Fashion & Architecture

Fashion &
Architecture
by
Meredith Miller
B.A. Architecture, 2012
A thesis submitted to the graduate school of the

University of Cincinnati
in partial fulfillment of the requirements for the degree of:
Master of Architecture
in the School of Architecture and Interior Design
of the College of Design, Architecture, Art, and Planning
April 2016
Thesis Chair: Udo Greinacher

Thesis Member: Stephen Slaughter
ABSTRACT
Architectural theory has illuminated the inherently connected relationship between
fashion and architecture. Both disciplines shelter the body, react to spatial volume,
rely on a process, and take a work of creativity from its two-dimensional concept
into a three-dimensional reality. They affect and are effected by current economies,
politics, and cultural situations while concurrently operating outside of them at the
same time. Through these similarities a disparity is revealed. Beyond a difference in
scale, fashion endures in an ephemeral landscape grasping for the next innovation,
rejecting past notions, altering perspective every few months. Architecture produces
at a slower rate establishing a permanence and solidity in volume that is free from
defined intervals of creative development and exhibition. It reacts to seasons defined
by the climate rather than the fashionable elite. Designing architecture for fashion
today, utilizing this temporal discrepancy, will reach beyond the surface correlations
of the disciplines and speak to the experiential quality of a space transitioning through
the transient perceptions of time. Architecture will become more than a space for
a community to occupy but it will retain an intangible quality, a mindset reflective
of the organization it symbolizes. To apply this methodology, an algorithm and
process for an architecture for fashion will be designed, generating spaces for making,
exhibiting, and archiving as a representation of fashion. Experiential architecture
promoting perspective beyond surface similarity will establish a dynamic environment
intermediating between fashion and architecture for a fashion of architecture.
iii
CHAPTER 1 CHAPTER 2 CHAPTER 3
Introduction Fashion and Time and
Architecture Sections
04 16 40
CHAPTER 4 CHAPTER 5 CHAPTER 6

Becoming Client and Site and
Architectural Culture Context
64 80 86
CHAPTER 7 CHAPTER 8 APPENDIX

Architecture for Conclusion Images and
Fashion Bibliography
106 112 116
IMAGE 01
ARCHITECTURE AS WEARABLE OBJECT #1
01 02
Chapter 1
Introduction
PREFACE
Fashion and architecture are both based on basic life

necessities — clothing and shelter. However they are also forms
of self-expression — for both the creators and consumers. Both
fashion and architecture affect our emotional being...On a deep
level, fashion and architecture have less to do with luxury and
design, but everything to do with feeling comfortable in your
own skin and in your habitat.1
— Karen Moon of StyleMusée
A connection between fashion and architecture was established as far back
as the Greeks who applied gender to columns and emulated fabric into its fluting.
Gottfried Semper is renown for his writings in The Four Elements of Architecture and
Style in the Technical and Tectonic Arts or Practical Aesthetics; he argues that woven
textiles and the use of carpets as spatial dividers are the origins of architecture and
dress.2 He continues that from the beginning of historical understanding carpets
and skins were primarily used to define space and to protect, dominating the need to
clothe humans. The use of carpets continued in tradition and applied to the interior
and exterior of buildings, masking, or veiling structure.3 Adolf Loos in The Principle of
Cladding also expresses this masking, “man sought shelter from inclement weather and
protection and warmth while he slept,” with the need for shelter man then searches for
IMAGE 02
a frame to provide a volume of protection for a family.4 STRUCTURE #1
1 Chan, Kelly. “Finding Architecture in Fashion.” Architizer. April 16, 2012. Accessed October 13,
2015. http://architizer.com/blog/stylemusee-interview.
2 Semper, Gottfried. “The Four Elements of Architecture” and “Style in the Technical and Tectonic
Arts or Practical Aesthetics.” The Four Elements of Architecture: And Other Writings. Translated
by Harry Francis. Mallgrave and Wolfgang Hermann. Cambridge: Cambridge Univ. Press, 1989.
101-110, 126-129, 246-258.
3 Ibid, 254-255.
4 Loos, Adolf. The Principle of Cladding. Neue Freie Presse, 1898. 66.
05 06
BACKGROUND
These excerpts speak to the parallel development of fashion and architecture Today...stereotypical respresentations of identity seem antiquated
as akin subjects. In the contemporary writing Skin & Bones: Parallel Practices in
and even politically incorrect, but architecture continues to serve
as an assertion of identity or place in the world. For instance,
Fashion and Architecture, a catolog from an exhibit of the same name at the Museum Prada’s commissioning of OMA/Koolhaas and Herzog & de
Meuron to design major retail spaces underscores the company’s
of Contemporary Art Los Angeles in 2006, Brooke Hodge writes “both [fashion and
identity as a purveyor of sophisticated cutting-edge in both
architecture] protect and shelter, while providing a means to express identity.”5 In fashion and architecture.7
an article entitled “When Fashion Meets Architecture,” Massimo Nicosia, head of
design at the fashion brand Pringle of Scotland, reflects a similar disposition, “Fashion Fashion and architecture have developed simultaneously through history
designers work with silhouettes and architects work with volumes. Ultimately it is although they have had a recently generated a forced realtionship. Fashion uses
the same thing. We all work to generate forms and shapes...just in a very different size “architectural” to refer to structured pieces while architecture “weaves,” “drapes,”
and scale.”6 Additionally, fashion shield a human body while architecture encapsulates and “threads” itself into the urban fabric. This lexicon is a superficial treatment for
multiple. the apparent similarities between the two, degrading their interrelated relationship.
Both disciplines also share the fact that they are reactionary to cultural Even in contemporary architecture examples of a blend between the disciplines act
conditions and norms — whether that be in concurrence or in contra. Economic, merely as large verisons of fashion rather than representing a deep understanding of
political, religious, and climatic factors affect the ebb of flow of trends in both fields. the intersection of the disciplines. Christian de Portzamparc’s House of Dior in Seoul
In two-dimensional to three-dimensional translations they negotiate and dictate a and Frank Gehry’s Foundation Louis Vuitton embody this shallow understanding
position on contemporary subjects — firmly placing these disciplines as a snapshot where the architecture reflects fashion only in form and descriptive terminology. They
of cultural identity at their creation and in prediction of the future. Fashion and create grand gestures to mask the trivial nature of the architecture. Where a deeper
architecture benefit from operating outside of the art world but in parallel where connection may be found is designing for the temporal distinctness in fashion from
they comment on circumstances yet achieve an alternate and essential function for architecture — capitalizing on the unique rates for developing new designs and the
sheltering. differing perceptions of time for each study.
In reacting to speed and reinvention the study of architecture will also benefit
5 Hodge, Brooke, and Patricia Mears. Skin Bones: Parallel Practices in Fashion and Architecture.
Compiled by Brooke Hodge. New York: Thames & Hudson, 2006. 11.
6 Cobb, Ben. “When Fashion Meets Architecture.” Dazed. January 20, 2014. Accessed March 09, 7 Hodge, Brooke, and Patricia Mears. Skin Bones: Parallel Practices in Fashion and Architecture.
2016. http://www.dazeddigital.com/fashion/article/22652/1/when-fashion-meets-architecture. Compiled by Brooke Hodge. New York: Thames & Hudson, 2006. 17.
07 08
from this thesis of investigation. In fashion these qualities require designers to turn
their backs on their own world rejecting the current trends every few months for
inspiration from contemporary culture (i.e. sustainability, econmic changes, et cetera).

Thus fashion becomes the prevailing perspective on the cultural reality. Creating an
architecture for fashion for today must reflect this understanding of the moment and
bifurcated perspectives of speed and time to manifest this. Going beyond jargon and
mimicry, architecture for fashion may then create an experience that enlightens the
change in perception from the architectural world into the fashion world.
As a model for architecture for today, this methodology of perspectives of
time and cultural relevance will begin to reinstate architecture as a manifestation of
the world at its time, or as a reaction to cultural maladies rather than maintaining
architecture as a discipline for shallow interpretation and little contemporary
relevance.
IMAGE 03
CHRISTIAN DE PORTZAMPARC’S HOUSE OF DIOR IN SEOUL, KOREA
IMAGE 04
FRANK GEHRY’S FOUNDATION LOUIS VUITTON IN PARIS, FRANCE
09 10
PROBLEM
the structures that direct the fashion system...have a profound, four months according to the fashion calendar. Architecture produces at a slower
though hushed and even denied, effect among the producers of rate due to regulations and scale establishing a permanence and solidity in volume
architecture8
while tackling government restrictions, client needs, and coordination of engineering
the challenge is to understand architectural practices as power-
systems beyond the design intent. Architecture builds from history while adapting
laden cultural practices that are deeply affected by larger
historical forces... but also as practices that have their own to contemporary technology and climate considerations. Fashion experiences design
specificity and social effects — even if they are not the kind of
seasons but in advance of the actual season by about six months. For example, fall and
effects one approves of.9
winter is presented in February and March for women’s wear, while architecture is
[Fashion’s] insistence on its own inevitability as a cultural artifact
typically reacts in real-time to temperatures and seasons.
is at once charming and threatening.10
Designing an architecture for fashion must negotiate straying perspectives on
time and blend temporal sensitivities. The situation is best described in an except from
Historic architectural discourse has made apparent parallel associations
Alan Lightman’s text Einstein’s Dreams where neighbor towns feature a similar
between fashion and architecture, although what is most intriguing is where they
dissonance in time:
diverge. It is clear that scale plays a strong role in this difference; fashion sized for a
In this world, time is a local phenomenon. Two clocks close together
single body has the ability to create prototypes of their design development and test
tick at nearly the same rate. But clocks separated by distance tick at
proportions, details, and material options at full scale while manipulating by hand. On different rates, the farther apart the more out of step. What holds
true for clocks holds true also for the rate of heartbeats, the pace
the other hand architecture, being for multiple bodies must rely on three-dimensional of inhales and exhales, the movement of wind in tall grass. In
this world, time flows at different speeds in different locations.11
representations on computer for form or models at smaller scales, only producing a full
If “clock” were interpreted as architecture’s standard of time and fashion’s distinct
size version of details rather than the whole.
calendars, then one may understand how divergent their senses of time are. Thus in
Another divergence between the disciplines is the perspective of time. Fashion
integrating the two disciplines together they may find a harmonious temporal balance
endures in an ephemeral landscape grasping for the next innovation, the next trend. It
in order to elevate eachother through a rekindled artistic connection.
consistently rejects its past variations on style as démodé, shifting perspective every
8 Warke, Val K. “‘In’ Architecture: Observing the Mechanisms of Fashion.” Architecture, in Fashion.
Edited by Deborah Fausch. New York: Princeton Architectural Press, 1994. 131. As he moves from one timescape to the next, the traveler’s body adjusts to
9 West, Cornel. “Race and Architecture.” The Cornel West Reader. Basic Books, 1999. 456-462. the local movement of time. If every heartbeat, every swing of a pendulum,
Edited by Deborah Fausch. New York: Princeton Architectural Press, 1994. 135. 11 Alan Lightman, “20 June 1905,” in Einstein’s Dreams (New York: Pantheon Books, 1993), 153-154.
11 12
every unfolding of wings of a cormorant are all haromized together,
how could a traveler know that he has passed to a new zone of time?12
Steven Holl remarks on this interdisciplinary approach to the arts in relation to his
collaboration with choreographer and dancer Jessica Lang, “If we don’t intermix the
arts and collaborate, we are going to close... The arts are going to fade out individually.
We are stronger together.”13
The problem exposes itself: How can architecture react to a different
perception of time — thus going beyond the surface correlations to fashion established
by contemporary example and lead a future of experiential design related to the client’s
mentality.
Proceeding through a process, this theis will develop an investigation of
fashion and architecture with the goal of achieveing an architecture for fashion.
12 Lightman, Alan P. “20 June 1905.” Einstein’s Dreams. New York: Pantheon Books, 1993. 155.
13 Rosenfield, Karissa. “Steven Holl Interview: Not a ‘Signature Architect’ — Andrew Caruso.”
ArchDaily. September 02, 2012. Accessed March 09, 2016. http://www.archdaily.com/269251/ IMAGE 05
steven-holl-interview-not-a-signature-architect-andrew-caruso. BLACK ICEBERG #1
13 14
Chapter 2
Fashion and Architecture
FASHION AND ARCHITECTURE
The role of architects need no longer involve the entire fabric While architecture is used in conjuction with the designing and constructing of a
of buildings. It can now address in lesser or greater depth the building and as a reference to those with significance and usefullness behind them.
synergy between the interior and the exterior, from the surface of
the envelope through to the entire fabric.1 Applicable definitions from the Oxford English Dictionary:
noun
1. The art or science of building or constructing edifices of any kind for
To the untrained eye, fashion and architecture may be perceived to live human use.
in separate worlds, as distant cousins who share a similar ancestry yet operate 2. The action or process of building.
3. Architectural work; structure, building.
independently. In academic institutions the closest relationship they have may be that 5. Construction or structure generally.3
they are housed within the same school but rarely are there courses or modes of study
to build a correlation between the two. This suggests a superficial understanding Kindred in nature, fashion and architecture’s inter-woven principles provide an
of two intimately related disciplines and a denial of immense interdisciplinary equal foundation for their innovation, appreciation, and implementation. The following
collaboration. outlines a refined list of underlying fundamentals:
In this thesis fashion refers to the industry and process of creating garments Dissemination of culture
Importance of gravity
and collections as well as to the style and trends at a particular point in time. Formal Sheltering of volume
definitions, that apply, from the Oxford English Dictionary are as follows: Reinvention and creative deconstruction
Two-dimensional concept translated into three-dimensional object
noun Relationship between form and function
1. The action or process of making Collective identity externalized
2. Make, build, shape. Material as form
3. a) A particular make, shape, syle, or pattern. Protection
b) With reference to attire: a particular ‘cut’ or style. Structure
8. c) With regard to apparel or personal adornment. Design influences (aesthetic, theory, technology, history)
9. a) Conventional usage in dress, mode of life, etc.
b) Fashionable people; the fashionable world.
c) High Fashion2 Although the argument is made clear that fashion and architecture are deeply
related, considering they are different disciplines, divergences exist as well. Here a
1 Moussavi, Farshid. “The Function of Ornament.” The Function of Ornament. Edited by Farshid
Moussavi and Michael Kubo. Actar, 2006. 7.
2 “fashion, n.” OED Online. December 2015. Oxford University Press. Accessed January 26, 2016. 3 “architecture, n.” OED Online. December 2015. Oxford University Press. Accessed January 26,
http://www.oed.com/view/Entry/68389?rskey=JShmHm&result=1&isAdvanced=false. 2016. http://www.oed.com/view/Entry/10408?rskey=DPon4Z&result=1.
17 18
refined list explains some contrasting aspects (fashion versus architecture), with a clear
understanding, though, that there are gray areas between these differences:
architecture and fashion
Rapid style shifts versus small and slow style adjustments
Constructed at actual size versus designed to a smaller scale
Mockups created in muslin/fabric versus mockups created in chipboard/
representation
Ephemeral in nature versus eternal in nature cultural identity
Illustrative renderings as dominant visualization style versus photorealistic
renderings as dominant visualization style
Refined by hand versus refined through the computer manipulation discrepancy in time
Perceived as superficial versus perceived as monumental
Soft and fragile versus rigid and durable
Volume for one body versus volume for many bodies creative deconstruction
Designed using materials at hand (mainly fabric/accoutrements) versus designed
with abstract materials at hand (mainly chipboard/foam board/plastic/computer
software)
Follows own prescribed calendar predetermines reaction to seasons versus follows
project timelines and reacts to seasson in real-time
architecture for fashion
This thesis studies the architectural outcome of these similarities and
divergences between fashion and architecture. Continually representing both

temporal experience cultural relevance
disciplines in the creation of an architecture which houses a fashion design fabrication
lab. The facility entails a studio for design and production (make space), a display for
runway shows and presentations (exhibit space), and a preservation zone for archives
(save space).
2D to 3D to 2D
representations
An algorithm has been developed to process through the necessary steps for
this discovery. Initially architecture and fashion were taken as separate entities, but
IMAGE 06
after the examinaion of similarities and differences (as noted above) these ideas were PROCESS DIAGRAM
filtered through their shared quality of cultural significance and their speed and
19 20
discrepancy in time. In reaction an architecture for fashion will be formed relating to
the temporal experience and cultural relevance of the two. In the process there exists
a constant wavering from two-dimensional to three-dimensional to two-dimensional

representations, to generating a harmonious coagulation of the studies. These being to
be made clear through a series of three sketchy three-dimensional representaions:
1. a flat piece of muslin representing two-dimensional inquiry and a sketch
material for fashion, and a cube, a primitive architectural shape enclosing space
and generating form out of chipboard (architecture’s sketch material)
2. the muslin simply placed overtop the cube, draping down the sides, but resisting
the form of cube slightly to create a stiff drape as thus simultaneously holding on
to its two-dimensional shape
3. The muslin as stated in (2) is coated in plaster and left to dry overnight, softened
by the wet plaster, the muslin softly drapes over the cube sharing in its form and
volume. After drying the cube is removed yet the plaster-coated-muslin stands
IMAGE 07
2D, 3D, TEXT
alone forming a new architecture reminiscent of the foundation and of a new
variety.
21 22
IMAGE 08 IMAGE 09
DRAPE EXERCISE ARCHITECTURE AS WEARABLE OBJECT #3
23 24
ARCHITECTURAL FASHION AND
FASHIONABLE ARCHITECTURE
Just as dress can be adopted and adapted as a means of personal

expression, architecture has been used to express collective
identity, values, and status. For example, nineteenth-century
bank buildings were invariably built of stone and featured
classical columns and a pediment; the timelessness of these
classical architectural elements and the solidity of the materials
reassuringly suggested the security and permanence of the
institution to its clients.4
According to the Oxford English Dictionary fashionable is defined as
“observant of or following the fashion; dressing or behaving in conformity with the
standard of elegance current in upper-class society,”5 and architectural is defined
as “of, relating to, or according to, architecture...Of furniture or other household
objects: resembling architecture in style or ornament.”6 But when architectural is

fashionable architecture
used to describe fashion and when fashionable is used to describe architecture, the
understanding of these expressions change and become unrefined. In contemporary
discourse architectural fashion and fashionable architecture conjure up images such

as: structural garments, geometric fabric, and three-dimensional printed textiles
or sweeping, curvy, object-like buildings with romantic, gestural shapes. A unique
situation stands out from this relevation, two very different qualities of spatial
definition have been defined by the organization and use of the terms. But these exhibit
surface-level, superficial understandings of how the disciplines overlap and influence/
architectural fashion
Compiled by Brooke Hodge. New York: Thames & Hudson, 2006. 16-17.
5 “fashionable, adj. and n.” OED Online. December 2015. Oxford University Press. Accessed January
26, 2016. http://www.oed.com/view/Entry/68392?redirectedFrom=fashionable.
6 “architectural, adj.”. OED Online. December 2015. Oxford University Press. Accessed January 26, IMAGE 10
2016. http://www.oed.com/view/ Entry/10403?redirectedFrom=architectural. FASHIONABLE ARCHITECTURE, ARCHITECTURAL FASHION
25 26
IDENTITY / FIXED
17 7 22 2 32 26 1 aedas 17 herzog & de meuron 33 ryuji nakamura
6 al bahar tower dominus winery pond
23 2 alfred berger & tiina 18 herzog & de meuron 34 sanaa
18 5 parkkinen ebserswalde technical glass pavilion — toledo
16 34 nordic embassy — berlin school
40 44 35 sean godsell
3 apple stores 19 hussein chalayan rmit design school
convertible table/skirt
46 9 4 barkow leibinger 36 sheena matheiken
kinetic wall 20 indian saris the uniform project
3
5 bohlin cywinski jackson 21 issey miyake 37 so-il
apple fifth ave pleats please storefront for art &
architecture
15 6 caroline mccall 22 ivanka
downton abbey costume concrete fashion 38 steven holl & vito
41 25 acconci
7 catholic school uniforms 23 izzy camilleri storefront for art &
in the u.s. iz adaptive architecture
20
MATERIAL / PART FORM / WHOLE 8 christopher haas 24 j. meejin yoon 39 tess giberson
triangle of squinches the mobius autumn/winter 03/04
30 1 9 comme des garcons 25 jean nouvel 40 tess giberson
destroy institut du monde arabe moments spring/
37 summer16
10 diller scofidio renfro 26 mckim, mead & white
blur building girard bank 41 thomas heatherwick
21 uk pavilion at shanghai
33 11 doris kim sung 27 nlé expo 2010
13 bloom makoko floating
38 school 42 thomas heatherwick
12 elegant embellishments rolling bridge
27
TRANSFORM / UNFIXED
torre de especialidades 28 penda

36 bauhaus museum 43 toyo ito
14 13 elena manferdini forum for music, dance,
29 clad cut 29 populous & visual culture
11 4 43 14 elisa strozyk
london olympic stadium
44 viktor and rolf
wooden fabric 30 pringle of scotland russian doll
12 31 autumn/winter 14
10 35 45 42 15 frank gehry 45 zaha hadid
19 28 gehry residence 31 rem koolhaas london aquatics center
24 prada transformer
8 39 16 future systems 46 zumthor
IMAGE 11
selfridges dept store 32 renzo piano therme bath vals
PRECEDENT ANALYSIS (6 PAGES) tjibaou cultural center
27 28
MATERIAL & IDENTITY IDENTITY & FORM
PART & FIXED FIXED & WHOLE
APPLE STORES CAROLINE MCCALL CATHOLIC SCHOOL FUTURE SYSTEMS ALFRED BERGER & TIINA BOHLIN CYWINSKI COMME DES GARCONS FRANK GEHRY
DOWNTON ABBEY UNIFORMS SELFRIDGES DEPT STORE PARKKINEN NORDIC JACKSON DESTROY GEHRY RESIDENCE
COSTUMES IN THE UNITED STATES EMBASSY - BERLIN APPLE FIFTH AVENUE
HERZOG & DE MEURON HERZOG & DE MEURON INDIAN SARIS IVANKA IZZY CAMILLERI JEAN NOUVEL MCKIM, MEAD & WHITE RENZO PIANO
DOMINUS WINERY EBSERSWALDE TECHNICAL CONCRETE FASHION IZ ADAPTIVE INSTITUT DU MONDE GIRARD BANK TJIBAOU CULTURAL
SCHOOL ARABE CENTER
SANAA TESS GIBERSON THOMAS HEATHERWICK ZUMTHOR VIKTOR AND ROLF

GLASS PAVILION - FALL/WINTER 15 UK PAVILION - SHANGHAI THERME BATH VALS RUSSIAN DOLL
TOLEDO EXPO 2010
29 30
FORM & TRANSFORM TRANSFORM & MATERIAL
WHOLE & UNFIXED UNFIXED & PART
AEDAS HUSSEIN CHALAYAN ISSEY MIYAKE J. MEEJIN YOON BARKOW LEIBINGER CHRISTOPHER HAAS DILLER SCOFIDIO RENFRO DORIS KIM SUNG
AL BAHAR TOWER CONVERTIBLE TABLE/ PLEATS PLEASE THE MOBIUS KINETIC WALL TRIANGLE OF SQUINCHES BLUR BUILDING BLOOM
SKIRT
PENDA POPULOUS REM KOOLHAAS SHEENA MATHEIKEN ELEGANT ELENA MANFERDINI ELISA STROZYK RYUJI NAKAMURA
BAUHAUS MUSEUM LONDON OLUMPIC PRADA TRANSFORMER THE UNIFORM PROJECT EMBELLISHMENTS CLAD CUT WOODEN FABRIC POND
STADIUM TORRE DE ESPECIALIDADES
HOLL & ACCONCI THOMAS HEATHERWICK TOYO ITO ZAHA HADID SEAN GODSELL PRINGLE OF SCOTLAND SO-IL TESS GIBERSON
STOREFRONT FOR ART & ROLLING BRIDGE THE FORUM LONDON AQUATICS RMIT DESIGN SCHOOL AUTUMN/WINTER 14 STOREFRONT FOR ART & AUTUMN/WINTER 03/04
ARCHITECTURE CENTER ARCHITECTURE
31 32
inspire each other. In this way, the imagery aroused by this investigation is thus denied Future Systems, Selfridges department store — architecture
as a true example of fashion and architecture in a deep rooted unity. Herzog & de Meuron, Dominus Winery — architecture
In order to fully understand this quality, integral to the discussion of fashion Herzog & de Meuron, Ebserswalde Technical School —
and architecture as similar and diverging disciplines, one must dive deeper into these architecture
separate deviations. A study of precedents that take on a blended quality of fashion and Indian Saris — fashion
architecture make present the overlapping features in these objects, textiles, forms, Ivanka, Concrete Fashion — fashion
and innovations. “Architecture” has been reduced down to the concept of identity/fixed Sanaa, Glass Pavilion, Toledo — architecture
and form/whole — capturing the qualities of rigidity, culture, shelter for many, and Tess Giberson, Moments Spring/Summer 2016 — fashion
monumental. On the other hand “fashion” has been simmered down to transformation/ Thomas Heatherwick, UK Pavilion at Shanghai Expo 2010 —
unfixed and material/part — soft, ephemeral, layered, and small in scale. With these architecture
poles, identity/fixed versus transformation/unfixed and form/whole versus material/ Zumthor, Therme Bath, Vals — architecture
part, a matrix was constructed to study the impact of these qualifications on a series of
precedents taken from fashion and architecture. These 46 projects were derived from Identity/Fixed x Form/Whole
Skin & Bones etc. etc. as well as from contemporary projects that exhibit a cross-over Alfred Berger & Tiina Parkkinen, Nordic Embassy, Berlin —
between fashion and architecture. architecture
Analyzing precedents through the use of a matrix allows for comparisons Bohlin Cywinski Jackson, Apple Fifth Ave — architecture
amongst similar and dissimilar attributes to occur graphically in their organization Comme des Garcons, Destroy — fashion
between the quadrants. Frank Gehry, Gehry Residence — architecture
Izzy Camilleri, Iz Adaptive — fashion
Material/Part x Identity/Fixed Jean Nouvel, Institut du Monde Arabe — architecture
Apple stores — architecture McKim, Mead, & White, Girard Bank — architecture
Caroline McCall, Downton Abbey costumes — fashion Renzo Piano, Tjibaou Cultural Center — architecture
Catholic School Uniforms, U.S. — fashion Viktor and Rolf, Russian Doll — fashion
33 34
Form/Whole x Transform/Unfixed Elena Manferdini, Clad Cut — fashion
Aedas, Al Bahar Tower — architecture Elisa Strozyk, Wooden Fabric — fashion
Hussein Chalayan, Convertible table/skirt — fashion Nle, Makoko Floating School — architecture
Issey Miyake, Pleats Please — fashion Pringle of Scotland, Autumn/Winter 2014 — fashion
J. Meejin Yoon, The Mobius — fashion Ryuji Nakamura, Pond — architecture
Penda, Bauhaus Museum — architecture Sean Godsell, RMIT Design School — architecture
Populous, London Olymipic Stadium — architecture SO-IL, Storefront for Art and Architecture — architecture
Rem Koolhaas, Prada Transformer — architecture Tess Giberson, Autumn/Winter 2003/2004 — fashion
Sheena Matheiken, The Uniform Project — fashion While fashion and architecture are represented in each section certain disciplines
Steven Holl & Vito Acconci, Storefront for Art and dominate various quadrants.
Architecture — architecture “Material/Part x Identity/Fixed” is comprised of projects where the identity
Thomas Heatherwick, Rolling Bridge — architecture of an organization, theme, or individual is delivered through the material selection
Toyo Ito, Forum for Music, Dance, & Visual Culture — and use. Almost evenly split between the two disciplines identity in material is easily
architecture recognizable in Indian Saris, costumes for a period-piece, a department store facade,
Zaha Hadid, London Aquatics Center — architecture and a chain of electronic stores for example.
In “Identity/Fixed x Form/Whole” the identity of the organization, theme,

Transform/Unfixed x Material/Part or individual is manifested through the form of the object, piece, or building. In this
Barkow Leibinger, Kinetic Wall — architecture case, architecture dominates where form is objectified and at time becomes the icon
Christopher Haas, Triangle of Squinches — architecture of the organization. For example, the Renzo Piano Tjibaou Cultural Center derives
Diller Scofidio Renfro, Blur Building — architecture its form from regional architecture, therefore the massive size creates an architecture
Doris Kim Sung, Bloom — architecture which expresses the culture of Tjibaou through its architecture. Additionally, the
Elegant Embellishments, Torre de Especialidades — neo-classical and grand gestures at McKim, Mead, & White’s Girard Bank suggests
architecture the structure, and thus organization, is strong, trustworthy, and dominant. This
35 36
architecture can be seen through many banks across the world as the prevailing
architectural style for banks and judicial systems.
“Form/Whole x Transform/Unfixed” is a category where the form transforms

and changes as a meansn to adapt, adjust, or represent aspects of the building, piece,
or organization. Surprisingly, there are mostly architectural projects in this category,
especially since architecture is typically preceived as rigid and stable. The two most
dynamic projects in this section are the Prada Transformer and the Unifrom Project.
With transformer a single form is rotated, with cranes, to accomodate four different
floor plans that match with programming such as: fashion exhibition, art exhibition,
cinema, and special event. The Uniform Project similarly utilizes a single black
jumper and challenges participants to rewear the black jumper everyday creating new
outfits from placing it under or over other pieces of clothing to create a pleathora of IMAGE 12
DILLER SCOFIDIO + RENFRO’S BLUR BUILDING + J. MEEJIN YOON’S MOBIUS DRESS
combinations.
Finally “Transform/Unfixed x Material/Part” reflects those projects where
the material quality changes the use or perception of the building or piece. In Elena
Manferdini’s Clad Cut an elegant blush colored dress is created out of a lightweight
material. To add detail to the piece the back is laser cut in a diamond pattern, leaving
parts of the shapes connected to the larger piece of cloth. In this way, part of the shapes
hang and drape down off the back adding dimension and variation through movement
or air movement. Diller Scofidio Renfro’s Blur Building similiarly uses the material of
fog to disguise what may or may not be a building. With this illusion, the fog creates
and masks the architecture, ever changing in the blowing wind and consistently
ephemeral.
37 38
Chapter 3
Time and Sections
TIME AS A DIFFERENTIATOR
I’m a huge fan of contemporary culture...Fashion is the medium
00
with its finger on the pulse [of culture]. It’s so fast, it’s so quick.1
ry
ua
0
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— Mark Newson, designer, on fashion
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00
feb
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ar
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00
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Many buildings of the twentieth century continue to effectively ay
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relate to culture by creating sensations and affects...They build ne
00
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expressions out of an internal order that overcome the need to 0
y0
‘communicate’ through a common language, the terms of which jul
may no longer be available. It is paradoxically in this way that me

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0
sch
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building expression remain resilient in time.2
g/
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ig n
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03
sep
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wo
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Having established that fashion and architecture are alike and thus proving
in g
d e si g n
/ su
october r 00
03 novembe
mm
d e v el o p m
er
men’s f
that hypothesis through an analysis of precedents, the next step was to study how they
e nt
a ll / w i n t e r
september 03 december 00
women’s fall/winter
are divergent from one another a critical element in order to truly understand what an august 03 january 01
architecture for fashion can be. The chosen medium for this was through time. Time july 03
february
01
c o nst r
u cti o n
offers a neutral force with which both disciplines must contend. Studying the temporal 03 marc
h
d oc u
june 01
nts me
differential directly relates to the divergence of fashion and architecture which speaks may
03 apr
il 01
to the speed at which styles change and time it takes for projects to be completed. ril
03 ma
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bid
ap 1
03 jun
There are also many interpretations of what time is: speed, a placement within a ma
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1
03
ry ju
ua ly
br
sequence, past/present/future, or a qualitative value.
01
fe
03 c o n str au
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ministration
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Contemporary writings on fashion and architecture and discussions about
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the disciplines aided in the development of a lexicon for time in relation to fashion
ve
02
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02
1
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01
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and architecture. Typically authors use the ephemeral quality of fashion and the rigid,
02
febru
t
sep
01
ust
ar y
march 02
aug
ary 0
02
july 0
june 02
may 02
april02
2
1 Howarth, Dan. “Architects ‘Don’t Have a Clue about Fashion’ Says Marc Newson.” Dezeen. June
16, 2014. Accessed October 13, 2015. http://www.dezeen.com/2014/06/16/marc-newson-architects-
IMAGE 13
designers-fashion-gstar-raw-interview. TIMELINE: FASHION SEASONS VS ARCHITECTURAL PROJECTS
41 42
slow properties of developing architecture to argue how they diverge. Acknowledging begun to take shape versus architecture who traditionally worships it’s ancient
the terms used, by scholars, architects, and fashion designers, a list was created of past, using it as the best model for the discipline
opposites to describe time according to fashion (unattainable, cyclical, fast, future, growth versus decline — fashion grows as styles change, one’s closet is full of
growth, interval, calendar, ephemeral, season, and night) and architecture (continuous, last season’s trends but wanting what is current; the many fashion seasons within
day, linear, clock, attainable, timeless, slow, era, past, and decline). Below the the year provide an annual backlog of out-of-date styles versus architecture who’s
differences and relationships are described: structures live in the public world indefinitely (or at least expected for 50 years)
unattainable versus attainable — fashion’s every changing sense of style thus they are always in a state of decay due to weather, politics, economics, or
properties are unattainable as in when one feels they are able to be “in fashion” technology
the fashion has changed for that exact reason versus architecture whose styles interval versus continuous — fashion with its many annual seasons operates at
have longer lifespans due to the time-intensive constructing and designing intervals — spring/summer, fall/winter versus architecture who is not defined by
process, almost anyone may build within the “current” architectural style intervals and therefore may develop and transform seamlessly and continuously
cyclical versus linear — fashion runs cyclically with styles coming back every calendar versus clock — fashion follows a strict calendar as to when and where
30-50 years3 versus architecture whose styles proceed in a linear path, building the new seasons are displayed at shows (Paris for Haute Couture January, New
off of the past but innovating for the future in technology, structure, and material York for New York Fashion Week in September) versus architecture which may
properties be seen as being affected by the clock — buildings are designed with nighttime
fast versus slow — fashion, as mentioned above, is ever changing and thus a fast and daytime occupations in mind (i.e. lighting and access)
discipline where elements are constantly in flux versus architecture whose goal is ephemeral versus timeless — fashion ever-changing and unattainable is most
for health, safety, and welfare must adhere to rules and regulations making the often referred to as an ephemeral discipline for its short seasons and styles versus
design and construction process slow(er) architecture whose monumental, historic, and notable structures are revered and
future versus past — fashion constantly looks to the future, as one style takes the are viewed as timelessness examples
catwalk the next season (which is expected to be completely different) has already season versus era — fashion operates within their prescribed seasons with
spring/summer and fall/winter being the largest, haute-couture and resort are
3 Sproles, George B. “Analyzing Fashion Life Cycles: Principles and Perspectives.” Journal of
Marketing 45, no. 4 (1981): 116-24. Accessed August 10, 2015. http://www.jstor.org/stable/1251479. smaller seasons versus architecture whose styles live within eras such as the
43 44
modern movement, post-modern, Greek, Roman, etc.
night versus day — fashion, with its associated parties and celebrity basis, is most
easily connected to the night where gowns, dresses, and suits may be found in
clubs, on the street, at the gala, or on the couch; charity events such as Fashion’s
Night Out attached fashion to nocturnal hours versus architecture, typically
experienced during the day when one goes to work, walks on the street, visits a
restaurant, or attends a museum
The above detailed description of time as they relate to fashion and architecture are not
a complete set, but a snapshot of the temperal disparity.
From the terms, each of these qualities of time were depicted in a series of
small, 2”x2”, models. In this way a two-dimensional glossary and interpretation of
fashion and architecture was translated in three-dimensional volumes. These attempt
to encapsulate the properties of time while creating a space to be used architecturally.
The models are used as an algorithm to create a deeper understanding of
their meanings towards an architecture for fashion. In utilizing the terminology and
IMAGE 14
3D REPRESENTATIONS OF TIME
representation of temperal volumes, they were then organized in a myriad of modes
which relate them to each other in a unique but rational fashion. They are characterized
in the following ways:
Fashion versus architecture
fashion: interval, unattainable, cyclical, calendar, ephemeral, fast, season, future,
growth, night
architecture: continuous, attainable, linear, clock, timeless, slow, era, past,
decline, day
45 46
Physical characteristics
time as... tower: clock, growth, decline
fashion architecture circle: cyclical, ephemeral, fast, slow

volume: attainable, timeless, past, future, night, day
F, P, E, —, ∆, 4, 6, 10
interval continuous A, P, M, +, ∞, 2, 5, 9 plane: interval, continuous, unattainable, linear, calendar, era, season
F, P, M, —, ∞, 4, 8, 11
unattainable attainable A, V, S, —, ∆, 4, 8, 9 Programmatic relationships
F, C, M, +, ∞, 2, 7, 10
cyclical linear A, P, E, +, ∞, 4, 8, 9 make: continuous, unattainable, cyclical, fast, future, growth, day
F, P, E, —, ◊, 2, 5, 11
calendar clock A, T, E, о, 2, 5, 9 exhibit: interval, linear, clock, calendar, ephemeral, season, night
F, C, E, +, ∆, 2, 6, 11
ephemeral timeless A, V, S, —, ∞, 1, 7, 9 save: attainable, timeless, slow, era, past, decline
F, C, M, +, ∆, 4, 8, 11
fast slow A, C, S, +, ◊, 1, 6, 11 Opposites
F, P, E, —, о, 2, 5, 11
season era A, P, S, —, ◊, 1, 6, 11 interval/continuous, attainable/unattainable, cyclical/linear, clock/calendar,
F, V, M, +, ∞, 3, 7, 9
future past A, V, S, —, ∞, 1, 7, 10 timeless/ephemeral, fast/slow, era/season, past/future, growth/decline, night/day
F, T, M, +, о, 3, 7, 10
growth decline A, T, S, +, о, 1, 7, 10 Active versus inactive
F, V, E, —, о, 3, 6, 9
night day A, V, M, +, о, 2, 6, 10 active: continuous, cyclical, linear, clock, ephemeral, fast, slow, future, growth,
decline, day
fashion vs architecture active vs inactive measurement &
a = architecture + = active regulation inactive: interval, attainable, unattainable, calendar, timeless, era, season, past,
f = fashion — = inactive 5 = strict measurement
6 = loose
physical characteristics length of time measurement
c = circle ∞ = continuing 7 = no measurement night
p = plane ◊ = long 8 = n/a
t = tower о = medium
v = volume ∆ = short spatial enclosure Length of time
9 = enclosed
programmatic sequential relations 10 = semi-enclosed
relationship 1 = past
11 = unenclosed
continuous: continuous, unattainable, cyclical, linear, timeless, past, future
m = make 2 = present
e = exhibit 3 = future
s = save 4 = n/a long: calendar, slow, era
medium: clock, season, growth, decline, night, day

short: interval, attainable, ephemeral, fast
IMAGE 15
ANALYSIS OF TIME MODELS
47 48
Sequential relations
past: timeless, era, past, decline
present: continuous, cyclical, clock, calendar, ephemeral, season, day

future: future, growth, night
not applicable: interval, attainable, unattainable, linear, fast, slow
Measurement and regulation
strict measurement: continuous, clock, calendar, season
loose measurement: interval, ephemeral, era, night, day
no measurement: cyclical, timeless, past, future, growth, decline
not applicable: attainable, unattainable, linear, fast, slow
Spatial enclosure
enclosed: continuous, attainable, linear, clock, timeless, future, night IMAGE 16

SEQUENTIAL RELATIONS: PRESENT
semi-enclosed: interval, cyclical, slow, past, growth, decline, day
unenclosed: unattainable, calendar, ephemeral, fast, era, season
“Fashion and architecture” and “programmatic relationship” are seen as the most
influential for an architecture for fashion. With these qualities all volumes represent
not only the disciplines in concentration but they also have a direct relationship to the
function of the building. Therefore, the models and temporal values were organized
firstly alternating between fashion and architecture and then, secondly, according to
ones that represent “make,” then “exhibit,” then “save” as in the path of the fashion
design process.
49 50
SECTIONAL STUDIES
I was also impressed by [Rei] Kawakubo’s desire to create a total Clock — architecture, exhibit
environment for her work — one that embraces not only the clothes Future — fashion, make
but also the design of retail spaces, graphics, and furniture,
much in the same way memeber of the Wiener Werkstatte or the Attainable — architecture, save
Bauhaus strove to create a Gesamtkunstwerk.4
Growth — fashion, make
— Brooke Hodge in the introductory piece to Skin + Bones
Timeless — architecture, save
Interval — fashion, exhibit

At this stage in this architectural thesis on fashion and architecture the models
Slow — architecture, save
held the most weight as they not only encapsulate all thought in relation to fashion
Calendar — fashion, exhibit
and architecture, but also to the precedents and time. Although they are not yet
Era — architecture, save
architecture, just simply diagrammatic volumes of time.
Ephemeral — fashion, exhibit
With the intense taxonomy of the models (as detailed previously) they may be
Past — architecture, save
organized sequentially according to any of the themes. A building is the goal for this
Season — fashion, exhibit
process and therefore must exist within a situation. Here, an edifice for fashion will be
Decline — architecture, save
comprised of space for all aspects of the fashion design process. Simplified, they may be
Night — fashion, exhibit
understood under the terms: make, exhibit, and save. Therefore, the designated order is
as follows:
Continuous — architecture, make
Unattainable — fashion, make
Day — architecture, make
Cyclical — fashion, make
Linear — architecture, exhibit
Fast — fashion, make
Compiled by Brooke Hodge. New York: Thames & Hudson, 2006. 11.
51 52
IMAGE 17
3 PERSPECTIVES OF 20 VERSIONS OF TIME (2 PAGES)
53 54
Through photography, images were captured of each of these models in the
same position and light. With this they were translated back into a two-dimensional
language and thus the trend of two-dimensional to three-dimensional to two-

dimensional continued. As images they were manipulated digitally and were strewn
together in a video with a crossfade between each individual image of a model of time.
Here, at the crossfade of two models, a photo merge was generated — giving a third
image as output. In this way a visual became available for the three-dimensional
equivalent. For example, the sequence begins with continuous, unattainable, day, et
cetera the crossfade between the images allows for a merged image of continuous/
unattainable and unattainable/day. These images provided the springboard for a
further architectural investigation.
IMAGE 18
MERGED IMAGES OF TIME: POSITIVE & NEGATIVE
55 56
PROGRAM DATABASE
In a sense, I’m into fashion because it contains the mood of the

day, of the moment — like music, literature, and art. I am also very
fascinated by the way on can transform cloth and make it do
things that it doesn’t always do. Architecture is how the person
places herself in the space. Fashion is about how you place the
object on the person.5
— Zaha Hadid in an interview with Vogue
In detail, the program may be further described as:
Make — drape, pattern, stitch, material, detail, test — A space that accommodates
the creation of a piece or collection of fashion. This segment incorporates the
activities of sketching, prototyping, material selection, construction of garments,
material tests, and revisions.
IMAGE 19
MAKE SPACES
5 McCready, Louise. “Form in Motion: Architect Zaha Hadid on Her Exhibit at the Philadelphia
Museum of Art.” Vogue.com. September 23, 2011. Accessed January 27, 2016. http://www.vogue.
com/873780/form-in-motion-architect-zaha-hadid-on-her-exhibit-at-the-philadelphia-museum-of-
art.
57 58
Exhibit — exhibit, runway, publicize, print, stage, spectacle — The public aspect
of fashion design; exhibit involves the runway shows, presentations, photo shoots,
and press related functions. Additionally special events for charity, such that are
associated with fashion design, occur here where the space is available for large
functions.
IMAGE 20
EXHIBIT SPACES
59 60
Save — archive, store, preserve, display, restore, curate — With the superfluous
amounts of clothing designed and generated each year (i.e. 40 garments in a
collection multiplied by 4 collections per year equals 160 garments per designer
each year) a space is generated for storing and preserving these works. Here the
saving aspect is in protected archives and open museum space so that the pieces
may be referenced.
IMAGE 21
ARCHIVE SPACES
61 62
Chapter 4
Becoming Architectural
ARCHITECTURAL SPACE FOR FASHION
DESIGN
Cultural events could be hosted in stores. Activities other

than shopping could take place after store hours.... Constant
transformation can occur throught the application of ‘wallpaper’:
a range of store elements that can mutate faster than the
architecture itself.1
Images representing fashion and architecture through volumetric
interpretations of time, the next step was to translate this into a three-dimensional,
architectural space. Viewed as sections through a space, these merged images were
placed into a perspective in sequence, as if slices of bread. Utilizing an algorithm,
connections were drawn between each section. The rules were as follows: firstly, each
line needed to join the two unique forms rather than the form that carried from the
first section to the next. For example: in growth/timeless to timeless/interval, lines
of connection must be drawn between the form signifying growth and interval as
they are unique in each merge set. With this, variation evolves along the length of the
contrived form. Additionally, each edge of the merged forms must be addressed with
the drawn lines. In this way a shape that suggests a three-dimensional space emerges
out of the two-dimensional merged time interpretations. This figure was completed
with transparency and it was shaded in three shades of gray, suggesting floor, wall,
and roof.
With this conglomeration of time, fashion, architecture, making, exhibiting,
and saving a form is brought to life following the prescribed sequence of temporal
volumes in a linear path. Shaded to suggest surface and cover, the form takes on a life
IMAGE 22
1 Koolhaas, Rem. Prada: Projects for Prada. Milano: Fonzazione Prada Edizioni, 2001. MERGED MODELS
65 66
IMAGE 23
SECTIONAL CONNECTIONS
67 68
IMAGE 24 IMAGE 25
AN OBJECT, AN INTROVERTED SPACE, A BROAD VOLUME PATTERN TO FORM TO INTERIOR SPACE
69 70
of its own. But how big is it? What goes on inside? its proportions is lost, therefore the architectural volume becomes a shell rather
A series of scale studies explored this inquiry digitally: than a part of the life and process.
An Object — Viewers interact with the form from the exterior. Seen from above
and adjacent, the viewer may pay witness to the detail of cross-sections depicting In three-dimensions a similar challenge was tested, how to use these cross-
time through their ability to get up close to the form. While depicting fashion sections depicting time to create enclosed volume or space. A pattern was made to
and architecture, it does not lend itself to the use of space for the fashion design create a three-dimensional form out of flat foam-core as a single piece. Through
process: make, exhibit, save. Rather this object becomes an abstraction of what accounting for material thickness, scoring and cutting a cruciform-like shape emerged,
was studied so closely. Neither inhabitable nor wearable this object becomes the which upon folding created a prism. Within the interior of the flattened prism lines
other that fashion and architecture are not. were scored every 1/2” on each plane which would become the bottom, long sides, and
An Introverted Space — This interpreted scale is for one or two persons per top of the prism. In these slits the merged images of the time models were placed as
segment. Sized to accommodate a specific task yet not for a complete purpose or if cross-sections within this prism of a structure. Printed on acetate for transparency
process. In an introverted space one may work on the aspect of make, exhibit, and translucence the images occupied all sides of the prism in the prescribed sequence
or save that correlates with the depiction of time between rooms. Although this (i.e. architecture then fashion, make, exhibit, save). When the box is folded over to
scale becomes inhabitable it fails to accommodate the collaborative atmosphere create the prism form, the images affixed to each side move with it generating a series
of each discipline. Activities are bifurcated by the architecture itself leaving no of sections within the box (or building). This two-dimensional to three-dimensional
accommodation for the fluidity of the design process. One may need to repeat translation achieved an activated space that contains the qualities of fashion and
steps and in this scale, it is impeded. architecture through the interpretated lens of time.
A Broad Volume — In this perspective on scale occupants freely float between the
forms as if they are structural bays. The lofty, open, linear warehouse-like space
accounts for fluidity throughout the design process and keeps itself on the fringe
of the work inside. But with the availability of space and air comes with it the
impersonality and inflatable scale architecture veers toward at times (i.e. temples
scaled for giants rather than humans). The connection to the individual body and
71 72
LOGISTICS AND MATERIAL PRECEDENTS
Fashions are, by definition, temporary cylical phenomena Open — a change from a barred space to an exposed space with the ability to
adopted by consumers for a particular time and situation.2 enter, rotation about an axis
Slide — a change in a vertical or horizontal direction of plane that bars entry to

In thinking about the merged images as sections through a space, a logistical
one that allows crossing or vice versa
question at this point manifests: how does one move between spaces? As an exploration,
Climb — a physical movement along an arduous path, either
the summary below examines many options as they relate to a building, but it also
horizontally or vertically, must be an object or force in the path of travel
describes the necessary elements one needs to understand they are passing between
spaces.
In traveling towards an architectural interpretation of fashion and architecture,
Entry/Exit — must have two distinct spaces separated by a defined threshold
material is key to a hearmonizing success. Architecturally materials are rendered
Border — a defined threshold whether physical or psychological, requires
in abstract as the building is designed due to the large scale of the work, weight of
periphery
materials, and lack of ease or readiness with which to work. Chipboard impersonates
Path — a path defined by borders, can follow between or along or through spaces,
brick or concrete, while plastic suggests glazing. Additionally, most materials used in
an extension of a space
full-scale architecture require time and effort to get them to the point where they may
Vertical — a change in the Z direction, level changes, or views of below required
be used: concrete must be poured and cured, wood pressure-treated, brick adhered
Outside/Inside — similar to entry/exit, but a shelter or enclosure is required on
with mortar. On the other hand, with the length of time to get an architectural project
one side
from paper to reality it affords the flexibility to experiment with material properties or
Public/Private — a change in openness and exposure to the outside
research new innovations.
Object — a physical indicator detailing changes, divider
In fashion, materials are chosen based on a relatively set array (cotton, scuba,
Through — movement from beyond, into, and past
stretch-knit, polyester, etc.) these are then able to be produced in a myriad of patterns
Between — a physical or psychological indicator that one is passing in the middle
and colors, generally to order. Due to their quick production and standard foundations,
of two objects or spaces
the fashion design process benefits from utilizing the final materials from the onset, if
2 Sproles, George B. “Analyzing Fashion Life Cycles: Principles and Perspectives.” Journal of desired. Typically, a prototype is made in muslin (an inexpensive, unbleached cotton)
Marketing 45, no. 4 (1981): 116-24. Accessed August 10, 2015. http://www.jstor.org/stable/1251479.
116. to address fit, proportions, and details. After which the final product is made out of the
73 74
final material and minor adjustments occur. Fashion in its quick moving seasons and rods creating shelter and enclosure. It can take the form of a hypar structure,
developments cannot indulge in more time to change concepts, material approaches, barrel vault, conic structure, or dome. Additional water resistance is applied
or utilize fabrics with longer lead times than expected, therefore perhaps hindering to the material to allow equipment to be housed below. Due to the form the
innovation in materiality. polyester can create and its weather-resistance, it is seen as an ideal fabric for
To compare and contrast the use of materials, concrete and polyester were exterior use.
chosen to explore their uses in each discipline. Concerning material the two disciplines have a diverse set of priorities. Architecture
Concrete — In architecture, concrete is used for mass, weight, and strength to values strength, durability, and resistance to weathering while fashion emphasizes
deliver a comprehensive concept. It is commonly formed or stacked, monolithic flexibility, durability, and aesthetics. The availability of material at hand and freedom
or punched-through to surround and create structures of importance and form to explore their properties also accounts for materials chosen. An architecture for
tall, short, long, or squat. There are few things concrete cannot achieve for fashion must account for these material sensitivities while holding true to what is
architecture; innovations in engineering have allowed most dreams to be realized useful for its purpose, to shelter and house the fashion design process.
in concrete. As for fashion, concrete is typically superficial. Providing little
structural or formal value, concrete is applied to the fabric for aesthetic value or,
rarely, for added durability. Consequently, though, concrete is rigid and hardens
thus is not practical for everyday wear, therefore fashion incorporating concrete
is looking to express hardiness, strength, and an austere appearance rather than
for prosaic use.
Polyester — Fashion utilizes the inorganic material polyester in many pieces.
Known for its flexibility, low production cost, durability, and significant amount
of varieties, polyester can be found in almost every sector of society. The water-
resistant qualities and ability to retain its shape allows the material to be used
in a variety of fashions. Such as sports weat, work-wear, and high-fashion.
Architecturally, polyester is used in tensile structures where it is pulled between
75 76
the architecture of polyester : tension the architecture of concrete: comprehensive
hypar barrel vault formed stacked
conic inflatable monolithic punched
the fashion of polyester : compression the fashion of concrete: superficial
IMAGE 26 IMAGE 27
WAYS TO TRANSITION MATERIAL STUDIES
77 78
Chapter 5
Client and Culture
CLIENT AND CULTURE
Architecture is how the person places herself in the space, whereas defensive clothing.3 Architecturally, it can be seen that workplaces follow the same
fashion is about how you place the object on the person.1 trend. Originally these were tradesman shops full of tools and materials for creating
and making, but as technology developed many professions became confined to a

The Fashion & Technology Lab exemplifies all quantities necessary for the
desk and paper, typewriter, or computer. Shops became large small backrooms, to
success of a facility based on fashion, innovation, and collaboration. As a start-up
separate buildings, to large office parks. Only now that technology has advanced to
incubator their mission is to select, mentor, and guide fresh designers and fashion
make tools smaller and the importance of quality spaces for human psychology has
brands through implementation into the fashion industry. In light of the rapid interest
been illuminated do we see architecture adapting once again to open, smaller spaces
and development in “fashion tech” fashion labs are growing and requiring more
more connected to the human form. With this co-working spaces and alternate work
flexibility, equipment, and types of spaces to accommodate their upward trajectory. 2
locations (i.e. conference spaces, and cafes) are evolving to be the contemporary
In the case of F&T, not only are they already associated with Paris as their home, they
model of workplaces. The question now is what is the current state of fashion and its’
also rely on that relationship in their partnerships with local design companies and
connection to technology, and where is it going?
industry leaders. With this a new architectural project will allow them to have a series
The fundamental purpose exemplified by the Fashion & Technology Lab is
of spaces that align with their incubation path, providing enough flexible space for
to provide business support and creative guidance to fashion designers and fashion
designing, prototyping, presenting, exhibiting, and archiving.
startups. With this they offer two trajectories, a customized selection of services and
One of the deepest roots to fashion and technology can be found in the
support (research/trends, sourcing/production, costing/selling, collaborations, etc.)
medieval practice of making armor. Combining security, body movement/shape/
or their application and acceptance to their incubation program. These two offerings
proportion, and new material technologies to output something wearable truly is
are aimed to help launch young fashion designers and fashion businesses with the help
the basis of this facility type. As material understandings changed from leather,
of their guidance and “ecosystem” — a network of mentors, partners, and sponsors.
to metal plate, to the composites of today so did workspaces needed to create the
The ultimate purpose of their business model is to “foster the next big Fashion Tech
1 “Zaha Hadid and Rem D. Koolhaas On Designing A Shoe For The 21st Century,” Co.Design.
Startups and Designers.” F&T is different from similar incubators and consultant
August 30, 2012, accessed March 09, 2016, http://www.fastcodesign.com/1670683/hadid-koolhaas-
conversation. companies in that not only do they combine the two, but they are also specialized in
2 Koplovitz, Kay. “Fashion Tech Labs Are All the Rage: A Guide to 11 Fashion Tech Labs and
What They Offer.” Forbes. July 31, 2014. Accessed June 30, 2015. http://www.forbes.com/sites/
kaykoplovitz/2014/07/31/fashion-tech-labs-are-all-the-rage-a-guide-to-eleven-fashion-tech-labs- 3 “Armour.” Wikipedia. March 2, 2016. Accessed March 10, 2016. https://en.wikipedia.org/wiki/
what-they-offer. Armour.
81 82
the fashion industry, pairing fashion and technology together. This means that they
are a niche company who depend on finding new talent and innovations to further
their business model and development. With their business services they establish a
community of colleagues within the community and look to solve specific problems.
While the incubator side of the business seeks departure from the norm to build a
fashion brand from the bottom up so the logistics of setting up a company to the
production of garments.4
A unique political situation is set up by this building type and client. The
architecture must to accommodate for the full process of fashion design from concept
through exhibition to archive. On the other hand, if the designers themselves are
excluded from making architectural and spatial decisions, how can the building start to
respond to what they need when they need it? Through flexibility and transformation
in form and material. Additionally, there is a greater audience serviced by this space IMAGE 28
IMAGE FROM FASHION & TECHNOLOGY LAB WEBSITE
which belongs to the community and general public. How can the architecture start
to include everyone so as not to become an elitist building serving a presumed elitist
industry? Through critically understanding the potential for adaptation and openness,
this has allowed for a more just and appropriate building for its services and those who
are affected by it. Integration and fluidity between make, exhibit, and archive space
allow for this interaction to begin to occur.
4 “Fashion & Technology Lab.” Fashion & Technology Lab. Accessed July 1, 2015. http://
fashiontechnologylab.com/en.
83 84
Chapter 6
Site and Context
SITE AND CONTEXT
The best fashion show is definitely on the street – always has

been and always will be.1
— Bill Cunningham
I was stationed in the southwest of France. I’d take the train up to

Paris. Of course it was very different from today. They were only
couture houses. They were clothes that gave women enormous
security through the elegance of cut and taste and refinement.
There was nothing frivolous about them.2
— Bill Cunningham
Located within the city of Paris, a new architecture for fashion will nestle
itself within the historic urban fabric and developing modernity of this global city.
Situated on the Rue de l’Ourcq the site inhabits 1,371 m2 (14,757 ft2) of residual space
between the existing buildings on Rue des Ardennes to the East, Avenue Jean Jaurès
to the south, and the Petite Ceinture rail line to the west and north. Access to the
IMAGE 29
site is through a vaulted passage under the defunct rail line on the west. Although SATELLITE PHOTO OF SITE
the site is surrounded at ground level by infrastructure and adjacent buildings with
little to no view out to the street, at higher elevations the site offers views toward
Sacre Coeur (cathedral on a hill), La Defense (high rise development on the western
periphery of the city), and the northern suburbs. The site was selected and described in
the international competition Reinventer.Paris hosted by the City of Paris challenging
design firms to design for Paris’ future. A sample of some relevant limitations and
characteristics outlined in the competition are below:
1 Bill Cunningham New York. Directed by Richard Press. First Thought Films, 2010. https://www.
netflix.com/search/bill cunningham?jbv=70141814&jbp=0&jbr=0.
2 Ibid.
87 88
Height limit: 31 meters / 101.7 feet
The vaulted entrance is “noted in the local urban development plan for [its]
heritage, landscape, and cultural value” — Historic Monument protection zone

Goals for the redevelopment of the neighborhood:
“The preservation and development of trade and business, including the
restricting of the Petite Ceinture vaults and buildings”
“The creation of green spaces”
“The reconfiguration of public spaces”
With the high visibility of the vaults leading into the site from the southern
Avenue Jean Jaurès, it is critical to choose a building program that maintains
an “urban appearance” and “redefines the railway line by giving it a powerful

IMAGE 30
THE SITE’S LOCATION WITHIN PARIS
identity”
With these unique situations and goals outlined, one may begin to understand the
unique nature and critical location as the building must react to many urban elements.3
Paris is known for its relatively mild climate, also referred to as an
Oceanic Climate or Maritime Temperate Climate according to the Koppen Climate
Classification.4 In general these climates feature cloudier skies along with their cool
summers and moderate winters.5 Snow can be found falling on Paris annually although
it does not always stick to the ground due to temperatures typically hovering above
freezing; average highs range from 7.2°C - 25.2°C (45°F - 77.4°F) with lows averaging
3 “Ourcq-Jaurès.” Ourcq Jaurès (19e). Accessed August 1, 2015. http://www.reinventer.paris/en/

sites/1243-ourcq-Jaurès-19e-19e.html.
4 “Köppen Climate Classification.” Wikipedia. March 10, 2016. Accessed March 10, 2016. https://
en.wikipedia.org/wiki/Köppen_climate_classification.
5 Ibid.
89 90
Climate Variable Jan Feb Mar Apr May June July Aug Sep Oct Nov Dec Annual Paris, France Climate Graph (Altitude: 75m)
30 100
Avg Max Temp 6 (4x3) 7 (45) 12 (54 16 20 23 25 24 21 16 10 7 (45) 16
°C (°F) (61) (68) (73) (77) (75) (70) (61) (50) (60)
Temperatures/Wet Days/Sunlight/Daylight/Wind Speed/Frost

Avg Temp °C 4 (38) 4 (39) 8 (46) 11 15 18 20 19 17 12 8 (46) 5 (40) 12 90
(°F) (52) (59) (64) (68) (66) (62) (54) (53)
Avg Min Temp 1 (34) 1 (34) 4 (39) 6 (43) 10 13 15 14 12 8 (46) 5 (41) 2 (36) 8 (46) 25
°C (°F) (50) (55) (59) (57) (540 80
Avg 56 (2) 46 (2) 35 (1) 42 (2) 57 (2) 54 (2) 59 (2) 64 (3) 55 (2) 50 (2) 51 (2) 50 (2) 619
Precipitation (24)
Relative Humidity/Precipitation
mm (in) 70
Wet Days (% 17 14 12 13 12 12 12 13 13 13 15 16 162 20
rain prob) (55) (50) (39) (43) (39) (40) (39) (42) (43) (42) (50) (52) (44)
60
Avg Sunset Hrs/ 1h 54’ 2h 54’ 5h 07’ 6h 30’ 7h 27’ 8h 06’ 7h 46’ 7h 03’ 5h 58’ 4h 03’ 2h 00’ 1h 29’ 5h 02’
Day
Avg Daylight 8h 45’ 10h 11h 13h 15h 16h 15h 14h 12h 10h 9h 07’ 8h 19’ 12h 0’ 15 50
Hrs/ Day 05’ 49’ 39’ 15’ 05’ 42’ 19’ 32’ 42’
% Sunny 22 29 44 48 50 51 50 50 48 39 22 18 42
(Cloudy) (78) (71) (56) (52) (50) (49) (50) (50) (52) (61) (78) (82) (58) 40
Daylight Hrs
Sun altitude at 21.3 30.6 41.5 53.1 61.4 64.6 61.6 53.2 41.8 30.4 21.2 17.8 41.5 10
solar noon on 30
21st day (°)
20
IMAGE 31 30
PARIS’ CLIMATE & TEMPERATURE
10
0 0
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Precipitation (mm) Min Temp (˚C)
Max Temp (˚C) Average Temp (˚C)
Wet Days (>0.1 mm) Average Sunlight Hours/Day
Average Wind Speed (Beaufort) Daylength (Hours)
Relative Humidity (%)
IMAGE 32
PARIS’ CLIMATE & TEMPERATURE
91 92
2.7°C - 15.8°C (36.9°F - 60.4°F). Rainfall is typically distributed throughout the year
at an annual precipitation of 652 mm (25.7 in), although some of this does fall in heavy
rainstorms. Darker months will be experienced from November through February

where the mean sunshine hours per month are 65.2. March through October feature
significantly more sunshine hours at a mean of 175.11 per month.6 Forty million years
ago, Paris rested underneath a shallow tropical sea from the north of Europe thus
leaving 400 meters (1/4 miles) of sedimentary deposit. Now these elements have broken
down into chalk, clay, and gypsum and were typically mined within the city. In keeping
these ideas in mind the climatic conditions of Paris were utilized to create a sustainable,
economical, and pleasant space.
As is the case with infill sites, 2 Rue de l’Ourcq is surrounded on all sides.
The Petite Ceinture railway crosses through the site from the north on the west
side. Across the 1,371m2 area (14,757ft2) there is little elevation change, an average IMAGE 33
NORTHWEST ALONG THE PETITE CEINTURE
of 0.6m (2ft), but it sits 4.25m (14ft) above the road along the same plane as the rail
line. Continuing with the western edge, most buildings on the Rue de l’Ourcq range
from 5-6 stories with open-space at the ground level reserved for commercial use or
a semi-private courtyard and residential housing on all floors above. Some of these
buildings are newly built, others renovated with a classical character. There is also
a large fenced-in housing complex along this road which is comprised of at least 6
similarly sized mid-rise towers with the furthest east instance directly across the street
from the site. Rue de l’Ourcq connects to Avenue Jean Jaurès, a major street in the
6 “Paris.” Wikipedia. March 10, 2016. Accessed March 10, 2016. https://en.wikipedia.org/wiki/
Paris#Climate.
93 94
IMAGE 34 IMAGE 35
SOUTHEAST FROM THE PETITE CEINTURE STREET FRONTAGE ON RUE DE L’OURCQ
95 96
neighborhood, to the south and the east end of Rue Leon Giraud to the north. Ourcq
ends at Jean Jaurès but continues north over the Canal de la Villette ending 1.2km (0.75
miles) further north. Continuing to the north of the site, one finds themselves on the
most open edge, where the railway line continues beyond winding behind residential
and commercial buildings and crossing over the aforementioned canal. There is also
an office building at the northeast corner, frontage along Rue des Ardennes, whose
arm extends toward the site. At 8 stories tall, the French location for this chemical
distribution company has a strong presence over the site. On the east end, the site
falls off to meet up at the elevation of the road again, here the land is met by a 3 story
building and a 5 story bank office. Finally the south side of the site features lower
buildings at 2-3 stories housing a karate school. There is also a low stone wall along
this façade. All buildings surrounding the north, east, and south sides are the rearmost
buildings sitting within courtyards beyond those that face the streets Avenue Jean
IMAGE 36
GOOGLE EARTH VIEW TOWARDS MONTMARTRE AND LA DEFENSE
Jaurès and Rue des Ardennes. A lot surrounds the site which sits 100m (328ft) from the
closet underground Metro station — Ourcq.
With this factual understanding of the site, one can make a few conjectures as
to how to utilize and react to the site:
The opportunity to play with topography — As the site is entered from the
street, one must pass under the Petite Ceinture and somehow navigate up to
the +14ft elevation of the earth on the other side. With this there is a design
opportunity to create a meaningful pathway that suggests the change of

experience as one passes from the street to the building.
97 98
IMAGE 37 IMAGE 38
RÉINVENTER PARIS, 2 BIS RUE DE L’OURCQ, 75019 PARIS RÉINVENTER PARIS, 2 BIS RUE DE L’OURCQ, 75019 PARIS
99 100
IMAGE 39 IMAGE 40
RÉINVENTER PARIS, 2 BIS RUE DE L’OURCQ, 75019 PARIS LA PETITE CEINTURE AUJOURD’HUI (THE PETITE CEINTURE TODAY)
101 102
The opportunity to relate to the railway — The Petite Ceinture is a unique
challenge on this site. With no clear future for the abandoned infrastructure, the
site must be designed to be adaptable for each possible trajectory — a walking

path and park space, a light rail system, or kept in its current deteriorating state.
The opportunity to study building siting — Since the project involves
infill and the site is completely surrounded specific reactions occur when the
building(s) are located in different areas around the site. Additionally, noise,
sight-lines, sunlight, and views may all be affected by these studies.
These are just the beginning of a slew of possible site related studies. In this location
treatment of the site will inevitably exist as one of the strongest architectural moves on
the project.
In conclusion the Ourcq-Jaurès site is very complicated. It incorporates
many aspects of typical international cities while throwing in unique parameters. A
deep study of the project site unveils the limited access points where approach and
topography will be manipulated to generate an appropriate path. Sustainable measures
may be easily adapted to this site due to the moderate weather and flexible interior
IMAGE 41
programming. Finally, this site provides that ability to react or directly ignore its SITE DIAGRAM
immediate surroundings. Historical edifice and contemporary mixed use blocks offer
many points of departure for material, aesthetic, and design that must be addressed as
to how this new project will incorporate itself into the urban environment. A rich site
offers a rich array of architectural opportunities.
103 104
Chapter 7
An Architecture for Fashion
AN ARCHITECTURE FOR FASHION
Architecture needs mechanisms that allow it to become 4. Must acknowledge the need for each program function: make, exhibit, save.
connected to culture. It achieves this by continually capturing the 5. Must live in a scale that appropriately accommodates all program functions.
forces that shape society as material to work with. Architecture’s
materiality is therefore a composite one, made up of visible as 6. Must consider transitions as points of contact with temporal quality, i.e. fashion
well as invisible forces. Progress in architecture occurs through
and architecture existing at a single point.
new concepts by which it becomes connected with this material,
and it manifests itself in new aesthetic compositions and affects.1 7. Must retain properties of architecture such as shelter, occupation by many,
rigidity.
Fashion poses a doubled view of a culture: a view of how those
in power want to present that culture; and a view of how, at 8. Must retain properties of fashion such as flexibility, durability, and change.
least within a range of choices, a culture wishes to depict itself.
9. Must create a sensible use of materials that react to the intended properties, use,
While fashion’s options are emptied of their original polemical
structures, the fashion process renovates these options into and occupants.
more socially prolific phenomena, capable of permeating every
stratum of a society without regard to economic or ideological Following these guidelines and sensitives, a series of spaces unfold and evolve as one
diversities.2 passes through and beyond the architectural center for fashion. This work translates
the analogous relationship apparent in the two fields while paying tribute to the unique
Through the tools, techniques, and strategies explored previously a set of rules attributes that hold them apart: scale, material use, and time; while exalting what
may be laid and applied to an architecture for fashion. associations bring them together such as their shared cultural significance. The spaces
1. Must address fashion and architecture, without being architectural fashion or relating to the three aspects of the program — make, exhibit, save — can be read
fashionable architecture. individually yet there is an interdependence between forms and internal functions.
2. Must challenge perceptions of each discipline while adhering to assumptions In utilizing the three-dimensional interpretations of time the architecture
about each so a connection may be made between fashion and architecture. evokes a chaotic sense of movement, focus, and priorities yet simply existing in a real
3. Must communicate the difference in temporal perception and acknowledge the and charged site. A collage of spaces and tempos allows for the architecture to billow,
two interpretations coexisting. accounting for changing needs internally, while impeding adjustment at other edges in
order to exist within the prescribed environment. The architectural center for fashion
Moussavi and Michael Kubo. Actar, 2006. 6. begins to embody the qualities of ephemerality and timelessness that has been rarely
Edited by Deborah Fausch. New York: Princeton Architectural Press, 1994. 142. known to exist.
107 108
Materiality also holds a bipolar significance in this piece. Evoking and
incorporating the material properties necessary for fashion and architecture, it also
allows the formal qualities of the building to speak to the temporal values housed
within. The surface allows for undulations and rigidity, adapting to scale as needed and
creating a space of its own.
As the representational sections of fashion and architecture are placed on the
site, they begin to pull the site toward them. In this manipulation of the ground plane
the architectural center for fashion becomes firmly rooted in its place attempting
to create a singular instance that may never be repeated at other locations, just as
architecture and fashion exist in unique situations. The building cascade from one
temporal representation to the next along the journey of the fashion design process,
circling back to the beginning.
Fashion and architecture, famously interwoven in their foundations come
to a physical realization in this edifice built to complete its purpose, a self-fulfilling
prophecy.
IMAGE 42
CASCADING PERSPECTIVES OF TIME
109 110
Chapter 8
Conclusion
AN ARCHITECTURE FOR FASHION
If architecture is to remain convergent with culture, it needs to against which one may react.
build mechanisms by which culture can constantly produce new As a research project, this thesis thoughtfully integrates an interdisciplinary
images and concepts rather than recycle existing ones.1
focus to reconnect the fields of related arts in hopes that both disciplines will gain
cultural significance and relevance and continue to cultivate and inspire others to share
This thesis tests the hypothesis that an architecture can be designed for
the same values.
fashion that reaches beyond the superficial surface of a flowy facade or structural
garments. It investigates this through a series of small studies related to all aspects
of architectural building design: experientiality, form, function, scale, material,
movement, and structure.
With these understandings, the thesis was a success. An architecture for
fashion was designed thoughtfully and evoking deeper properties of both disciplines.
On the other hand, the thesis was a failure. It showed that while “an”
architecture may be created, but it is not “the” architecture for fashion. Both terms
hold a significant amount of weight in today’s world where architecture makes a nice
accessory and fashion is the law. There is virtually no way to completely grasp the
two disciplines’ complete significance and values in a single year let alone a lifetime.
Additionally, the ephemerality of fashion and changes in its formally traditional
market pattern allows the industry to remain elusive and unattainable for one to grasp.
Architecture also is at an influx of development and change. Technology is continually
changing and inspiring not only the minds of the designers, but also the ability of
engineers and contractors; it seems that the field is at a point where there are no limits.
Additionally the absence of a single theme or trend in architecture creates a varied field
113 114
Appendix
Images and Bibliography
IMAGES
Image 01 Miller, Meredith. Architecture as Wearable Object #1. 2015. Digital. Image 17 Miller, Meredith. 3 Perspectives of 20 Versions of Time. 2016.
Photographs.
Image 02 Giberson, Tess. Structure #1. Autumn/Winter 2003-2004. Fabric
and wood. Source: http://www.vam.ac.uk/users/node/3060 (Accessed Image 18 Miller, Meredith. Merged Images of Time: Positive & Negative. 2016.
March 11, 2016). Digital Collage.
Image 03 de Portzamparc, Christian. House of Dior. Source: http:// Image 19 Miller, Meredith. Make Spaces. 2015. Digital Collage.
koseyidonenkahraman2.blogspot.com/2015/12/dior-cafe-by-pierre-
herme-house-of-dior.html (Accessed March 11, 2016). Image 20 Miller, Meredith. Exhibit Spaces. 2015. Digital Collage.
Image 04 Gehry, Frank. Foundation Louis Vuitton. Source: http://www.rtl. Image 21 Miller, Meredith. Archive Spaces. 2015. Digital Collage.
fr/culture/arts-spectacles/fondation-louis-vuitton-une-nouvelle- Image 22 Miller, Meredith. Merged Models. 2016. Digital.
exposition-consacree-a-la-pop-et-a-la-musique-7778947137 (Accessed
October 12, 2015). Image 23 Miller, Meredith. Sectional Connections. 2016. Digital.
Image 05 Shows, Leslie. Black Iceberg #1. 2008. Ink on Paper. 25”x38”. Source: Image 24 Miller, Meredith. An Object, An Introverted Space, A Broad Volume.
http://leslieshows.com/work/viewer.swf (Accessed March 11, 2016). 2015. Digital.
Image 06 Miller, Meredith. Process Diagram. 2015. Digital. Image 25 Miller, Meredith. Pattern to Form to Interior Space. 2016. Digital.
Image 07 Miller, Meredith. 2D, 3D, Text. 2015. Photograph. Image 26 Miller, Meredith. Ways to Transition. 2015. Digital.
Image 08 Miller, Meredith. Drape Exercise. 2015. Digital. Image 27 Miller, Meredith. Material Studies. 2015. Digital.
Image 09 Miller, Meredith. Architecture as Wearable Object #3. 2015. Digital. Image 28 Fashion & Technology Lab. 2016. Graphic. Source: http://www.
fashiontechnologylab.com (Accessed March 11, 2016).
Image 10 Miller, Meredith. Fashionable Architecture, Architectural Fashion.
2015. Digital. Image 29 Satellite Photo of Site. Photograph. Source: http://www.reinventer.
paris/en/ sites/1243-ourcq-Jaurès-19e-19e.html (Accessed
Image 11 Miller, Meredith. Precedent Analysis. 2015. Digital. August 1, 2015).
Image 12 Miller, Meredith. Diller Scofidio + Renfro’s Blur Building + J. Meejin Image 30 Google Maps. Digital. Source: https://goo.gl/maps/KBawMT8BNK72
Yoon’s Mobius Dress. 2016. Digital Collage. (Accessed March 11, 2016).
Image 13 Miller, Meredith. Timeline: Fashion Seasons vs Architectural Projects. Image 31 Climatemps. Paris’ Climate & Temperature. Source: http://www.paris.
2016. Digital. climatemps.com (Accessed August 20, 2015).
Image 14 Miller, Meredith. 3D Representations of Time. 2015. Photograph. Image 32 Climatemps. Paris’ Climate & Temperature. Source: http://www.paris.
Image 15 Miller, Meredith. Analysis of Time Models. 2015. Digital. climatemps.com (Accessed August 20, 2015).
Image 16 Miller, Meredith. Sequential Relations: Present. 2016. Photograph.
117 118
Image 33 Reinventer.Paris. Northwest Along the Petite Ceinture. Photograph.
Source: http://www.reinventer.paris/en/sites/1243-ourcq-Jaurès-19e-
19e.html (Accessed August 1, 2015).
Image 34 Reinventer.Paris. Southeast From the Petite Ceinture. Photograph.

Image 35 Reinventer.Paris. Street Frontage on Rue de l’Ourcq. Photograph.

Image 36 Google Earth. Google Earth View Toward Montmartre and La

Defense. Screenshot. Source: Google Earth (Accessed 11, 2015).
Image 37 Flickr. Réinventer Paris, 2 bis rue de l’Ourcq, 75019 Paris. Photograph.
Source: https://www.flickr.com/photos/luc/17086351532/in/
photostream (Accessed March 11, 2016).
Image 40 Paris.fr. La Petite Ceinture Aujourd’hui. Digital. Source: http://www.

paris.fr/services-et-infos-pratiques/urbanisme-et-architecture/projets-
urbains-et-architecturaux/la-petite-ceinture-2537 (Accessed March
11, 2016).
Image 41 Miller, Meredith. Site Diagram. 2015. Sketch.
Image 42 Miller, Meredith. Cascading Perspectives of Time. 2015. Digital

Collage.
Image 43 Miller, Meredith. Temporal Sections with Scale Figures. 2016. Digital.
IMAGE 43
TEMPORAL SECTIONS WITH SCALE FIGURES
119 120
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Fashion &

A thesis submitted to the graduate school of the

Thesis Chair: Udo Greinacher

Architectural theory has illuminated the inherently connected relationship between

same time. Through these similarities a disparity is revealed. Beyond a difference in

defined intervals of creative development and exhibition. It reacts to seasons defined

a community to occupy but it will retain an intangible quality, a mindset reflective

of the organization it symbolizes. To apply this methodology, an algorithm and

exhibiting, and archiving as a representation of fashion. Experiential architecture

promoting perspective beyond surface similarity will establish a dynamic environment

intermediating between fashion and architecture for a fashion of architecture.

CHAPTER 4 CHAPTER 5 CHAPTER 6

Architectural Culture Context

CHAPTER 7 CHAPTER 8 APPENDIX

106 112 116

Fashion and architecture are both based on basic life

A connection between fashion and architecture was established as far back

dress.2 He continues that from the beginning of historical understanding carpets

inspiration from contemporary culture (i.e. sustainability, econmic changes, et cetera).

As a model for architecture for today, this methodology of perspectives of

time and cultural relevance will begin to reinstate architecture as a manifestation of

architecture as a discipline for shallow interpretation and little contemporary

We are stronger together.”13

The problem exposes itself: How can architecture react to a different

Proceeding through a process, this theis will develop an investigation of

collaboration. outlines a refined list of underlying fundamentals:

divergences between fashion and architecture. Continually representing both

a constant wavering from two-dimensional to three-dimensional to two-dimensional

be made clear through a series of three sketchy three-dimensional representaions:

1. a flat piece of muslin representing two-dimensional inquiry and a sketch

and generating form out of chipboard (architecture’s sketch material)

to its two-dimensional shape

Just as dress can be adopted and adapted as a means of personal

According to the Oxford English Dictionary fashionable is defined as

“observant of or following the fashion; dressing or behaving in conformity with the

standard of elegance current in upper-class society,”5 and architectural is defined

as “of, relating to, or according to, architecture...Of furniture or other household

objects: resembling architecture in style or ornament.”6 But when architectural is

understanding of these expressions change and become unrefined. In contemporary

discourse architectural fashion and fashionable architecture conjure up images such

or sweeping, curvy, object-like buildings with romantic, gestural shapes. A unique

surface-level, superficial understandings of how the disciplines overlap and influence/

torre de especialidades 28 penda

SANAA TESS GIBERSON THOMAS HEATHERWICK ZUMTHOR VIKTOR AND ROLF

between fashion and architecture. architecture

between the quadrants. Frank Gehry, Gehry Residence — architecture

Izzy Camilleri, Iz Adaptive — fashion

Material/Part x Identity/Fixed Jean Nouvel, Institut du Monde Arabe — architecture

In “Identity/Fixed x Form/Whole” the identity of the organization, theme,

architectural style for banks and judicial systems.

“Form/Whole x Transform/Unfixed” is a category where the form transforms

or organization. Surprisingly, there are mostly architectural projects in this category,

Finally “Transform/Unfixed x Material/Part” reflects those projects where

I’m a huge fan of contemporary culture...Fashion is the medium

may no longer be available. It is paradoxically in this way that me

Night Out attached fashion to nocturnal hours versus architecture, typically

restaurant, or attends a museum

a complete set, but a snapshot of the temperal disparity.

small, 2”x2”, models. In this way a two-dimensional glossary and interpretation of

fashion and architecture was translated in three-dimensional volumes. These attempt