ARCH 302 Textile Co-op Portfolio

T E X T I L E

C O - O P

Dia:Beacon Artist Residency arch 302 | spring 2020 | Prof. Peter P. GochĂŠ

Mae Murphy & Samarth Vachhrajani

HUDSON RIVER HOUSING

Artist Residency Instructor Peter P. Goché Spring, 2020 Project Brief

This investigation will delve into material culture and integrative design practices in the production of artists residency housing to be conceived in the context of the Hudson River and as an addition to the Dia: Beacon museum. Students will engage in a highly experimental procedure of making 2d and 3d assemblies. Following the site visit, we will select project teams and embark on our integrative design process. Each 2-person team inquiry will include 24-36 work-live residential units along with a series of communal and meditative spaces. This relationship forms the basis for our integrative studies in architecture with emphasis on conceptual agendas for temporary domesticity and design as a full undertaking of issues surrounding the production of space. You will need to incorporate the full spectrum of technical, environmental, and aesthetic design issues into your projects to be successful in accomplishing the goals of the studio, as well as receive potential competition recognition.

Dia:Beacon is the museum for the Dia Art Foundation’s collection of art from the 1960s to the present. The museum, which opened in 2003, is situated on the banks of the Hudson River in Beacon, New York.

Dia:Beacon occupies a former Nabisco box printing facility that was renovated by Dia with artist Robert Irwin and architects Alan Koch, Lyn Rice, Galia Solomonoff, and Linda Taalman, then of OpenOffice. With 160,000 square feet (15,000 m2),[2] it is one of the largest exhibition spaces in the country for modern and contemporary art. The museum

is sited on thirty-one acres near the banks of the Hudson River, and is adjacent to ninety acres of riverfront parkland. It is a five-minute walk from the Metro-North train station in Beacon, 60 miles (80 minutes by train) north of New York City.

Taking inspiration from John Dewey’s “Art as Experience,” (Perigee Books, 1934) we will consider the otherwise invisible presence of an underlying cultural engagement with a work of art/architecture. In this analysis, Dewey encourages experimental intelligence through a study of the individual work of art/spatial construct as embedded in (and inextricable from) the experiences of a local culture. Correspondingly, we will cite Georges Perec’s “Species of Spaces” (Penguin Books, 1997) - a non-fiction work whereby Perec affirms his focus on the “infra-ordinary” – the banal habits, settings and events of which our lives almost entirely consist. This intersection of self and the world may well be the fundamental objective – shifting our focus to include the crafting of a composite entity as well as mastering its various material components of domestication. The premise of this project is to position questions about latent desires within contemporary art, curation and design practices as it relates to developing temporary housing for resident artist. Correspondingly, we will cite Gaston Bachelard’s “The Poetics of Space” (Beacon Press Books, 1994) - a nonfiction work whereby Bachelard affirms his focus on phenomenology in architecture basing his analysis on the lived experience of architecture.

What does it mean to live in a room? When you remove your boots? When you heat water in the tea kettle? When you make the first cup of coffee? When you put the trash bag in the bin? When do you start saying that you live in a room?

The drawing investigates the spaces that objects creates in between them and around them.

Which is USELESS. The idea is not to look at the objects as they are but to focus on the space that they create around each other.

We are defined by the objects we accumulate. These Objects have a cultural value. They become an extension of ourselves and define our domestic spaces.

We tend to think of these objects working in the background and we hardly realize their significance. We keep progressing, developing, building/unbuilding and densifying our urban fabric.

SAMARTH VACHHRAJANI -- individual “useless room� exploration When Do You Start Living In A Room

REDUNDANCY : reconnection unraveled, unrestrained, unlearned Sewing, printing, stamping, and hand drawing techniques were investigated to observe redundancy in a critical lens of domesticity and textile labor within the city of Beacon, NY. The series of drawings expose redundancy through the juxtaposition of tool and product in the form of fabric printing.

Needlework was then applied thereafter creating a bound work highlighting the imperfections and anomalies created. Felt was ripped and then sew back together to explore the act of tearing and re-binding in the form of redundancy connecting back to the ever-so-popular Beacon Hat Factories present within the city in the industrial revolution.

MAE MURPHY -- individual “useless room� exploration REDUNDANCY : a reconnection

Collaborative Drawing -- Objectivity & Redundancy

TEXTILE CO-OP

Dia:Beacon Artist Residency Project Narrative

Textiles are objects which carry stories and memories in them. They signify the conditions that once existed. Even in times such as now, where we find ourselves trapped in our houses, textiles are meant to ground oneself to remember the stories attached on the fabric with each stitch and stain.

The building is located in Beacon, NY, a place where multiple hat factories existed.

The city was once known as the “hat factory making the capital of New York State.� These hats were made out of felt and were quite popular during the time of the industrial period. It has a contribution in making New York the fashion industry hub. These factories that once existed practiced unfair labor and wage gaps. Within the textile industry, the human body operating the loom or the sewing machine was considered an extension of that machine. Textiles as the containers of oral histories, are produced in some of the most precarious and exploited labor conditions.

Our project seeks to recognize this past of Beacon through art residency within Dia:Beacon. Dia, the existing art museum and renovated factory features several large site specific sculptures including work from Richard Serra, Sam Gilliam, Andy Warhol and Dan Flavin. The proposed residency located to the west of the museum is where artists who work with textiles have the opportunity to participate in discussions of oral histories. The artists create tapestries and other such pieces which not only respect the oral histories connected to the pieces but also act as a speculative form of generating new and just forms of textile labor production.

Our drawings within this project are used as textile objects. These drawings are meant to be speculative pieces which use the fabric as a conceptual medium by staining the fabric and embedding our project within it. It is almost fabric as a container of our concept.

The building provides spaces for sharing skills and stories through working collectively with other artists and the public coming to Dia Beacon. In the discourse space tapestries are hanging from the atrium where people can work on and access from multiple levels to connect the building vertically.

As architecture students we are both passionate about this work. We have our own personal stories that are embedded within textiles. Mae inherited fabrics and pieces from her great grandmother whom she never met in person. These pieces she holds dear to her heart because they are visual documentation of the labor and physical work that went into sewing. Samarth has always felt grounded through the fabric which has a culture significance and reminds him of home. It keeps him connected to his family.

The collaborative tapestry is a final piece which we will keep as a textile object that testifies for the memory and labor that has been contributed to the project. The project intends to encourage and respect the importance of stories within design disciplines.

Dia:Beacon on the Hudson River Beacon, NY Map of Textile Factories

The Roundhouse Lofts

Richard Serra’s Torqued Ellipse

Tioronda Hat Works Factory

Tioronda Hat Factory

Site analysis collages

Hudson River

acon

Dia:Be

Site Plan -- acetone transfer with sewn paper

Preliminary light study model

Preliminary site analysis in relation to Dia:Beacon

Oral Histories

SEWING MACHINES LOOMS

STORAGE

Fourth Level

ry

nt

tE

en

Third Level

Second Level

First Level

sid

Re

Ground Level

Materializing Oral Histories

Vi ew to e

th t ou sid e.

Dia Beacon Old Nabisco Factory

Khaki Cloth, part of Indian Freedom Struggle

Recognizing the Past Tironda Hat Factory, Beacon

Personal Value

Wall tapestry made by grandma

Residential Units

Sewing Supplies.

Yarn Thread Measuring Tape Needle Bobbin Spool

Ground Floor | acetone and sewn paper drawing

Ground Floor | technical drawing

First Floor | acetone and sewn paper drawing

First Floor | technical drawing

Second Floor | acetone and sewn paper drawing

Second Floor | technical drawing

Third Floor | acetone and sewn paper drawing

Third Floor | technical drawing

Fourth Floor | acetone and sewn paper drawing

Fourth Floor | technical drawing

Type A (ADA) Unit

Type B Unit

Window facing atrium

Window facing atrium

Type B Unit with Patio

Window facing atrium

West Section Textile Print

North Section Textile Print

West Section

The first level provides a space for discourses which resonate throughout the studio spaces. The work produced in the studios on each level is based on the discussions and intellectual exchange that happens on the first floor. There are windows in the residential units, which look down into the atrium and studio. It connects the residence spaces to the studio work and provides an atmosphere where artistic exchanges are more fluid and have the potential to be witnessed. The artists are continuously present in the work, either by listening to the sounds or seeing people work in the studio. This can facilitate exchange of ideas more fluidly.

The building provides spaces for sharing skills and stories through working collectively with other artists and the public coming to Dia Beacon. The perspectives showing how studio spaces function, the central stairwell, and people working in the studio. In the discourse space tapestries are hanging from the atrium where people can work on and access from multiple levels to connect the building vertically.

North Section

West Elevation Textile Print

West and North Elevations

Sunlight diagram portraying sun penetration through east and west windows with shading devices. Operable windows allow for natural ventilation.

Sunlight diagram portraying sun penetration through north/south corridors and roof light monitors.

Lighting and Ceiling Plans

Evacuation Code Plans

2 hr. Fire Rating.

1 hr Fire Rating

Evacuation Points

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

UP

Structure Plans

Dropped Ceiling for MEP

Fixed Lighting

Track Lighting

Occupancy Schedule Level

Name

Room Occupancy

Level

Name

Ground level

Storage Ground Level

Ground Level

North Ground Level Stairs

Ground Level

GroundElevator Level South Stairs North

Ground Level

GroundStairs Level South

Ground Level

GroundElevator Level Central Stairs South

Ground Level

Central Stairs

Ground level

Room Occupancy Storage North Stairs

Area

Storage

Storage

Area

Sq. Ft. Per

Sq. Ft. Perperson Perperson 677.15 sq ft. 300sons gross

677.15 sq ft. 300 gross

3

Code Summary: 2015 International Building Code (IBC) PerCode Summary: 2015 International Building Code (IBC) sons Use and Classification (Chapter 3) : Storgae, Education (group E), Residential 3 R3) Use and(group Classification (Chapter 3) : Storgae, Education (group E), Residential

(group R3)

Type of construction (Section 602,601): type III – A

Type of Automatic construction (Section 602,601): –A sprinkler system (sectiontype 903) III Fire

North Elevator

sprinklers to be provided.

Automatic sprinkler system (section 903) Fire sprinklers to beLevel: provided.

Ground 8428 sq. ft.

South Elevator

Level 1: 8909 sq. ft.

Ground Level

Residential Units

Residential (group R2)

600 sq ft

200 gross

Level 1

Studio

Educational (grouo E)

2640 sq. ft.

20 net

Level 1

200 gross

8909 sq. ft.

Ground Level Level:2:8428 ft.

8909 89093:sq. ft. sq. ft.

3Level 1: Level Level 4: 8909 sq. ft.

Level 2: 8909 sq. ft.

132 Level 3: 8909 sq. ft.

Occupant Load (table 1004.1.2) see occupant 4Level 4: 8909 sq. ft.

Ground Level

Residential Units

Level 1

Studio

Residential Units wirh Residential (group R2) 750 sq ft Educational (grouo E) 2640 sq. ft. 20 net Patio

Level 1

Level 1

Residential units (ADA)

Residential Units wirh Patio Level 2 Studio

Residential (group R2)

600 sq ft

200 gross

3

132

618 sq. ft.

200 gross

4

Educational (group E)

1667 sq. ft.

20 net

84

Residential (group R2)

750 sq ft

200 gross

4

Level 1

Residential unitsResidential (ADA) Residential R2) (group 618 sq.

Level 2 Units wirh (group Residential R2)ft. 750200 sq. gross ft.

2004gross

Level 2

Studio

Level 2

Residential Units wirh Level 3 Studio Patio

Level 2

Level 3 Units wirh (group Residential R2)ft. 750200 sq ft.

Residential unitsResidential Residential R2) (group 600 sq. gross 2003gross

Level 3

Studio Level 3

Level 3

Residential UnitsStudio wirh Level 4 Patio

Level 2

Patio

Educational (group E)

1667 sq. ft.

20 net

Residential (group R2)

750 sq. ft.

200 gross

Residential units

schedule.

Occupant Load (table 1004.1.2) see facilities occupant Basement Minimum plumbing schedule. (section 2902, Table 2902.1)

Residential (group R2)

84

Residential (group R2)

600 sq. ft.

200 gross

Educational (group E)

1561 sq. ft.

20 net

Patio (group E) (group 1561 R2) sq. ft.60020 net Residential Educational Untis Residential

4

20079 gross

Residential (group R2) (group 750 sqE)ft. 2034 200 4 Educational sq.gross ft. 20 net

Level 1 residential units + Level1 studio

1 per 125 [(3 +plumbing 132)/2]/125 Basement Minimum facilities 1 Water Closets for Male (section =2902, Table 2902.1) Level 1 residential units + Level1 studio 3 Level1 units + Level 1 Studio 1 per 125 [(3 +residential 132)/2]/125 1 per 65 [(3 + 132)/2]/65 = 1 Water Closets for Male 79 4

=2 Water Closets for Female.

4Level1 residential units + Level 1 Studio Level 1 Residential Units + Level 1 Studio 1 per 651[(3 132)/2]/65 per+200 [(3+132)/2]/200 3=2 Water Closets for Female. = 1 Lavatory for each gender.

102

Level 1 Residential Units + Level 1 Studio

Level 3

Level $

Residential Units wirh Residential (group R2) Residential UntisPatio Residential (group R2) 600

750 sq. ft.

200 gross

41 per 200 [(3+132)/2]/200

Level 4

Studio

Residential Educational Units Residential sq.net ft (group E) (group 2034 R2) sq. ft.60020

200102 gross

3

Level $

Residential Units wirh Patio

Residential (group R2)

750 sq. ft.

200 gross

4

Residential Units

Residential (group R2)

600 sq. ft

200 gross

3

200 gross

3

= 1 Lavatory for each gender.

Two Hour Fire Rating Floors and Walls

Exterior Perspective Textile Print

Exterior Perspective Textile Print

Interior Perspective Textile Print

Interior Perspective Textile Print

Interior Perspective Textile Print

Interior Perspective Textile Print

The collaborative tapestry is a final piece which we will keep as a textile object that testifies for the memory and labor that has been contributed to the project.

Even in times such as now, where we find ourselves trapped in our houses, textiles are meant to ground oneself to remember the stories attached on the fabric with each stitch and stain.