Other types of businesses including locally-made clothing are starting to become known but not to the extent where fashion designers can always keep a reasonable profit for their creations. Emerging fashion designers are becoming more

frequent in the area but corporate giants and impersonal franchises are difficult to compete with. There are several clothing stores located in the city that carry locally-designed and made pieces. Below is an appendix of independent stores listed in “The Localist”, Portland’s locally-owned business directory:

Portland is the most populous city in Oregon. But, compared to other cities in the United States, Portland doesn’t have the extreme city vibe because of its green appearance. The area tends to commit themselves with sustainable practices, and one of these is producing local. In their clothing industry, more boutiques pop up carrying not just one but several different local designers’ pieces.

women’s clothing

men’s clothing

children’s & maternity clothing

Fashion Industry Tries to Stay Local The city of Portland houses many brilliant and skillful artists, and many of them express their passion through different media. For fashion designers and local garment makers, it is evident the distinctive styles and the critical sense they possess in designing and sewing. They are fearless when it comes to communicating their own flair towards art and design – the quality that big fashion companies seek out. Michelle Lesniak is one of the city’s known fashion designers that has very creative design and exceptional sewing skills. She is a 34-year old Portland native that works in the city. She made the people of Portland proud – especially the fashion design community – when she won Project Runway Season 11. Project Runway is an American reality television series which focuses on fashion design where

contestants compete with each other to create the best clothes with restricted theme, time, and materials. She was recognized for her strong aesthetic and her firm confidence in her design and capabilities. But receiving the recognition and fame didn’t swerve her plans away of staying in her native hometown. She is committed to continue her love for garmentmaking with the idea of shaping and developing the Portland Fashion Industry. Her business structure has been and will always be devoted to local production and ethical business practices.

the construction of their collections. But garments often times end up to have higher prices because of the limited resources in the city. This is one of the various challenges designers are struggling from when it comes to manufacturing in a small area like Portland. But this is not suspending the expansion of the fashion design community in Portland. It is a value Portlanders have as a whole. fig 3: Michelle lesniak’s “decay” collection (portland fashion designer)

Many fashion designers in Portland are eventually trying to stay local – production and retail. Right now, many designers are still purchasing materials often from outside the city, but they choose to hire local seamstresses and tailors to assist them in

fig 4: artifact: conceptual relationship between architecture and fashion

Architecture and Fashion Quotes From Famous Personalities

“Architecture is how the person places herself in the space. Fashion is about how you place the object on the person.” - Zaha Hadid “Fashion is architecture: it is a matter of proportions.” - Coco Chanel “We need houses as we need clothes, architecture stimulates fashion. It’s like hunger and thirst — you need them both.” - Karl Lagerfeld “I’m into fashion because it contains the mood of the day, of the moment - like music, literature, and art.” - Zaha Hadid “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” - Coco Chanel 8

fig 5: artifact: fabric manipulation exercise for building facades

Identification of Territory

Geographic & Industry Profile for Fashion Designers According to the United States Bureau of Labor Statistics, the states with the highest employment level in the Fashion Design occupation are New york, California, Texas, New Jersey and Illinois. And based on area, the highest published employment in this type of occupation are the metropolitan areas New york City and Los Angeles. Both of these cities are termed Fashion Capitals, recognized not only in the United States but around the globe. The map above displays employment rate of states and cities that follow the top two distinguished areas.

Apparently, on the second map, you can notice that there are a few cities that have a good number of working fashion designers. These designers are located mostly on the west coast. One of these few areas is Portland, Oregon which has an impressive employment rate of ninety (90) to two hundred (200) fashion designers, not including self-employed designers. This is a good number of employees for this type of occupation compared to the many cities that barely has reported employed designers.

FIG 6: EMPLOyMENT OF FASHION DESIGNERS, By STATE, 2013

Note: The estimates provided are calculated with data collected from employers in all industry sectors, all metropolitan and nonmetropolitan areas, and all states and the District of Columbia.

PORTLAND, OR

Fashion design can be one of the occupations that make the city of Portland stand out from many of the rest of the cities in the United States. Not just because of the reported numbers of employment with this type of occupation, but the motivation that the city people is starting to give the present and emerging clothing designers and makers. The fashion scene in Portland doesnâ&#x20AC;&#x2122;t have the competitive atmosphere like New york or LA. Its fashion culture is calmer and is slightly stress-free especially the work environment between designers. Many of the

designers in the area would rather work together in the same studio space so they could benefit and learn from each other. They support and together grow as a community of designers thatâ&#x20AC;&#x2122;s very similar to attitude of different artistic groups and neighborhood communities in Portland.

FIG 7: EMPLOyMENT OF FASHION DESIGNERS, By AREA, 2013

The City’s Support to the Local Clothing Industry Fashion designers are like artists. It can be very difficult to succeed in the fashion business – especially in a small city like Portland. However, the optimistic assertiveness of artists in Portland makes the area alive and interesting. This is one of the qualities of the Portlanders that make the city unique and inspiring. One of the possible reasons why artists in Portland continue to express their creative skills and flourish in their work is because of the support of local consumers who purchase their creations. Portland fashion designers possess outstanding creative design skills that are distinctive from the other cities. They are fearless when it comes to expressing their thoughts in their creations – the quality that big fashion capitals are thrilled about. To run a successful fashion business, it is important to have exceptional talent, dedication and commercial awareness about the industry. But measuring the success of a business can be different from place to place. It depends on the financial, political and cultural context of the area. The lack of support given by the local city government to hardworking, skillful clothing designers can be one of the possible reasons that cities struggle in the fashion scene. But in Portland, they are starting

to recognize the fashion design community as part of the city’s attractions. In fact, the city mayor, Charlie Hales, officially proclaimed the 1st week of October to be “Portland Fashion Week” (See Figure 9). Supporters of local talents and services are significantly growing in the city of Portland. The first lady of Portland, Nancy Hales, is one of the people that gives utmost support to local clothing businesses. According to an article from the January 2014 issue of Portland Monthly, Nancy Hales is a champion when it comes to shopping local. She would purchase wearable pieces that are made by Portland’s local fashion designers especially in the store on SE Stark Street called Union Rose. Union Rose is a downtown boutique that features only Portland-made garments. It is also mentioned in the article that in the realm of fashion, Hales’ passion is more than just the glamour. She asserts that:

“[the idea of] locally made clothes is a sort of shorthand for all local products… Fashion is easy and visible, and helps highlight the larger issue of economic development in our city. But in my heart, my main concern is about fairness and equity. These people work very hard, and they should see some real compensation for their efforts.”

fig 8: nancy hales, first lady of portland, wearing pendleton

fig 9: official proclamation of portland fashion week

The Portland Fashion Scene Not many people can envision that Portland can be the next Fashion Capital like New York or LA, but in fact Portland is home to some of the country’s best designers and boutiques. Moreover, Portland runs two premier fashion events, “Portland Fashion Week” and “Portland FashioNXT”. These two occassions showcase the best present and emergent fashion designers of the city. At times, they invite top designers from different states as well as from different countries. Actually, Portland Fashion Week not only focuses on fashion but embraces and holds different special events like concerts and shows that demonstrate diverse art skills of Portlanders. In fact, in its 12th year, Portland Fashion Week is the longest running fashion week behind New York and LA.

to-wear pieces in Portland since 2008. Adam Arnold set up shop in 2002 in Southeast and has been designing and producing his own clothing since then. And familyowned Pendleton Woolen Mills continues to age “like a fine wine,” says Refinery29, the largest independent fashion and style website in the US. A large part of the problem, according to Fashion Week’s producer,Tito Chowdhury, is that fashion is not recognized by the city as one of its core sectors. Consequently, big fashion houses are not attracted to the city with tax breaks and other incentives. If that were to occur, it would have impact beyond the local fashion scene, he says, with athletic wear companies such as Nike and Adidas able to recruit local talent instead of spending hundreds of thousands recruiting

designers from larger markets. Another challenge for local designers is having their garments manufactured.While sending designs off to China is a solution for a few, unit minimums make it out of the question for many. Like many businesses, challenges are inevitable. And in the fashion industry, being a fashion designer that can earn good money can be very difficult. Not to mention the cheap mass-produced clothing that are manufactured outside the country that undoubtedly has low quality, can be the biggest challenge. But why not start acknowledging this problem and start small, start from your own city. These significant small steps can go a long way not only to benefit the designers but the environment as a whole.

To expand what goes on in the Portland fashion scene including the challenges it has, here are some segments of an article from the Portland Tribune published on May 7, 2014 written by Pamela Ellgen: Is Portland on the fast track to becoming the next fashion mecca behind Los Angeles and New York? Some think so.The city boasts more Project Runway winners than either of those cities, four as of the 2013 season. Beyond the realm of reality television, the city incubates dozens more fashion designers who go on to earn national and international acclaim and, more importantly, support themselves doing what they’re really good at. However, the city often loses its design talent to bigger markets. Some stay, of course. Seth Aaron and Michelle Lesniak, both Project Runway winners, remain firmly planted. Stephanie D. Couture has been successfully designing vintage-inspired bridal gowns and other readyfig 10: portland fashionxt, 2013 Fig 11: portland fashion week, 2013

If it’s the day before a big event and you have no idea what to wear and nothing in your closet is going to cut it, you are facing a sartorial dilemma — one that pertains to clothing, fashion or dressing. Sartorial comes from the Modern Latin word sartor which means “tailor,” literally “one who patches and mends.” In English the adjectives sartorial and sartorially are used to refer to any matter pertaining to the consideration of clothing or fashion.

The Sartorial Production Project The exciting and valiant world of fashion and its production has its unattractive side. Many different ways and habits in the production of garments are not transparent to the consumers, and as a result, the fashion industry ‘s undesirable impact to the environment increases. A new clothing production and shopping typology that not only emphasizes the display of garments but also exhibit how the clothes are made can significantly make clients and consumers understand and appreciate where, what and who makes the wearable pieces they purchase and use. This consumerism innovation in the industry of fashion can function and serve not only Portland’s prevalent attitude towards local products, but also encourage a new and more effective attitude towards the production of clothing. Reducing the carbon footprint by supporting locally designed garments is one of the main sustainable advances of the study. Not only would this be an environmentally sensible innovation to Portland but could correspondingly encourage the ever more creative talents in the area, plus enhancing the shopping experience of the locals as well as of visitors. The Sartorial Production Project is conceived to be a plan of forming a garment district in Portland, Oregon that can shape and expand the city’s fashion and clothing industry. Its objectives are to promote the creative aspirations of local garment makers in town, and to also introduce to the public the most meaningful course of production and presentation

of garments.This project can heighten the improving industry of fashion in Portland, provide tools to grow and create job opportunities for local people. Growing the accommodations for garment production in Portland is not just about job creation and economic growth. The project aims more to serve and nourish the authenticity of Portland people and their artistic talents and skills. Local fashion designers and garment makers are perceptibly developing in the city, as they show their artisanal and skillful capabilities in the fashion and clothing industry. This project clearly aims to benefit local artists specifically garment designers and makers. Now that there are numbers of emerging designers in town, the need for local, larger scale of production can most certainly escalate. Competing with low-cost factories overseas may not exist as part of the plot. What the Sartorial Production Project can offer is manufacturing for smaller, local producers, a speedy access to fabrics and supplies, and a spectacle for Portland people; showing clothes that are proudly made in Portland. Small-size manufacturing allows cutting-edge designers to practice and demonstrate their innovations and get a footing in the industry.

Definition source: dictionary.com fig 12: portland fashion designers in action at portland garment factory

Meeting Fashion Designers of Portland To identify further the territory that I am investigating, I contacted and personally interviewed active fashion designers of the city of Portland including Michelle Lesniak, the 11th season winner of Project Runway. Having conversations with these people was a great help for me in uncovering the real story in the clothing industry here in Portland. These fashion designers, being a part of the industry, makes their opinions and suggestions relevant to the case, along with their interpretations that helped justify and measure the need for the project. Portland designers appear rather gratified on standing out on a distinctive level and are not afraid to express their skills not only in the city but in a bigger audience when it comes to fashion. And what’s very flattering is that the rest of the city seems to agree, and encourage this way of thinking. I had the opportunity to talk to Britt Howard, a local fashion designer and owner of the Portland Garment Factory. The Portland Garment factory serves many local garment designers Holly Stalder, Dawn Sharp, Emily Ryan, and many others, also companies across the United States. Britt has a good set of people behind her, all are citizens of Portland. Hiring local employees has always been a part of her business structure. Alyson Clair is a local fashion designer in Portland that started mostly in manufacturing garments prior to entering the realm of designing. She currently owns ‘Clair Vintage Inspired’ clothing line that emphasizes femininity, functionality and quality. She

describes every item of her creations to be proudly made in Portland, Oregon, and has been since 2007. Her line’s mission is to be the favorite piece in someone’s closet; the piece that can last for a long time. Many of her skills in garment-making were developed during her stay in a manufacturing house. Most of her techniques in sewing were learned and practiced as she produced numbers of garments, and eventually her desire to designing clothes grew. With all her experiences in production, she plans her strategy very well in becoming profitable with anything she makes. With her every step and outflow in making garments, she always tries to get a higher turnover. Through her, I have learned significant relationships between designing and making clothes. She appears to be enthusiastic about the project but also provides challenging opinions, all for a chance to improve the project idea. Not only was I able to ask these designers about their occupation and insights about the proposal, but I also was able to check out their studios and witness how they produce garments. I have learned not only the nature of fashion in Portland but also what goes on behind a well-made piece of clothing, and the space that these artists utilize to make clothing for Portland people and consumers outside the city. See Figure 14.

fig 13: michelle lesniak and her project runway winning collection

Michelle Lesniak

Brady Lange

Britt Howard

WORK SPACE

CREATIONS

Amelia Blakeman

WORK SPACE

CREATIONS

Sunjin Lee

WORK SPACE

CREATIONS

Alyson Clair

Karen Davis

Carolyn Hart

Sophie Chang

WORK SPACE

CREATIONS

fig 14: interviewed portland fashion designers

Seattle

Tracking Garment Production in Portland The Portland fashion business is considerably growing but not without challenging encounters. I was able to meet and chat with nine (9) fashion designers of Portland. I got to see their work spaces and the impressive garments they design and sew. The interview revolved around the idea of how garments are produced â&#x20AC;&#x201C; from initial research and brainstorming to production and promotion. One of the most interesting conversations that came up was about where the materials for making garments come from. The city of Portland has but only a few fabric and supply stores â&#x20AC;&#x201C; most of them carry expensive products. This is one of the challenges the

designers have. They would travel to other states and even purchase fabric from outside the country to be able to create pieces that would best communicate the intent of their design. Based on the interviews and research about the local clothing production and marketing here in Portland, I generated a map that highlights the nine fashion designers I have interviewed. I mapped the understand the current state of clothing production in the city. The map shows the tracks of mainly where designers get their materials, where they make the garments and where they sell the final pieces.

fabric/ supplies fashion/ sewing schools larger scale production site fashion designers

Beaverton

home studio/small prod. space

stores/ boutiques

0 mile

FIG 15: MAPPING GARMENT PRODUCTION IN PORTLAND

Other States/ Countries

Toronto, Canada

New York & Chicago

designer to fabric/supplies

designer to stores

designer to manufacturers

Las Vegas San Francisco

Los Angeles

fig 16: the making of fabric artifacts

The Garment Framework

The Fashion Design Industry and Profession Drawing and sewing are not the only skills a fashion designer should have. In order to be successful in the fashion industry and actually reach a desirable return for their creations, they should be familiar with how the business works. The occupation lies more on the creative side – almost like artists. But fashion designers also can be very involved in the business aspects of their job – taking into account the extreme competition with big clothing companies. Also, many designers manage their own business, and so they have to be involved in client relationship, networking, searching and renting space, ordering and purchasing materials, studying industry publications and many other administrative responsibilities. With these designers that work independently, earnings can vary based on experience.

Running this kind of business can be very tricky. Constructing a garment needs not only the knowledge of pattern-making but also the knowledge of how much fabric should be used without having too much offcut. This task takes practice and enough familiarity about garment design and construction. But once understood, this can lower the overall cost of materials, and as a whole, lower the impact to the environment. The designers in Portland sell their creations online and to the different local retail stores in the city. Majority of the designers find it tough to be working in the fashion industry in a small city like Portland. The lack of supply and supportive clients are still the main challenges they face. At the same time, the city doesn’t have enough manufacturing houses that can

produce their designs. Independent fashion designers would sew their own collections, and it takes a lot of time and labor. Designers would hire seamstresses to assist them in producing more pieces depending on the clients’ demand. In Portland, many designers produce garments and sell it wholesale. The Figure 17 is a sample diagram from the Portland Garment Factory that shows how to set the pricing for a piece of garment. According to the company, to set the price of the dress or a garment, an independent designer must break down the cost at each stage of production, then double it twice to cover profits and a retailer’s markup. If at the end of the equation, the designer thinks the price is too high to be viable, the calculation is done again - typically lopping away at the profit. This is only a general example, and real prices vary.

Total Production:

$48.30 x2 Wholesale Price:

$105 x2 Retail Price:

$210 fig 17: the cost of making and selling a dress source: portland garment factory

RESEARCH

DESIGN

MATERIAL SOURCING

PRODUCTION

MARKETING FIG 18: GARMENT PRODUCTION PROCESS

How Clothing is Produced Garment production includes number of processes from raw materials to a transformed final product. The course of production vary based on the business nature, product type and manufacturing facility. Some fashion designers work independently and produce garments with a few assistant tailors or seamstresses. Most of the creation process take place in their own studios or at their homes. Designers that work solo make the initial garment prototypes or an entire collection sample and have it manufactured in a garment production company. Here in Portland, they have only three manufacturing houses â&#x20AC;&#x201C; two of which

are small-scale. Portland Garment Factory is the most recognized and largest manufacturing house in the city occupying 5000 square feet of retail/ work space. However, this is far from being enough to produce garments for hundreds of fashion designers in Portland. Based on present clothing industry, garment production are categorized as pre-production processes, production processes and postproduction processes. This is very similar to what Portland fashion designers undergo to produce

their creations. After a series of interviews from the fashion designers of the city, I was able to generate a flow chart showing the manner of how garment is produced in the area. Each step is broken down to what the procedures are, where the activities happen, and who are the people involved in the process (See Figures 22-26).

Artifact: One Dress, No Waste While in the process of investigating the territory, I created some artifacts that helped me visualize the ideas that I have collected. For this particular artifact, I constructed a garment using a yard of fabric (with 40” width) as a way of representing the idea on how to make clothing without any wastage. The artifact using fabric correlates with sustainability and how wastage can be a way of adding details to the design of a garment. But the pieces of fabric from the patterns – especially the off-cuts – can also be designed and used as something that accentuates parts of the body. Most of the tools utilized were the conventional materials used in clothing production. As the artifact expresses the idea of zero-waste garment, the yard

of fabric was I think a good material to communicate its goals and meaning. The choice of garment being reversible is also a representation of innovation in textile manufacturing that can be a factor in reducing waste in garment making. However, there can be other ways on how to utilize the fabric offcuts that are more purposeful than just aesthetic details to the garment. The artifact is a piece of clothing, it can be observed when seen or worn. But since it is made using the creator’s body measurements, the artifact most likely is a visual piece for the other spectators. In addition, the drawings that show the planning and pattern techniques can be made bigger and accessible to the spectators for a more understanding of the process.

The process in garment production has provided tons of offcuts that are then thrown away. Reducing waste can be a valuable method in making the textile production chain more sustainable. The idea of this artifact is inspired by the sustainable mindset of Portlanders including local fashion designers and garment makers. Planning and testing ideas in garment production using just a yard of fabric can somehow communicate the idea that there are possible ways to mitigate wastage. The technique in pattern-making used in the process of making the artifact can also possibly inspire the design concept of the final outcome of the thesis.

FIG 19: ARTIFACT: ONE DRESS, NO WASTE

Artifact: One Cape, No Waste The thesis is about study of garment-making in the city of Portland. The material used which is fabric is indicative of the program being investigated. The artifact was a garment described to be an inspiration to the final design of the thesis. This exercise specifically relates to the study of the site. Creating a new district needs indicative elements that can communicate to the people. The use of black bands in the garment represents directional cues that emphasizes an activity that should take place. As for creating a â&#x20AC;&#x153;garment districtâ&#x20AC;?, emphasis should also be included in the urban fabric that can lead people to the heart of the new district. Since the artifact is a garment, the idea is for the perceiver to not only visually observe it but also to

play with its other features and elements for a clearer understanding of what it represents. The garment as the artifact makes a direct relationship to the study of garment production that the author is trying to investigate. Some sewing techniques and garment features can contribute to the final design of the thesis project. The artifact relates to the idea of a site design for a new district. In this example, the emphasis of the black bands on the garment emphasize directional cues for the perceiver to experience the intended activity. The challenge here is what specific element of emphasis should be incorporated in the urban fabric to lead people to the garment district.

FIG 20: ARTIFACT: ONE CAPE, NO WASTE

Artifact: Classifying Private and Public in a form of a Garment As the investigation moved forward, I decided to do a study that relates to private and public. The program of the thesis does not only revolve around the manufacturing side, but it is an innovative project for production houses that open its doors to buyers and consumers of garments.

Fashion designers undergo a series of stages in order to produce a garment. Some stages needs a sense of privacy and this is the mostly the design stage. For designers to focus on conceptualizing for a design, they need spaces that will provide a sense of quietness and privacy. As the garment design is finalized, production takes place. This is the stage when the designs are transformed to wearable pieces of clothing, and the time when many people assists the work. This creates a more public scenario. Public and private space can be attained in many different ways. In this artifact, the use of varieties of fabrics signify a level of privacy and openness. The different thickness, color, and type of textile construction created a scale that can measure the transparency of the fabric. This exercise helped me understand that transparency can be achieved by choosing the right type of membrane with the right components and placing. In this artifact, textiles like felt, textured silk, tulle and recycled eye lens are used to suggest private and public.

FIG 21: ARTIFACT: CLASSIFyING PUBLIC & PRIVATE IN A FORM OF A DRESS

RESEARCH designer

DESIGN TEAM

MAGAZINES

TREND REPORTS

TRAVEL RESEARCH

MOOD BOARDS

FIG 22: GARMENT PRODUCTION, RESEARCH PROCESS

At the pre-production phase of making a garment, research is a significant step. This is basically the planning stage of the whole creation process. The designer either plan on his own or create a design team that will help brainstorm about the project. The methods that these designers go through before creating a design is reviewing fashion trends as well as predict future trends. Some fashion designers conduct their own research through flipping the new issues of fashion magazines. They can also be more spontaneous and travel to different places to get some inspiration. Others rely on trend reports published by fashion industry trade groups. Trend reports are the psychics of future seasonâ&#x20AC;&#x2122;s fashion indicating the styles, materials, and color. Prior to preliminary designs, mood boards are made. It is a visual representation of the initial ideas for the design that includes a fabric swatch, magazine clippings, color schemes, rough sketches and inspirational images that can basically come from anywhere.

designer

MATERIAL SOURCING Textile is the most abundant material used for garment production and finding the right ones can be the trickiest job for a fashion designer. In order to make a design transform according to the main concept and inspiration, the most accurate pieces of fabric should be purchased and used. Fashion designers in Portland sometimes buy their fabric/ supplies at the local fabric stores like Fabric Depot and Mill End. The problem is the materials can be very expensive – especially when designers want the latest and most unique yards of fabric. Sometimes they need large quantities but the supply stores in the city don’t sell in bulk. A few of the designers in Portland will also look and purchase online, but as much as possible they would rather take a good look of the fabric and touch it to study its physical properties. Many of Portland designers would hire fabric jobbers. These are the people that look for fabric in different places and bring sample fragments for the designers to choose from. Fabric jobbers mostly know where to find yards of remaining fabric from Prada or from different big fashion houses – fabrics that can be sold to smaller companies or independent fashion designers. Fashion designers would also travel to attend fabric tradeshows that exhibit and sell the newest kinds of textile and prints. These shows offer designers variety of fabrics and suppliers from all over the world.

DESIGN TEAM

LOCAL SUPPLY STORES

FABRIC JOBBERS

INTERNET

TRADE SHOWS

OUTSOURCE

FINAL COSTING

ORDERS

STORAGE

FIG 23: GARMENT PRODUCTION, MATERIAL SOURCING PROCESS

designer

DESIGN

DESIGN TEAM

WHOLESALE

CUSTOM

COLLECTION PLANS

SKETCH DESIGN

MATERIAL SOURCING

FINALIZING

fig 24: garment production, design process

After the material study and procurement, preliminary designs will be finalized. Design depends on the type of business structure the fashion designer has. If he/she is working in a company, the design phase can be a group effort. In Portland, there are many self-employed designers, and most of the time they control the design process. Sometimes they can be very creative and innovative, but from time to time they can stick to established trends for high demand items. These designers would sketch out their designs manually or use digital softwares to form their designs. The design can be one customized piece or can be collective. Designers that sell wholesale typically put together a fashion collection. This is a set of garments that are commonly made every season that reflect predictions of upcoming trends. A collection is usually created with a specific design theme â&#x20AC;&#x201C; sometimes including the cut, color coordination, and design elements that will tie the items together. The sketches/ drawings can be done while in the process of looking for the appropriate materials and fabrics. This is a very common situation in the process of design.

designer

PRODUCTION

DESIGN TEAM

Production is the process by which concepts and ideas are transformed into a saleable physical product. It is impossible to separate production from the overall success of the product. An effective business rely on great concepts that are designed and on the end product that delivers good craftsmanship and quality.

PATTERN MAKING

SEAM-STRESS

TAILORS

This production stage is classified into many different sub-stages. The appearance and fit of a garment is highly dependent on each process. Pattern-making is one of the earliest stages of clothing production. A combination of methods is used in patternmaking only. It can be formed by either 2D or 3D process. The most commonly used is the 2D pattern-making that mostly involves drafting. In this method, patterns are made directly from measurements taken from an individual, a body form or a preexisting garment. Using the collected measurements, the pattern is drawn directly onto paper. When patterns are ready, they are laid on fabric serving as guide for cutting. Many other stages happen in the production process. This includes the final sewing of the fabric pieces, pressing and embellishing. Sometimes fabric can be customized through dyeing or digital printing. After the finished product, labels are attached and are set to be packed or wrapped.

CUSTOM

DRESSMAKER

WHOLESALE

COUTURIER

DYEING

PRESSING

CUTTING

SEWING

PRINTING

DETAILING

LABELING

HANGER

FIG 25: GARMENT PRODUCTION, PRODUCTION PROCESS

designer

MARKETING DESIGN TEAM

INSPECTION

CUSTOM

WHOLESALE

FASHION SHOWS

TRADE SHOWS

WEBSITE

SALES REP/ AGENT

RETAILERS

PACKING/ SHIPPING

CUSTOMER

FIG 26: GARMENT PRODUCTION, MARKETING PROCESS

After the post-production process – including inspection, folding, tagging and packing – fashion designers can prepare the product for shipping. It depends on the designer’s business structure. If a product is a one-off couture piece, designers typically has a direct relationship with the client. When it comes to wholesale products that are commonly produced in bigger quantities, a different scenario happens. The inspection process is more thorough, and possible rejections and alterations take place. Fashion designers have several ways to market their creations. To move the revenue forward, designers generate their own business plans. They combine fashion sense and business sense to make a better fit. Understanding the fashion industry is one of the key steps to consider to be able to gain desirable profit. Marketing often start from the pre-production phase. The stage when the fashion designer explore the consumer and buyer trends and analyzing the market base. The designers’ strategies sometimes depend on their market type. And many designers will sometimes participate in fashion events that showcases their designs for the people to see. This generally happens when they are launching their newest fashion collection. Many of the designers in Portland create their own website to extend their market. Many designers in Portland that sell their garments wholesale typically hire sales representatives/ agents that will find stores or boutiques in and out the city that they think would carry the styles the designers make. This saves the time of the designers and focus more on the design and production of their creations.

RESEARCH Research Studio Conference/Video Room Magazine/News Stand

MATERIAL SOURCING Fabric Warehouse Hardware Store Sewing Supply Store Textile Printing House Presentation/Meeting Rooms Material Research Studio Finance/Accounting Office

DESIGN Consultation Rooms Design Studios Conference Rooms

Legend primary secondary tertiary

PRODUCTION Pattern-Making Tables Cutting Tables Sewing Space Dye Room Outdoor & Indoor Drying Area Textile Printing Lab Pressing Area Embelishment & Detailing Labeling Area Hanger & Display Custom/ Couture Work room Private Fitting Rooms Collection Fitting Rooms

MARKETING

Spatial Link Analysis After identifying the breakdown of garment production in Portland that has been based on the mapping exercise (figure 15), I started to enumerate the spaces that occupy the activities that fashion designers go through. Categorizing activities from research to marketing, rooms are linked to other spaces that indicate whether they can have a direct access to each other or whether their proximity can be farther â&#x20AC;&#x201C; depending on the similarity and relationship of the space. fig 27: programming: spatial link analysis

Inspection/Review Rooms Meeting Rooms Presentation Rooms Photography Studio Packaging Gallery Runway Post Office

fig 28: garment district in new york city

Site Selection & Analysis

With Garment Production, Proximity Matters An integrated map higlighting the areas of different activities involved in garment production helps locate the center point of this cluster of locations.

m 5 4. R= i m 2 R=

The garment production makes the movement of fashion designers comprehensive. The different activities that take place involves different locations. The movement shows several patterns and interactions that indicates a sharing environment. To be able to use time wisely and take advantage of clustered resources, proximity should matter.This agglomeration of facilities can be very advantageous â&#x20AC;&#x201C; especially for designers in Portland that believe involvement makes a better community and business.

According to the integrated map, the site appropriate for starting the garment district is located within the 2-mile radius shown on Figure 29. The boundary covers locations from the SouthEast part of Portland.

FIG 29: SITE SELECTION: FINDING THE CORE LOCATION

Urban Manufacturing Lands Mapping the agglomeration of facilities, services and stores that are involved with garment production shown on the figure 15 facilitated the site selection process for this project. Enclosing that agglomeration with a 4.5-mile radius circle was the initial step in finding the most appropriate site to develop the start of Portland’s garment district. The narrowed 2-mile radius brought the search to the Central East side of the city – concentrating on areas zoned as EX (Central Employment) and IG (General Industrial).

commercial employment industrial open space residential (single) residential (farming) residential (multi) commercial/residential

Portland’s Central City Plan’s overall policy for the Central Eastside calls for preserving the district as an industrial sanctuary while improving freeway access and expanding the area to devoted to the Eastbank Esplanade. The emerging development vision of the Central Eastside includes increased employment density, accommodation of the “new urban economy” and preservation of the district’s industrial fabric. As this thesis proposal falls under the manufacturing side of establishment, and the mapping indicates areas on the industrial lands, the search for the area of development for this project are concentrated on the employment and manufacturing zones. FIG 30: SITE SELECTION: URBAN MANUFACTURING LANDS

Site Specifications

General Employment

Central Employment

General Industrial

Heavy Industrial

source: CHAPTER 33.140 EMPLOYMENT AND INDUSTRIAL ZONES (portlandoregon.gov)

The zones allow a wide range of employment opportunities without potential conflicts from interspersed residential uses. The emphasis of the zones is on industrial and industrially related uses. Other commercial uses are allowed to support a wide range of services and employment opportunities The development standards for each zone are intended to allow new development which is similar in character to existing development. The intent is to promote viable and attractive industrial/commercial areas.

This zone implements the Central Employment map designation of the Comprehensive Plan. The zone allows mixed-uses and is intended for areas in the center of the City that have predominantly industrial type development. The intent of the zone is to allow industrial and commercial uses which need a central location. Residential uses are allowed, but are not intended to predominate or set development standards for other uses in the area. The development standards are intended to allow new development which is similar in character to existing development.

The General Industrial zones are two of the three zones that implement the Industrial Sanctuary map designation of the Comprehensive Plan. The zones provide areas where most industrial uses may locate, while other uses are restricted to prevent potential conflicts and to preserve land for industry. The development standards for each zone are intended to allow new development which is similar in character to existing development. The intent is to promote viable and attractive industrial areas.

This zone is one of the three zones that implement the Industrial Sanctuary map designation of the Comprehensive Plan. The zone provides areas where all kinds of industries may locate including those not desirable in other zones due to their objectionable impacts or appearance. The development standards are the minimum necessary to assure safe, functional, efficient, and environmentally sound development.

EX:

Central Employment

IG:

General Industrial

FIG 31: SITE SELECTION: CENTRAL EASTSIDE POTENTIAL SITE BOUNDARIES

Land Zones for Urban Manufacturing Developments

EX:

Central Employment

The intent of the zone is to allow industrial and commercial uses which need a central location. Residential uses are allowed, but are not intended to predominate or set development standards for other uses in the area. The development standards are intended to allow new development which is similar in character to existing development.

IG:

General Industrial

The zones provide areas where most industrial uses may locate, while other uses are restricted to prevent potential conflicts and to preserve land for industry. The intent is to promote viable and attractive industrial areas.

Design Overlay

1 General Industrial 1. IG1 areas generally have smaller lots and a grid block pattern. The area is mostly developed, with sites having high building coverages and buildings which are usually close to the street. IG1 areas tend to be the Cityâ&#x20AC;&#x2122;s older industrial areas.

FIG 32: CENTRAL EASTSIDE ART: PLUS MINUS By ANNIE HAN AND DANIEL MIHALyO

SOURCE: CHAPTER 33.140 EMPLOyMENT AND INDUSTRIAL ZONES (PORTLANDOREGON.GOV)

Land Potentials & Limitations Part of this thesis project is introducing a new typology of a manufacturing house. Interaction of the fashion designers, the makers and the consumers/buyers is one of its main objectives. The overall project is aimed to lead a new manufacturing facility that integrates the fashion design, production and the localsâ&#x20AC;&#x2122; shopping experience. The proposal will work hand in hand with the Southeast Quadrant Plan. The planning process will engage the city and local business to strengthen the Central Eastside as a major employment center in Portland by increasing employment opportunities. The building of a new garment manufacturing house in the Industrial area will open many possibilities not only for employment but potentials for tourism improvement.The policy on the Central Eastside according to the Bureau of Planning, Portland, stresses the idea of preserving the industrial feel of the area but at the same time allowing mixed used developments including non-industrial development. This policy can be weaved along this thesisâ&#x20AC;&#x2122; goals, characteristics and design programs.

Potential Sites on Central Eastside: Accessibility Study

SE MORRISON ST.

SE MADISON ST.

SE 11TH AVE.

SE 12TH AVE.

SE MLK JR. BLVD.

SE GRAND AVE..

SE BELMONT ST.

SE HAWTHORNE ST.

SE D

D LA .

E AV FIG 33: POTENTIAL SITES: ACCESSIBILITy STUDy

Selected Area of Development Based on the garment production map (figure 15), within the 2-mile radius site area are lands identified as Central Employment and General Industrial zones. With the intention to interlock this thesis to the Central City Plan, potential sites are chosen in these specific lands. After some ocular inspection of the Central Eastside in Portland, five (5) potential sites were visited and investigated. On the figure 33, the five sites are emphasized â&#x20AC;&#x201C; also indicating the relationship of these lots to the neighboring streets and course of vehicles. Further analysis of the five sites allowed for the identification of the area of development. Considering studies like accessibility, size and project goals, Site 4 was selected. The main criteria for site selection were accessibility, sufficient area for the projectâ&#x20AC;&#x2122;s programs, adjacent buildings that can relate to the new facility,

presence of trees and potential for safe pedestrian/ public streets. Compared to the other four sites, Site 4 suggests more strengths and offer extra possibilities for this type of development.

1 3

Potential Sites 5 4

Site_4 IND. SPECIAL PURPOSE/ IMPROVED AS VACANT

Site_1

Site_2

Site_3

VACANT LAND

IMPROVED AS VACANT

VACANT LOT

Zone Type: EXd (Central Employment, Design Overlay) Location: 1004-1036 SE Belmont St. Area: 92,000 sq.ft. Market Value: $2,653,230.00 Assessed Value: $558,670.00

Zone Type: EXd (Central Employment, Design Overlay) Location: 1004 SE Belmont St. Area: 20,000 sq.ft. Market Value: $641,910.00 Assessed Value: $248,310.00

Zone Type: General Industrial 1 Location: 820 SE Taylor St. Area: 20,000 sq.ft. Market Value: $501,090.00 Assessed Value: $249,760.00

Zone Type: General Industrial 1 Location: 1031 SE Madison St. Area: 40,000 sq.ft. Market Value: $178,180.00 Assessed Value: $145,420.00

Site_4 WAREHOUSE FLEX FOR LEASE

Zone Type: General Industrial 1 Location: 1132 SE Salmon St. Area: 8,200 sq.ft. Market Value: $1,150,000.00 Assessed Value: $406,330.00

FIG 34: SELECTED AREA OF DEVELOPMENT

fig 35: artifact: the programmatic body

Program Organization & Design

Parallels Between Architecture & Fashion Design Architecture and fashion are two diverse disciplines that both started in their own modest early phases. They carry great histories and contributed meaningfully to the world of design. The thought of architecture and fashion having parallels might be surprising, as fashion is considered to be ephemeral and superficial using a more delicate and flexible material to construct garments, whereas architecture is deemed to be obstinate and timeless using persistent materials in building. But as both are in the realm of design, similarities can be realized from their clients to their work process. Their crafts are both delivered to the satisfaction and the needs of a human body. Clothing provides necessary protection from the outer elements and can sometimes be a health requirement as it insulates the body for warmth and comfort. It is the same with buildings for they can maintain a bodyâ&#x20AC;&#x2122;s normal temperature with its enclosure systems. Both buildings and clothing, besides food, are the primary keys for humans to be contented to the degree required for the necessary tasks of their bodies as both can have insulating properties. Not only that these two became a part of the human cradle but both have been a medium for social change. The human body is an apparent link of both disciplines. Described in Vitruviusâ&#x20AC;&#x2122; third book on the origins of building, the human body is indeed the ideal proportions for building not just architecture, but temples.

The act of design in fashion and architecture both deal with anthropometry as the distribution of the body dimensions plays an important role in understanding and carrying out a design in a particular creation. The act of making and designing in architecture and fashion both has to deal with proportion, volume, geometry, flow, function, and material selection, those responds to the movement of the human body. Both architects and fashion designers generate initial designs through sketching or drawing. Architects create blueprints on paper just as fashion designers draw patterns, and both construct these specifically and accurately for the tailors or seamstress and engineers who process them in subsequent phases of development. Yes, the overall scope of these two disciplines is fairly incomparable. But one can claim that the train of thought of both designers have striking commonalities. Their two-dimensional drawings are both converted to three-dimensional structure that is determined by their aesthetic inclinations and capabilities. You may see different designs of fashion inspired by buildings and the urban environment. But this thesis is not a design of a building inspired by merely the visual characteristics of fashion. This is architecture inspired by the nature of fashion which is change. This new typology can be something that can react culturally to the urban fabric.

fig 36: â&#x20AC;&#x2DC;LucyandBartâ&#x20AC;&#x2122;: collaboration between Lucy McRae and Bart Hess described as an instinctual stalking of fashion, architecture, performance and the body

Design Process Overview After defining the territory being investigated, a series of research took place to identify a clear problem or mis-opportunity. Information are collected and analyzed in order to find a solution. In developing the solution, building experiments and creating study models can help assess potential outcomes. In this thesis proposal which is “starting Portland’s garment district”, a concept of a building catalyst will be designed. This structure will serve as the promoter of the city’s garment district that can expand over time. For this project, the design process takes ideas from garment production. The basics and essentials of sewing to dress a body will be applied in the development of the building design. The elements that can combine fashion design and building design are tested as an attempt to create a better facility that responds to the program and the users.

The figure on the right shows an organized manner of design that is specific to the territory being investigated. The process of building design will follow the ways on how a garment is being produced to dress a body. In fashion design, proportions are taken from body measurements that then will be used to establish a form. With the knowledge of how the body is structured, dressing the body will be the next procedure. This methodology will be applied and tested on the architectural design. Proportions are measured through research and programs generated for the project. These information forms the body, and ultimately the body is transformed by ways of dressing.

FASHIO

fig 37: the design process diagram

ARCHITECTU

TAKING THE PROPORTIONS

CREATING THE BODY

DRESSING THE BODY

URE

FINDING PROPORTIONS THROUGH: 1 RESEARCH 2 PROGRAMS

3 SITE

DRESSING THE FORM USING DIFFERENT SEWING TECHNIQUES: 1 DARTS 2 DRAPES 3 PLEATS & RUFFLES

Creating the Body

The forms are molded by the project goals and programs (Garment Framework). Also, the chosen project site’s zoning and regulations have been a part of the sizing and orientation of the “body form”. The form is also inspired by the idea of weaving. Programs of the project are weaved together and is set up to show the link between diffferent activities. Figure 38 shows various twill patterns for weaving.

FIG 38: STRUCTURAL VIEWS OF WEAVE TyPES. Pl, regular weft rib; P2, irregular weft rib combined rib; P3, basket weave; Tl, balanced twill; T2, unbalanced twill; T3, weft faced twill; T4, warp faced twill; T5, warp faced twill; T6, twill 2/1; T7, twill 2/2; T8, twill 3/1; S1, sateen

BODY ARRANGEMENT_1 (close to site perimeter)

BODY ARRANGEMENT_2 (two level structure)

BODY ARRANGEMENT_3 (three level + extension to public)

fig 39: programming: body arrangement tests

LOWER SECTION

MIDDLE SECTION

UPPER SECTION

FIG 40: ARTIFACT: THE FORMED BODy THROUGH THE USE OF FABRIC

CIRCULATION/ EGRESS

The Components of the Body

MARKETING

The final body structure is composed of three levels – a set of different activities that describes the program of the project as a whole. The body is molded using the five stages of garment production – research, material sourcing, design, production and marketing. Different types of fabric were used and sewn into volumetric pieces. Each box (25x25x20) corresponds a different activity – activities that takes place during the production of garments. These activities were divided using different fabrics to represent a different purpose/ program. Boxes are then laid and organized into the 200x200 square feet lot. Adjacent structures and streets were taken into account during the arrangement of boxes – taking advantage of the desirable views. A courtyard is provided in the middle of the lot, embraced by four clusters of building that meet as one when stacked up to the third level. Four main entrances are incorporated on the four streets surrounding the site.

SUPPLIES

RESEARCH & DESIGN

After the “body” formation using different fabrics, it was transported and generated in the computer to develop the design. FIG 41: PROGRAMMING: CREATING THE BODy

PRODUCTION

Dressing the Body One of the final steps in the design process is the dressing of the body. In this exploration, three sewing techniques were exploited to understand the relationship between the skin and the bones. The three popular sewing basics and fundamentals in sewing a garment is Darts, Drapes and Pleats. In this stage of the process, three skeletal prototypes of the body were made and was dressed using these three practices. This is an approach that would guide the creative development of the building. fig 42: dressing the body experiment

fig 43: dressing the body: darts

Exploiting the Dart Technique Darts are folds that are sewn into fabric to help provide a three-dimensional shape to a garment (Calderin 2009). They are frequently applied to tailor a garment to its clientâ&#x20AC;&#x2122;s shape. This technique in sewing is used to expose and enhance the curves of a certain body structure. However, sometimes it is applied to hide the other contours of the body or

change its original dimensions. In architecture, darts can be seen in folded wall facades that create triangular surfaces. Similar to fashion design and making of a garment, darts in the realm of architecture accentuates the bones or the body of the structure. Darts basically increase

the volume of a space. This technique can be very practical when it comes to expanding or essentially creating depth and texture to a floppy material or enclosure.

fig 44: dressing the body: drapes

Exploiting the Drape Technique When fashion designers desire to get away from the anÂŹgular, geometrical pattern in designing a certain garment, they direct themselves to the technique of draping. This can help them achieve a design appearance that is more continuous in flow. Draping is a more free process but is more difficult and tricky to construct. The maker should be aware of the

properties and performance of the fabric to be used in order to achieve the desired effect. Many of the ambiguous yet marvelous contemporary ar-chitecture use also the technique of draping. It may have opened a lot of questions to the realm of architecture, but definitely drapery became an

important means of displaying and celebrating the virtuosity of technology. The presence of different dimensions in the form of the building also expresses the personality of the designer and also resonates to what type of program it serves.

fig 45: dressing the body: pleats

Exploiting the Pleat Technique Pleats in clothing are designed for a practical reason, to provide freedom of movement to the wearer. And when it’s constructed, the design creates linear texture and shadows to the flat “zero-fullness” textile making the final product look more interesting. Clothing designers used different types of pleats in their garments. Some of many are accordion

pleating and box pleats. These types of pleating gives the skirt more “fullness” and offers other garments some extra room for movement while preserving the lines of the body. In fact, Issey Miyake, a wellknown fashion designer featured this technique as his main inspiration to his “Pleats Please” collection. This method perceived in sewing is commonly utilized in

architecture that does not only aesthetically achieve a design effect but to also create “fullness” or volume. Materials used for rain screens and textured walls not only make a fascinating façade but works functionally as protection from environmental phenomena. Perhaps, these created textures can give more meaning to the structure.

WEAR

HOUSE Portland Garment District Catalyst WearHouse is a manufacturing facility that is located on the Central Eastside of Portland, Oregon. This building is envisioned to be the catalyst in creating a new district in the city – Portland’s Garment District. This is a larger and more innovative building typology for clothing production. It will serve many existing and emerging fashion designers in Portland – constructing their conceptual designs into wearable pieces. The growth of the Fashion Industry in Portland is slow due to many challenges in production. The WearHouse will be the expansion of the smallscale manufacturing houses in the city – working together with groups and implementers of producing local. fig 46: wearhouse: aerial view

FIG 47: SITE CONTEXT & ADJACENT STREETS

N VE A H

O IS AD M

1 SE

ET RE ST

SE IN

MA H

T 11

EN AV

FIG 48: SPATIAL ORGANIZATION AT DECK

oof Deck

FIG 49 : SPATIAL ORGANIZATION AT FIRST LEVEL

st. Floor Plan ADMINISTRATION

FOOD LOUNGE GALLERY

COURTYARD

BOOK/MAG. SHOP

SUPPLIES

BAR & RESTAURANT

FIG 50: SPATIAL ORGANIZATION AT SECOND LEVEL

nd Floor Plan WORK ROOM

PHOTO STUDIO

FABRIC PRINTING

GALLERY HARDWARE

FABRIC STORE

FIG 51: SPATIAL ORGANIZATION AT THIRD LEVEL

rd Floor Plan WORK ROOM

WORK ROOM WORK ROOM

WORK ROOM

MULTI-PURPOSE TERRACE

GREEN ROOF

fig 52: VIEW FROM SE MAIN STREET & 12TH AVENUE

fig 53: VIEW FROM MAIN ENTRANCE (SE MAIN STREET)

fig 54: INTERIOR VIEW OF THE THIRD LEVEL WORKSHOP

fig 55: PORTLAND MADE COLLECTIVE: NON-PROFIT COMPANY OF PORTLAND-BASED DESIGNERS, RETAILERS AND MANUFACTURERS

A Reflective Thought Portland’s commitment to local products and local manufacturing are significantly expanding. It is already well-known for its quality crafted beers, coffee and outstanding cuisine. If the city expands its core sectors to local clothing and fashion, many opportunities and possibilities can arise. The establishment of WearHouse, a manufacturing facility that can house many fashion designers and clothing makers, can develop employment in the area and expand tourism. The innovative idea of a new production building can raise awareness to the city that Portland are housing many talented and skillful fashion designers – ultimately leveling with the big fashion houses within the United States. This manufacturing catalyst can elevate people’s appreciation of garments and the meaningful course of clothing design and production. The WearHouse can be modified according to its level of urgency. Once the city of Portland learns about the project, its goals and objectives, they may realize the need and potentialities of this type of innovation – especially for a supportive city like Portland. Big local clothing companies like Pendleton, Columbia or Nike that are proudly local, can also be catalysts that support local manufacturing. They can work hand-in-hand with the city to promote Portland’s garment district. The commitment to producing local can be one of the main policies of the city, eventually being the pioneer of this type of movement.

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WEAR

HOUSE Jeanette Moore 541-914-2065 gmoore.net@gmail.com