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Disintegration collage, graphite on mylar 12 x 18 in 2012


COLLABORATION


FASHION AND ARCHITECTURE The parallels between Fashion and

the Fashion Designer are concerned

Architects share a common language

Architecture present an opportunity

primarily by the human body and ideas

and techniques of construction. The

for a unique collaborative experience

of volume, movement, and form. Both

intersection of structural concepts

as

the

function as shelter; an interface between

have provided inspiration for both

disciplines have become increasingly

body, environment, and experience.

disciplines, and as architectural forms

blurred.

Furthermore, Fashion Designers and

become increasingly expressive in

the

boundary

between

Both the Architect and


todays zeitgeist, fashion is a tool for the architect that is more useful than ever. It is these points of intersection that the building presented in this project not only strives to express, but works to transform, recontextualize and re-frame to further explore this relationship.


designer Erin Goodman, right: design flats, electroformed copper helmet, research collage


2012 COLLECTION Erin’s senior collection finds a unique beauty in the grotesque. the disease Cancer,

Inspired by

the collection

shows a relationship of disease and body through color and embellishment. The distinctive sheer fabric strips that optically mix when layered are patterned to create small tumor and cist-like shapes. Their placement is derived from the way cancer spreads and ultimately accumulates.

The helmets worn with

each garment are made of electroformed copper and bring to mind the sideeffects of chemotherapy treatment.

As

a whole, the collection tells a narrative of how one may choose to “wear” their cancer and how it consumes the body.


“This work explores beauty and the perception of beauty. Through it, I intend to rouse the paradoxical view that beauty can represent a phenomenon, Cancer, which is invariably perceived as a vile killer. Yes, Cancer takes many people from this Earth, but the paradox is that it is a killer that rises up from our own bodies and sometimes kills but it sometimes spares. Cancer is a natural process of life that many humans experience. Is there something to be said about the beauty of something so natural? Cancer begins from the over replication of our very own cells. The cells metastasize and spread throughout the body. The clump of cells turns into a small cist, it then evolves into a tumor until the cancer slowly consumes the body. It is odd to think of cancer as a part of us just as our skin, or our limbs are a part of our body. Cancer is not a foreign assassin; it is part of each person that has developed it inside of their body.�

-Erin Goodman


interface

“just as fashion is an with the human body, architecture is an interface with the human experience�

collection lineup by Erin Goodman


2012 collection by Erin Goodman


FURNITURE DESIGN


precedence


initial sketches, process models


The

design

for

“cancerous”

structure that begins to deteriorate

sofa is the point of departure of

from within. In building the object at

connecting

full scale, problems of construction and

Erin’s

the

fashion

designs

to an architectural language.

construction process, schematic diagram

It

method were confronted and solved.

explores concepts of cells, mutation

Ultimately, the sofa had to successfully

and division, as well as a rational grid

interface

with

the

human

form.


RESEARCH


A massive truss system that contains smaller

volumes

that

protrude

describes a regulating order imposed upon

Xochimilco (CIEAX) (Water Research and Educational Center) Mexico City, Mexico. 2007 Ten Architectos

that of a lesser hierarchy.


Gerhy’s

bank

also

achieves

a

similar disharmony between inner and outer volumes, but utilizes an

expressive

organic

form. DZ Bank Berlin, Germany Frank Gerhy


Vakko Fashion Center Istanbul, Turkey. 2010 REX Architects


The Vakko Fashion center is an example of program and structural innovation for a leading fashion house in Turkey.

The

rational language of the building is turned into a dynamic experience by the seemingly haphazard insertion of volumes into a central core. The box trusses in the center are structurally independent from the repurposed concrete outer shell.


Prada Bevery Hills, California OMA


In this innovative luxury retail store, the traditional storefront of entrance and windows on the ground floor is subverted. By lifting up the building, the public is invited into the open space below and drawn into the store.


The

structure

concrete

of

angled

cast

columns

braced

with

belt trusses is an example of structural innovation. By combining typologies,

these

supercolumns

enable a free interior that allows for

shifting

program

segments

and a new degree of adaptability.

Wyly Theatre Dallas, Texas. 2009 REX


The glass entry facade is

an example of form-active cable structure. This non-rigid suspension system can support itself and span space.

The cables form a system

that transfer loads through pure tensile stresses.

The glass roof is

stilted upon the suspension cables. The 27 steel cables each hold up to 500,000 pounds of force.

Kauffman Center for the Performing Arts Kansas City, MO Moshe Safdie


Nykredit Headquarters Copenhagen, Denmark Schmidt Hammer Lassen Architects


The structural method of suspension creates a visual and pshycological tension. The volumes are projected into open space thus activating the interior atrium.


SITE ANALYSIS


New York State

Manhattan

corner of Spring and Greene

location

SoHo district


view north on Green Street

view east on Spring Street

view south on Green Street

view west on Spring Street


HISTORY OF SOHO

In the 1600s SoHo and all of

small businesses and firms, import/export

Manhattan was covered with grassy

houses, and inexpensive clothing outlets.

cast-iron architecture, and

hills, streams, meadows, forests , and

It was not until the 1950s as population

greatest collection of cast iron structures in

marshes.

After 1775, when Broadway

centers shifted uptown and industry and

the world. Mostly constructed during the

St. was extended north of Canal St., the

commerce followed that the population

1840’s-80’s, this architectural innovation

area called “The Valley” began to see

was replaced by a new breed of bohemian

was though to be better than steel. It’s

settlement. The early 1800’s was a period

settlers. During this period of decline,

strength allowed for larger windows

of rapid residential expansion, initially by

SoHo was deemed an industrial wasteland

and more natural light, however, its

the wealthy. In time, the development

dubbed

Acres.”

susceptibility to melting led to failures with

attracted new businesses and many

During the artistic heydays of SoHo

fire and creation of new building codes.

hotels, theatres, elegant shops, mansions,

in the 1960’s and 70’s, the district became

casinos, and brothels sprung up. It was

a center of creativity.

Many of the old

trendy shopping, progressive art, and

an elegant period in SoHo’s history.

warehouses were converted into studios

fashion. Its name and is shorthand for “South

and lofts for living spaces.

Creative,

of Houston.” Its people are famous, rich,

life began to pick up with the industrial

inspired, artistic people with an imaginative

and trendy. Because of this, SoHo remains

revolution.

Textiles were a major

zest for living and need for low rents

a creative heart and soul of New York City.

commodity of SoHo, along with other

gave SoHo a decidedly bohemian spirit.

After the Civil War, the pace of

“Hell’s

Hundred

SoHo is noted particularly for its boasts the

Today, SoHo is synonymous with


SoHo site analysis


commercial/multi-family industrial/manufacturing multi-family mercantile

building site analysis

Located at the corner of Spring and Greene approved for mercantile, assembly, or

The building must be fully accessible

Streets, the parcel falls within the M1-5A residential use. Parking and loading are not

and have 2 means of egress. Minimum

zoning district. This designates the area

required by code, but provision of 1 bicycle

corridor/ stair width is 36� Height and

as a Low Density Manufacturing Zone,

space per 10,000 square feet is required.

area are limited by construction type.


1. French Connection 2. Lacoste 3. Stuart Moore Ltd 4. Patagonia 5. Varda Shoes 6. Sunglass Hut 7. OKSA New York 8. John Dellaria Salon 9. The North Face 10. Marnette New York 11. Barneys New York 12. Chanel Boutique 13. Manhattan Bistro 14. A Bathing Ape 15. Armani Casa 16. Louis Vuitton 17. Fabelli’s Cafe 18. Agent Provocateur 19. Design Within Reach 20. Yvone Christa NY 21. American Apparel 22. Anthropologie 23. Vosges Chocolate 24. Longchamp Soho 25. Mimi Fertz Inc 26. Mak Art 27. Go Art Gallery 28. Cafe Cafe 29. John Varvatos 30. Seize Sur Vingt 31. Bar 89 32. Jack Spade 33. Kate Spade

surrounding luxury stores


1 per 10,000 square feet 2,000 sq. ft.

Exception

Building height is restricted to 85’

1 if a “public plaza” is provided

with a Footprint Area Ratio (FAR) of

5.0;

determining

a

maximum

square footage of 25,000 square feet. An exception is granted provided the

bus route

1

building dedicates 2,000 square feet of the site to public use, increasing the total allowable square footage to a maximum of 30,000 square feet. Additionally, the building may not penetrate the sky exposure plane without approval of

per 25’ of street front facade

0 not required by code

0

the Landmark Preservation Committee (LPC). A tower is allowed if covering less than 51% of a site 20,000 sq feet or under, and must be set back 15’ on a narrow street (>75’ wide) and 10’ on a wide street (>75’ wide).

provisions by code

subway route


green street, building rhythm and heights


spring street, building rhythm and heights


DEMOGRAPHICS OF SOHO 60 and over

Pacific Islander

45-59

Hispanic

35-44

Asian Series1

25-34

African American

19 and under

White 0

2000

4000

6000

8000

Series1

5000

10000

15000

20000

0

Specialized

Management

HS No diploma 0

5000

10000

15000

20000

10000

$75k-$99999 Series1

$50k-$74999

Series1

$40k-$49999 $30k - $39999

Some College High School Grad

8000

$100k-$149999

Associates Degree

Business

6000

<$200k

Bachelor's Degree Series1

4000

$150k-$199999

Masters Degree

Arts& Entertainment

2000

household type

Professional Degree

Health Care

Series1

Family

Doctorate

Service

Female Married

0

race

Sales

occupation

Non-family

Na誰ve America

20-24

age

Single

$20k-$29999 $10k-$19999 >$10k 0

2000

4000

education (25 and older)

6000

8000

income

0

500

1000

1500

2000

2500


CLIMATE


IDEA


DIS-integrate:

(dis-: indicating reversal, removal, or release; integrate: to

combine, unite, incorporate into a whole)

to reduce to fragments,

separate into parts, to lose intactness or solidness,

to decay.


Arising at a period of shift from

The question became how to present

This meant that to re-engage the

experiential

to

the grotesque notion of disease in

luxury

the technological world of online

an objective and beautiful manner.

store must be subverted; and the

shopping, this project is an effort to

Architect

experience

revive the authenticity, storytelling,

suggests in his essay En Terror

uncertain, the unphysical, and the

and innovation needed to create

Firma;

unnatural, all within a framework

retail

shopping

In

Peter Trails

Eisenmann of

Grotextes:

a true emotional connection to

that

shopper

is

must

familiar

the

traditional

embrace

and

the

certain.

a luxury fashion store located in

“Architecture must displace the

the SoHo district of New York City.

former ways of conceptualizing

The

itself,” and “requires a more complex

architecture that disintegrates the

Created for Fashion Designer Erin

form of the beautiful, one which

program and structure of the building

Goodman, the store is designed with

contains he ugly, or a rationality

much like cancer does to the human

the concept of disease and cancer

that

body. The language of the building

present in her Spring 2012 collection.

contains

the

irrational.”

solution

is

an

aggressive

relates to deconstructivist ideas of


“trace,” “twoness,” “betweeness,” and

“interiority/anteriority”

to

a grid structure that envelopes and creates an internal void.

In

create a sublime experience for

the instance of their intersection,

the user. The retail store is in the

the structure of the outer body is

literal and metaphysical center of

compromised and replaced by that

the building, and the user ascends

of the disease. In this way, the two

past the studio workspace to bear

systems are successfully integrated

witness to the act of making as

and reliant on one another for

they proceed up through the public

structural wholeness. The disease

atrium.

infiltrates from within and demands

These are part of the

active program that demanded to be separated volumes suspended haphazardly in the internal atrium. The subservient programs lay in

control,

ultimately

killing

itself


conceptual model no. 1: cherry, plexiglass, shrinkwrap

conceptual model no. 2: cherry, plexiglass, string


DEVELOPMENT


process models


section “x-ray”


massing model, right: plans and section cuts from Rhino


midterm development


SOLUTION


Room of Disease Collage Rendering 18 x 24 in 2012


A B

B

A


site model photo, left: site plan


section A


section B


1

2

4

plans


3

5

6


Interior Perspective drawing 11 x 17 in 2012


circulation

exploded axonometric of structure

intersection of structure


Erin Goodman Fashion House watercolor 11 x 17 in 2012


superimposed data

program


3D Max renderings, Spring street elevation


Greene street elevation


Skin and Bones Model cherry, poplar, walnut, purple heart, cedar, plexiglass 12 x 6 in 2012


studio workspace, final board



Erin Goodman Fashion House, NYC