SHELL: Fashion & Architecture Be

SHELL :Fashion and Architecture beyond Enclosure

SHELL

Fashion

Architecture Beyond Enclosure

P r a b h at t r i pat h I M

O

D

E

W1755197

SHELL :Fashion and Architecture beyond Enclosure

SHELL :Fashion and Architecture beyond Enclosure Thesis Submission from the batch of Sept 2020, MA Architecture Author: Prabhat Tripathi W1755197 University of Westminster School Of Architecture + Cities MA Architecture 2019 - 20

Pathway Leader: Dr. Krystallia Kamvasinou Dr. Maja Jovic History and Theory Cover Art: Digital Art by Prabhat Tripathi (Matteo Cirenei photography & Masha Novoselova for Pulp Magazine 2012) Copyright Š 2020 by Prabhat Tripathi .

All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law.

SHELL :Fashion and Architecture beyond Enclosure

SHELL Fashion

Architecture Beyond Enclosure

by

Prabhat Tripathi A Thesis submitted in fulfilment of the requirements for the Degree of MA Architecture (History and Theory)

University of Westminster School Of Architecture + Cities MA Architecture 2019 - 20

SHELL :Fashion and Architecture beyond Enclosure

“Fashion is architecture it is a matter of proportions” - Coco Chanel

Inset © Coco Chanel Portrait Pearls By Boris Lipnitzki 1936

SHELL :Fashion and Architecture beyond Enclosure

Contents ACKNOWLEDGEMENT .....2 ABSTRACT .....4 CHAPTER 1 EXORDIUM: The Genesis .....8 Parallels ....12

CHAPTER 2 Precedents ....16 Grammar ...22

CHAPTER 3 Ideology ...24 Approach ...28

CHAPTER 4 Catalyst ...30 The Silhouette ...34

CHAPTER 5 Integration ...36 Proposal ...41 Rationale ...46

Conclusion ...50 References ...51

Image Copyright © Prabhat Tripathy MODE

SHELL :Fashion and Architecture beyond Enclosure

This document is dedicated to my departed Grandpa

Mr. Thakurprasad Jeevanlal Sharma

The one who always believed in my craft and pushed me forward to achieve greater things in life.

Nana! I miss you...

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SHELL :Fashion and Architecture beyond Enclosure

ACKNOWLEDGEMENT

J

ourney of an international student, from being completely unknown to the city, the culture and the environment surrounded by, it is made possible with the help of some really important people who take the responsibility of guiding that new sapling, and turning him into a blooming tree.

I would like to thank my family, who supported me virtually from India, and took care of my conscious by their encouraging words.

My acknowledgements would most definitely include me thanking my Module l e a d e r a n d my m e n t o r D r. K ry s t a l l i a Kamvasinou, who has always helped me with better understanding of newfound concepts, and graciously corrected me in my silliest of mistakes.

Secondly I would raise my thanks to Dr. Maya Jovic. Her friendly nature and welcoming persona helped me in consulting her with almost any of my issues, be it academic or personal.

My appreciation also goes to Dr. Yara Sharif and Dr. Nasser Glozari for there support and precious advices. Thank you to all the other respected faculties, Dr. Philip and other visiting faculties who helped me with their immaculate guidance and positive co-ordination.

I would also thank my amazing group of friends and colleagues who made my one of a kind experience more happier and energetic.

The experience of making this thesis will always be in my conscious and I would thank my university, Univerity of Westminster for creating that amazing environment for me to thrive and shine. .

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“I spent a long time learning how to construct clothes, which is important to do before you can deconstruct them.”

— Alexander McQueen

Inset © Alexander McQueen with skull, London, UK 2009 British Vogue by Tim Walker

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SHELL :Fashion and Architecture beyond Enclosure

ABSTRACT

S

hell, or an outer covering of a

The result was various kinds of

specific enclosed body, represents the outer layer

ornamentation, decoration and self-expression

or the skin of the enclosed volume, which has

appearing on the surfaces of these enclosures. As

many interpretations. This shell can be a part of

years, decades and centuries passed, the

a larger narrative, which the subject matter has

customisation of the appearance of the habitats

to deliver, or can the point of focus, which

got more and more expressive and eventually

enhances the exhibit experience of the enclosed

represented the identity of their owners. Artists

body. Nonetheless, architecture and fashion, both

and masons joined hands in creating settlements

have had their versions of shells.

and habitats which would represent their clan in

In earlier times, when the only motto of life was survival, the early man created a

the most distinct way which would make them stand out and declare them as unique.

structure which will serve as a roof, so that it can

Parallel to this, covering of the human

make a refuge from outward weatherly

body, which was a mere need for protection from

conditions. With changing conditions around,

the external conditions eventually became a

the need for a higher degree of enclosure, the

m e a n s o f s e l f - exp re s s i o n . I t wa s t h e

walls, also came into existence. It resulted in the

representation of the clan one belonged to, and

generation of the first known human-made

thus their position in their clan also played an

enclosure, which would then serve as the refuge

essential role in the crafting of outfits they wore.

for protection. But as time passed by, and

From layers of loin cloth, to heavy ornamented

settlements started taking shape, people became

silk fabrics, the evolution of this immediate outer

more and more specific about their opinions and

shell of the human body was also very similar to

identities, which led to the personification of

that of the roof structure, or the collective shell.

their enclosures.

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SHELL :Fashion and Architecture beyond Enclosure

Image Copyright © “EVOLUTION” Digital Art by Prabhat Tripathi

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SHELL :Fashion and Architecture beyond Enclosure

As we see today, situations have drastically changed as they should have, because the ways of expression have become much more visible and unique. Famous Architects like Frank Ghery, Dame and Zaha Hadid have shown their efforts to display their identity on the structures they undertook to design. They have proven that architecture is BEYOND the functional enclosure and carries a lot of philosophical meaning and can be also used as a catalyst for powerful statements. This quest resulted in the creation of many masterpieces which represent their artistic expression and architectural excellence.

Similarly, fashion designers have also shown the personification of their collections to their ideologies which has resulted in the formation of an image reputation in every fashion firm existing today. Fashion designers like Alexander McQueen, Thierry Mugler, John Galliano, Sean Paul Gaultier and Comme de Garcon have proven that fashion is not just a fancy piece of outfit. But it is something BEYOND that, something which carries a strong meaning in its form, selection of fabric and it’s appearance.

“Skepticism is a legitimate starting point. Clothing and shelter have different purposes, different materials and different methods of assembly. Why should they be compared? Well, for starters, because designers are always searching for fresh ideas, and architects and fashion designers apparently check each other out on a regular basis.”

- Morris Newman, September 14, 2006

The scope of self-expression, the idea of fashion and architecture proving themselves to be more than just a covering and quest for finding new forms of order in the field of design is the driving force of the following Dissertation project.

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SHELL :Fashion and Architecture beyond Enclosure

Chapter 1 EXORDIUM

PARALLELS

Image Copyright © Prabhat Tripathy MODE

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SHELL :Fashion and Architecture beyond Enclosure

EXORDIUM The Genesis

A

famous fashion giant, ‘Iris Van

Through these similarities, a disparity is

Herpen’, presents their collection of outfits

revealed. Beyond a difference in scale, fashion

where models wear 3D printed outfits, which

endures in an ephemeral landscape grasping for

look immaculately crafted, covering the body of

the next innovation, rejecting past notions,

the model by an array of perfectly distanced

altering perspective every few months.

s t r i n g l i ke m at e r i a l . T h e o u t fi t s a re

Architecture produces at a slower rate

complimented and appreciated for their

establishing permanence and solidity in a

structure and parametric design. At the same

volume that is free from defined intervals of

time, the port terminal of Yokohama, Japan,

creative development and exhibition. It reacts to

displays the roof cover design of the port which

seasons defined by the climate rather than the

strikingly resembles the geometry of pleated

fashionable elite.

fabric. The structure then is complimented for its ability of displaying fluidity in design.

Designing architecture for fashion today, or fashion for architecture, will reach beyond the

These examples are a small part of the

surface con-elations of the disciplines and speak

many more events, which keep on happening in

to the experiential quality of a space

the modern art fraternity, and we can notice the

transitioning through the transient perceptions

parallels in the disciplines, both fashion and

of time. The architecture will become more than

architecture. The architectural theory has

a place for a community to occupy, and it will

i l l u m i n at e d t h e i n h e re n t ly c o n n e c t e d

retain an intangible quality, a mind set reflective

relationship between fashion and architecture.

of the organization it symbolizes. Experiential

Both disciplines shelter the body, react to spatial

architecture promoting perspective beyond

volume, rely on a process, and take a work of

surface similarity will establish a dynamic

creativity from its two-dimensional concept into

environment intermediating between fashion

a three-dimensional reality. They affect and are

and architecture.

affected by current economies, politics, and cultural situations while concurrently operating outside of them at the same time.

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SHELL :Fashion and Architecture beyond Enclosure

ARTWORK

© Masha Novoselova for Pulp Magazine, 2012

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SHELL :Fashion and Architecture beyond Enclosure

Copyright Š Digital Art by Prabhat Tripathi

Through centuries, technology changes

While they share a lot, they are

and with it, our lifestyle changes as well. The two

additionally inherently unique. Both mention the

disciplines have a severe connection between

human scale, yet the extents, sizes and shapes

them, which makes us think differently as

contrast tremendously. And keeping in mind that

designers.

style is, by its very nature, transient or 'existing apart from everything else', architecture generally has a more dependable, stupendous

“Fashion is not exclusively for fashion designers only, and architecture is not only for architects.

Architecture and fashion use the style to represent time character, attitude and feelings.�

-The Link Between Architecture And Fashion Cultural Studies, November 2013.

and lasting presence. Since Fashion and architecture are an impression of the personality and culture of populaces, the degree of advancement level would, without a doubt influence the plan ideas and potential outcomes.

This relationship has lead to nearer

Architecture and fashion express thoughts of individual, social and collective personality, mirroring the worries of the client and the desire of the age. Their relationship is a cooperative one, and from the beginning of time, dresses and structures have repeated each other in design and appearance. This appears to be just normal

associations between the two orders. For exa m p l e , t h e t wo fi e l d s h ave s h a re d characteristics in their plan cycle which makes them share similar limits: Both draftsmen and style creators intend to make significant, agreeable and beautiful structures for the human body.

as they do not only offer the vital capacity of giving haven and assurance to the body, yet they additionally add value because these two disciplines make space and volume out of level, two-dimensional materials.

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“Fashion, art, and architecture are all so tightly connected; I think the way to approach referencing these art works is by capturing the essence.”

— Roksanda Ilincic

Inset © David Levene for the Guardian

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SHELL :Fashion and Architecture beyond Enclosure

Chapter 1

PA R A L L E L S

Now that the bridge is defined, and the

The idea of forming new ways of design

relationship is clear, the question arises, is how

hinted towards reading the everyday vocabulary

this will become beneficial in terms of a

of fashion and architecture, which led to the

significant change. Because the overview of art

finding of Brooke Hodge, who has been a voice

in both the fields, architecture and fashion both

for this amalgamation since a decade. Her book

have similar properties and similar features. But

"Skin + Bones: Parallel Practices in Fashion and

the reason for creating a yet another venture

Architecture" deals with the fields of fashion and

where both the fraternities will interact to create

architecture and how do they share a vocabulary

an outcome is to generate a new set of principles,

which is intriguing yet understandable.

a new order of design for architecture fraternity.

In particular, the connection between

Architects and the architectural fraternity

architecture and fashion has never been more

have always promoted the quest of finding new

grounded. Those two orders have a genuine

ways of architectural design to bring

relationship between them, which makes us

revolutionary changes in the methods of

think contrastingly as architects. Fashion isn't

designing. Pioneer architects like Frank Lloyd

solely for fashion creators, and architecture isn't

Wright, Le Corbusier popularised the idea of

just for architects.

Trabeated style of architecture in the modernist era, which was inspired by historical examples like Stone Henge and Parthenon in Greece. After which several other architects came up with their style of architecture, by customising the tools of design presented by their predecessors and thus creating new revolutionary ways of

“Although Santa Monica-based Gehry may not be a “dedicated follower of fashion,” to quote the Kinks, he has undoubtedly boosted the cross-pollination between construction and tailoring with the biomorphic curves of buildings like the Disney Concert Hall, referencing to the human body and other natural forms.”

- Morris Newman, September 14, 2006

creation.

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SHELL :Fashion and Architecture beyond Enclosure

The idea of a parallel relationship also hints towards the syncing timelines of both fashion and architecture. As every decade passes by, new art movements seem to appear and affect artistic fraternities. The impact of the notable trend is seen clearly in both disciplines.

The difference lies in the number of outcomes they generate with the trending art movement.

Fa s h i o n i s s p o n t a n e o u s , w h e r e architecture is permanence. Fashion, in its way, creates multiple options for a single thought, idea or ideology where architecture, with its serious nature, ends up making a limited number of practical outcomes. Architecture indeed has a much larger task to complete, a broader spectrum of responsibilities to fulfil. And therefore many times it is seen that architecture lasts for decades, serving multiple generations of people, thus serving its quality of being timeless.

But with the rise of new-age architects, who now focus more on self-expression, or message delivery through their designs, the idea of artistic liberty seems to be taking a surge in the rather formal discipline. Quest for a spectacular visual display, also somehow harms the idea of mere expectation of architecture and fashion craving for media attention in 2d platforms like books and magazines. Morris Newman rightly made this observation in his article mentioned earlier, and thus the idea of a broader philosophy, delivery of a deeper meaning in the design gets lost.

Parallel conditions of architecture and fashion often seem to be affecting in both ways, negative and positive.

The need for timeless outcomes appears to be a need for both disciplines. But backhand casualties like superficial spectacular display attempts, affect both fashion and architecture.

Either way, it’s safe to say that architecture and fashion both share similar advantages and similar disadvantages.

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Image Copyright © “PARALLELS” Digital Art by Prabhat Tripathi

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SHELL :Fashion and Architecture beyond Enclosure

Chapter 2 PRECEDENTS

GRAMMAR

Image Copyright © 2019 Kevin Tachman/MG19

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SHELL :Fashion and Architecture beyond Enclosure

Chapter 2

PRE CEDENT S

JULIAN HAKES Some architects are interested in exploring fabric-like materials, sometimes called extreme textiles.

The “Carbon Tower,” an unbuilt project by Los Angelesbased architects Peter Testa and Devyn Weiser would be built with a lightweight carbon-based material that curves and bends much like fabric. Although the method of construction on the building is not visible from the images in the show, some so-called “technical textiles” can be woven or sewn together.

- “Which came first: the building or the dress?”

Newman M., September 14, 2006,

Julian

Image Copyright © Susan Lambert

Hakes, a London based

architect, rose to prominence when he delved into the field of fashion. In many interviews, he claims that he was always interested in designing footwear and that his inclination towards the field of fashion was pretty strong even in his architectural ventures. He is famous for creating bridges in Boston and Los Angeles, California.

His bridge designs had a prominent feature of dominant curves which will continue throughout the bridge span.

Image Copyright © 2016 AllDayChic

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The method of making the shoe came from his idea which he got when he observed the imprint of a foot on the sand. He saw that the load distribution of the body is by the rear part of the foot. And the front part of the body and that the midsection of the foot merely distributes any load. This observation was his architectural thought process working on him, which got him to think in this direction. And so to design footwear, he gave up the basic principles of designing traditional footwear and came up with a whole new set of ideas in the field to provide an outcome which was eventually successful.

Inferences to be drawn out of this venture: Ÿ Being a bridge architect, Julian used his

techniques of bridge design in the designing of this shoe. Ÿ Ÿ Use of 3D printing for shoe prototypes was a

new heard technique in the field. Ÿ Ÿ Formation and success of this new form of

footwear proved that intervention of another area like architecture could be fruitful in new methods of design in fashion. Ÿ Ÿ This venture also boosted the use of 3D

modelling and printing in the field of footwear fashion and procedure, which is never seen in any case. Ÿ Ÿ New collaborations took place due to an open

gateway between the two different areas.

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TESS GIBERSON

Image Copyright © Fashion Projects 2016

The Structure 1 collection YURT, by Tess Giberson, Fall Winter 2003-2004 Tess Giberson's Structure 1, more a craftsmanship establishment than a bit of style plan or design, that attempts to join the two by methods for such a deconstructible maypole that

“As a child there is a common need to build one’s

holds a progression of outfits and itself turns into

environment, pulling from whatever resources are

a yurt. She portrays the undertaking as

around: blankets, pillows, sheets…I wanted to create a

dependent on the "memory of making posts as a

structure pulling from the straightforward and honest

kid," Tess Giberson's Structure 1 starts as a

methods a child might use.”

roundabout wooden stage with standing shafts.

Ten models clad close by knitted outfits enter the space and disrobe down to coordinating white slips, at the same time balancing their garments on the posts until they make what the index depicts as an "encased public haven." Elaborating on the fort theme, Giberson says, 18

SHELL :Fashion and Architecture beyond Enclosure

The approach Tess used in her fashion show was

Inferences to be drawn out of this venture:

to create individual pieces of outfits, which ascend on the runway. In the end, the models will

Ÿ Outfits can be more than pieces of coverage

remove unique pieces from their businesses over

for the body, if manipulated, can become a

a structure with a base and columns, thereby

narrative for a statement.

creating a stimulation of an enclosed system. Her idea was to develop the camaraderie of fashion and architecture from a piece to the whole kind of story. Where what you see initially was an

Ÿ Ÿ Brought a significant change in the viewing

experience of fashion design and fashion shows.

outfit, and works from those outfits become pieces to form a structure, which was a social commentary on this amalgamation, and a new way to present in fashion shows.

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SHELL :Fashion and Architecture beyond Enclosure

Ace designer Zaha Hadid is also famous for her various fashion ventures, where she used her principles of structural fluidity, art in design and 3D Modelling in designing different high profile footwear, handbags, accessories and outfits. Her identity was immensely clear in her ventures. She was also contributing to bringing a significant change in the field of fashion by her experiences in it.

One significant observation by many fashion critiques and consumers was that her efforts in fashion pushed the boundaries of Avant-Garde and futuristic fashion BEYOND Image Copyright Š 2019 Kevin Tachman/MG19

ZAC POSEN Initially, architects then became a fashion designer. Zac Posen is one of the famous names in both the fields as he is considered one of the

their preconceived limits. Which made other architects quit using their stencils for designs and think for entirely new and revolutionary designs. Thus started a big conversation of reflecting the self-image in both the fields.

ZAHA HADID

successful architects to transition in the field o fashion smoothly. He is also renowned for his 3D printed dress, which is very rare in Fashion.

He is famous as the one who brought the terms like Fluidity, Structure of the outfit, Symmetry, Degree of Enclosure Etc. Widely preferred words of architecture, are now used in the field of Fashion. Thus making the bridge between both the areas more vital, in terms of similar vocabulary.

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“A vocabulary derived from architecture has been applied to garments, describing them as ‘architectonic,’ ‘constructed,’ ‘sculptural,'” — Brooke Hodge

Inset © Getty Images, Brooke Hodge , November 18, 2006

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Chapter 2

GRAMMAR

The

idea of a similar grammar

Flair clothing does not provide an insight

comes from the observation of individual

into the figure of the model carrying it. A type

elements which seem to be part of a common

of enclosure which surrounds the entire body

base ground shared by architecture and fashion.

and deviates the attention towards itself, such

Design principles like symmetry, hierarchy are

clothing uses the section to cover the body

widespread in terms of shared components, but

entirely.

In architecture, such enclosures make it

specific techniques in both disciplines also seem to coincide with each other.

challenging to visualise the activities going on

Further mentioned will be two examples

inside a structure like providing facades to a

describing some methods of fashion designing,

design creating an inability to imagine the

and how they correlate with architecture

function being carried out inside. Such type of

planning.

enclosures creates curiosity among people to

Tightened clothing grabs attention on the

know what is in the inner side. Such sections may

part which purposefully has to gain importance.

be used to hide or camouflage the actual shape

The tightened dress gives an idea of the shape of

of the structure designed to function as the main

the body inside and focuses on parts which are

body.

desired to be focussed upon. It may or may not

Similarly, architectural terminologies like

enclose the entire body but creates a sense of

Degree of enclosure, structure and fluidity are

empathy. Perceptions of the body can be made

often used in the field of fashion. This directly

according to the parts which are enclosed in a

relates to the ‘Shell covering property’ of both

tightened manner. In architecture, the part

areas. And also like the physical and tangible

which is to be focussed upon is created in a way

terminologies, both the disciplines also show

that its enclosure gives an idea of the

similar traces in carrying out message

function/activity inside and creates a pull

deliverables in terms of intangible and

towards itself. It automatically guides the overall

philosophical representation in their outcomes.

movement. Various experiential paths may

Combination of design principles, with strategic

surround the body completing the enclosure but

designing, does the job for both the fraternities.

the part to be focussed is put up directly.

And thus the grammar shared between them matters more in terms of collaborative designing.

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Chapter 3 IDEOLOGY

APPROACH

Image Copyright © “MUSE” Digital Art by Prabhat Tripathi

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IDEOLOGY

The ideology is not about how they can achieve more than what they can physically

To achieve the status of being 'beyond

comprehend; it talks about what more they can

enclosure', the quest should start with learning

reach beyond their limits of comprehension. The

the possibilities of how similarly the enclosure is

idea of a shared new possibility, with a unified

created. Methods which seem like many formal

approach towards a subject matter. An effort to

methods in one field will maybe behave like the

create an outcome, which caters the quality of

easiest one in the other. Fluid forms may seem

timelessness with the stability of architecture

much more comfortable to achieve in fashion,

and spectacular display with artistic boldness of

and harder to create in architecture. At the same

fashion.

time, stiff prosthetics are quickly produced in architecture and are a challenge in fashion.

With such an expectation, the process becomes more tedious, as the inclusion of many

But that is the thing, whatever may be the

tangible and intangible factors come under one

physical requirement, architecture and fashion

umbrella. To simplify further, if the idea was to

both strive to make it possible. With the

design an outfit which is inspired by an

integration of various materials, multiple

architectural structure, the source of information

construction techniques and combinations of

will be the whereabouts of the mentioned

them result in the fulfilment of the desired

architectural structure. And thus, with detailed

outcome.

analysis, it will become possible for that to come

Just like the architects at Yokohama,

into existence. Vice versa, if an architectural

Japan made it possible to create a pleated fabric

installation was to be designed, keeping in mind

like covering at the roof of their port terminal.

a piece of haute couture, a similar thing will

Similarly, a model wore a rather stiff collar

happen.

which was able to hide a large portion of her

But what if the source of inspiration is

face, which is hard to achieve in fashion and was

both related and non-related to both the

brilliantly executed in a Parisian fashion show.

disciplines? And the design process of both have

These efforts prove that both the fields can strive

to share a lot of building techniques to create an

to achieve the impossible, the Beyond.

outcome?

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‘Iris Van Herpen’ is famous for their contribution to such collaborative effort of architecture and fashion, where they create parametric shapes with the help of threedimensional printing for both, the outfits and the structural installations in their shows. The image beside is a still from their Fall 2019 Couture Collection. The immaculate detailing in the costumes and their strong relation to the structural installation, which were moving like turbines, created an integrated artistic experience which blurred the lines between the two aesthetics and made a hybrid homogenous artistic presentation.

“What story is Iris telling in this collection? The jewelry reached over the model’s faces like a mask (or shield), creating the feeling that the models were about to go into battle. The way the creations were powered by the wind makes us think of wind turbines: powerful, eco-friendly, with the ability to transform the wind into pure energy. In a way, that sums up the show perfectly: pure energy.”

-Tatum Dooley, July 2, 2019 The idea of collaborating designing and construction techniques of both the fraternities, to produce something which speaks something more profound than the usual superficial representation is the goal point of this project. The method of complicated philosophy with different leads are to be assimilated in a single narrative, almost like a poem, where various emotions are to be depicted in a single composition.

There is a need for the study of geometry, principles of design. The following study will represent emotions and intangible terminologies. But to make that possible, the method of visual discourse analysis has to be considered, where their visible presence will do the study of a subject matter, and inferences will be drawn out.

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Image Copyright © GETTY IMAGES, July 2, 2019

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“I don’t think that architecture is only about shelter, is only about a very simple enclosure.

It should be able to excite you, to calm you, to make you think.”

— Zaha Hadid

Inset © Zaha Hadid in a cover shoot by Bruce Weber in its April 2009

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A P P R OAC H

For

making the outcome of this

narrative a reality, there is a need for a design trial. An effort of trying the hands-on experience of designing for both architecture and fashion at the same time. The effort will have a source of inspiration, a person, an entity or a strong force of nature, which has layers of personalities. This effort will lead to a design process which integrates with a hybrid methodology of design and building techniques of both architecture and fashion. A design intervention, where the considered source of literature, will lead in the making of a fashion model. A piece of outfit, which will then result in the formation of an idea for an architectural installation.

The process is new; it is hybrid and demands a lot of artistic awareness with a strong understanding of design principles, shapes and their associated feelings.

“Curved contours repeatedly led to the inducement of positive emotions, whereas acute changes in contours led to a negative bias. It was postulated that this negative bias for sharp angles occurred due to a feeling of threat” -(Bar & Neta, 2006)

The one way where this all seems like an achievable effort is by designing a memorial for a person. An artist, a designer, who has a strong personality, and the notes from his layers of personas will generate enough data. The data will represent an outfit as well as an architectural installation. Also, the idea of the memorial is justified by the ability of a monument to be very artistically liberal. It is open to any experimental structural element.

Looking at precedents like the Diana Memorial at Hyde Park, London, the installation is a water channel in a circular form, which depicts the personality of Lady Diana, and her positive side. Her stable nature and peaceful mind are represented by the flowing water, which makes no noise. The ovular channel represents no corners and edges in the design, representing her accepting and gentle nature towards her subjects as a princess. And the undulations on the track represents her precarious life, which had lots of hardships.

Thus, a memorial for a designer, which is formed by both processes of fashion and architecture. The following effort will act as the perfect approach for achieving the ‘Beyond’ in the project.

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Chapter 4 CATALYST

THE SILHOUETTE

Image Copyright © AnnRay B294020_26-212

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CATA LY S T

A lexander McQueen or Lee Alexander McQueen (17. 03. 1969 – 11. 02. 2010) was a British couturier. He filled in as a designer in chief at Givenchy from 1996 to 2001 and established his fortification Alexander McQueen brand in 1992.

His accomplishments in style earned him four British Designer of the Year grants (1996, 1997, 2001 and 2003), just as the CFDA's International Designer of the Year grant in 2003. McQueen committed suicide in 2010, at 40 years old, at his home in Mayfair, London.

Designing a temporary memorial pavilion for an eccentric fashion designer like Lee is a challenge in itself, as it has to justify his very outrageous and outlandish artistic expression. His legacy was filled with controversies, but undeniably, he has been a revolutionary fashion designer in terms of fashion and technology, presentation on runway and avant-garde approach in atelier design.

For understanding the characteristics of Lee, and noting down his personality, there is enough visual and written data available in the industry, as he was quite a celebrity figure. The documentary named ‘McQueen’ based after his life is critically acclaimed.

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Image Copyright © “THE GENIUS” Digital Art by Prabhat Tripathi

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McQueen's Architectural interest was also seen in his works. A lot of his collections were inspired by the European and British colonial and baroque structures. Glimpses of patterns inspired by flutes of a column, Cherub impressions on walls, was visible in his work. He was also very particular about the kind of stage he'll design with his art directors, as he always strived to present a complete show. Another justification for making a memorial for Lee lies in this quality of his, as he was fond of the entire environment in syncing with his collection. This meant that his design process included critical thinking towards architectural features, while a presentation is going on.

Visual Discourse analysis of Lee would result in an array of words, and a sea of emotions, as his private life was also very out in public. Media coverage has covered his life like a movie, and hence his image is more of an immaculate silhouette that he carved himself.

Therefore, obtaining a public perception for his memorial felt unnecessary as his personality created multiple perceptions.

Therefore considering the Documentary, and an array of books, the analysis on the character of McQueen has been conducted with inferences drawn out in terms of words, which will then lead to the base ground for possible design intervention. By looking at his collections and his archive work at 'Savage Beauty Exhibition', one thing stands pretty clear that a memorial for McQueen will be a testimony to his fantastic quality of theatricality.

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“The world needs fantasy, not reality.

The world has enough reality today” — Alexander McQueen

Inset © Ann Ray, Inside III, London, 2000 (Lee McQueen)

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THE SILHOUET TE As mentioned earlier, framing the REMEMBRANCE

silhouette for McQueen is a mammoth task. And so to simplify the job, the decision was taken to

IMPACT CONTRIBUTION

drive the design strategy in finding the personality of McQueen, which was his MEMORIAL

perception. Meaning, the data collected was mostly focussing on McQueen's relations with

ABSCENCE

people and how he interacted with them, giving

ECHO

an idea of his demeanour and his personality

REMIND

other than his career. It was practically

VOID

impossible to separate his career to his life, but to get more emotional dialect, the information was

Controversial Nature

extracted likewise.

By dissecting Lee in four broader perspectives, it was

Larger than life image

Lee Alexander McQueen

Revolutionary impact

easier to define his presence and the choices he made when

Suicide and depression

h e wa s a l ive . W i t h t h e continuous observation on his life, by watching several movies and documentaries, and the many many books people have written on him, the words

Controversial Nature

Larger than life image

Revolutionary impact

Suicide and depression

Against the perceived norms

Theatricality

Never done before

Emo onal dialect

Alienated Visuals

Ahead of his me

fortress

Going against the norms

New approach

Vulnerability in his visuals

wh i c h we re h i t t i n g a n d standing out were noted as the key points which will drive the design.

The final result

Termed by names for being eccentric and different

was noticeable, as the four phrases which came out with

Rebellious contrast

the analysis, were almost perfect in defining his persona. Ÿ Going against the norms Ÿ Ahead of his time Ÿ Emotional Dialect Ÿ Theatricality

Projec ng Opinion Gaining A en on Gigan c belief against the system Statement piece

High satura on Different from the environment it belongs to

Represen ng personality in terms of own image Also his public percep on

mys cism Minimal emo on, heavy subject

Going against the norms

Ahead of his time

Emotional dialect

Theatricality

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Chapter 5 INTEGRATION

PROPOSAL

RATIONALE

Image Copyright © Prabhat Tripathy MODE

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I N T E G R AT I O N

B

y the start of the design it was pretty

Therefore, with the help of a mannequin

clear that there will be a design of a piece of

and pieces of paper, a model was prepared

couture, which will then drive the design

which was corresponding to the phrases of the

narrative for the memorial. Multiple designs and

analysis made on McQueen.

trials were made to define the four phrases

The model was created in a similar

which were extracted out of McQueen’s analysis.

fashion, piece by piece, covering the parametric

A parallel which was seen in the process of

of a human form, which would be then

architecture and fashion. While watching

considered to make the architectural prototype.

McQueens’s Documentary, it was observed that he, most of the time, directly started making the outfit on the mannequin. Which means, not like the traditional way of taking measurements and then fixing the outfit once it is stitched. Many times he took pieces of fabric, paper and even plastic, draped it over the mannequin, and started drawing directly over the it.

This style was very dramatic way of designing as he was able to produce very personalised versions of his imagined designs, those outfits took the shape of the body and were accentuated from startegic locations, one thing which c a n b e c o n s i d e re d i n architectral design 36

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As mentioned here, the stepwise method of making this model resulted in a beautiful composition of Falcon Wings, one of the favourite animals and symbols of McQueen. The wings take the shape of the bodice of the mannequin intrecrately, supported by the shoulder and then projecting out at different directions. The design carries a meaning which will be later explained in the document.

The digital art to the right side of the, depicts the brain storming moodboard, which resulted in the formation of this design. With the help of such digital illustrations, it was easy to encapsulate the complex emotions in the design by creating these moodboards.

The image below depicts the fianl draft of the design as it came up, and the bottom of the outfit is a flowing skirt, which is to be depicted by the river thames, and thus the final outcome is planned on one of the most iconic location of London, Southbank.

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Image Copyright © “GAZELLE” Digital Art by Prabhat Tripathi

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Proposal

FLUID FALCON Memorial for Lee Alexander McQueen Location: Near Skatepark, Southbank, London United Kingdom

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The parametric wings were designed with polygonal geometry, which signifies the futuristic approach of McQueen.

Multiple edges forming a complete structure signifies complexities, which is what McQueen always showcased. With the level of detailing in his outfits, it was hard for these wings to go plane in texture.

Also the wings are emerging from river thames, as they signify the uproar from the roots, going against the flow, aslo rising from the roots.

This also signifies the humble beginnings of McQueen as he came from the common of UK.

The wings were in two sides, one facing the skate park, the other facing Thames signifying two approaches of McQueen in fashion, one was in London, one was thriving as an international

Initial Remderings

designer.

The wings were opening in a spreading direction showing McQueens interest in every direction.

His many many collections have proven to be very variant and full of new ideas and possibilities.

McQueen never repeated his designs and his efforts again, therefore the wings pan out in a spreading direction.

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15 m

38 m

PLAN : Showing the upper profile of the structure

Side Facing Thames is larger, almost like a

The side facing inside is smaller, showing his love

bridge, but incomplete, signifying his incomplete

and humility towards London and his homeland.

journey, yet a beautiful one. As if someone tried

Also facing the skatepark, it is almost like a roof

to get out of the normal, and created a splash.

structure for spectators to watch the people skate.

The wings are made up of Glass fibre material. the reason of this is to not obstruct the complete view experience of south bank, yet create a spectacular monument like structure which will act as a memorial and also a checkpoint, furtger adding more urban importance to the location of skate park, as there are many more checkpoints on south bank like this.

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R AT I O NA L E

The raeson of making a parametric wing structure was to define the existence of McQueen as a free bird, who never really cared for anyone’s opinion. Also he was theatrical in his nature, which is addressed by the structure.

There is a probablity of a light and sound show to be proposed with this intervention with every year on the day of his death anniversary, as he thought he was a gazelle to be eaten by the media, but in reality he was a free falcon, who rose up from the commons of UK, created a splash in the flowing system of the industry, cared for his motherland, and achieved many accomplishments internationally.

His memorial is also inspired by his own stage design for his friend Late Isabella Blow, who he dedicated a fashion show, and had light infused falcon wings on the head ramp. Image below.

Proposed interactive light flowing system in the design, which will interact with people touching the surface of the wings, by creating a VOID in the flow.

With the help of interactive Fibre optics, and orchestra music background, the structure will illuminate with strings of light. And thus will create a beautiful poem of flowing thoughts altered with obstructions, just like McQueen’s life.

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WHY LONDON? Mcqueen said it in many of his interviews that he loved London, and that a lot of his emotional and artistic inspirations comes from here.

One of his famous quotes mentioned in his savage beauty exhibition, had his love for London engraved on the walls.

Southbank was perfect for the location of the memorial, as the public influx will create more awareness of the designer, as well as it will become a public attraction, with it’s spectacular display.

WHY SKATEPARK? Skatepark has been a symbol of the common side of London, the people who are the residents, and are the most organic part of London. it is also a symbol of resilience and stength against the system who try to uproot them. and thus the place is more than just a s k at ep a rk , i t i s a s y m b o l o f re l at ive representation on the glitz and glam of Southbank experience.

Adding a spectacular memorial, of designer who represented similar qualities of that the location does, is the most perfect way of honouring his memory.

Also as the skatepark will get a checkpoint entrance, and a roof structure for onlookers to visit, and a symbolic representation at the southbank, which does not completely block their vision, but also serves as a beautification to their existence.

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FLUID FALCON Going against the norms

Emotional Dialect

Wings getting out of flowing water, of the system. Reaching out in both directions, towards the shore and away from it, showing the love towards the motherland and the aspiration to succeed internationally.

Wings resting on the shore of south bank, taking support of the hometown. Reaching out to the kids at skate-park, who symbolize similar emotions of rebellious approach, resilience and rising from the roots.

Ahead of his time

Theatricality

Wings which look like water splash, creating a visual of frozen water, crystallised. Blurring the lines between reality and fantasy, just what he did in his collections. Flowing lights interactive inside showing technology and aesthetics joining forces.

A form which is undeniably spectacular, noticeable from a distance. Provides as a checkpoint monument for the skate-park premise. Lighting up in the night with orchestra music teamed up with light show will add up to the theatricality aspect of the structure.

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“'I want to be the purveyor of a certain silhouette or a way of cutting, so that when I'm dead and gone people will know that the twenty-first century was started by Alexander McQueen.'”

— Alexander McQueen

Inset © Portrait of Alexander McQueen, 1997 photographed by Marc Hom.

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CONCLUSION

Fashion and Architecture fall under the same mode of Art. Fashion and Architecture both are highly expressive and introspective; therefore carries higher responsibilities in contemporary time. Being known as a formal art form, fashion and architecture have a similar influence on modern strategies and design formulas. Fashion has a spontaneous attitude that compliments Architecture, making it more fluid and aesthetic; giving it a more sensible approach.

Where Architecture has a serious approach that compliments the complexity of fashion which can make it timeless. Fashion uses the fabric as the material as building blocks, constructing a wearable form in the same way architects use bricks and concrete.

Both Fashion and Architecture are momentous and manifest great potential with a collaborative approach.

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I N T R O D U C T O R Y M OV I E L I N K

https://www.vimeo.com/458109121

Click on the link to reach the video

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Fashion

Architecture Beyond Enclosure

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