T H E NO R T H E R N FA S H I O N H O U S E ARC 583 Design Manifesto 160197459 Cherry Poon
Histories of Place 2017-18
Special thanks to my studio tutor, Dr Jo Lintonbon for her continuous support and guidance; Clothworkers' Centre, Bankfield Museum and Calderdale Industrial Museum, and other interviewees for their contribution.
ABSTRACT
This project addresses the cloth making legacy of Halifax and the ongoing significance of clothing in expressing and conveying social and cultural meaning. The new 'Northern Fashion House' explores how fashion translates into architecture. As a result of advances in technology and globalisation, the industry of fashion has drastically changed from the exclusive Haute-couture to the consumerist fast fashion. Although fashion has become affordable to us, it is still a very exclusive industry. Think about the best fashion design institutions, the high profile fashion designers, the most attended fashion design exhibitions, the annual MET Gala which celebrates fashion with crazy media coverage- very high-end, very glamorous. We often forget there is the everyday fashion and textile industry that also contributes to the industry. Although clothing is a necessity today, the concept of fashion is not engagingrarely social, hardly inclusive. Thus, it is the aim of the project to challenge and democratise the hierarchy of fashion, and of museum and archive.
Stills from 'Dior and I1'- First step in understanding the fashion industry As the legendary fashion designer Alexander Mcqueen once said, you have to understand the rules to break them2, the same goes to architecture
1 Dior and I , 2014 2 Andrew Bolton, et al, Alexander Mcqueen : Savage Beauty, 2011
CONTENT
Introduction
Building Programme Breakdown
Thesis Introduction
Visualisation
Studio Introduction Thematic Exploration (Studio)
(Site)Dean Clough and North Bridge
Project Influences
Proposed Site Historic Development of Site
Halifax - From History to Now
Site Analysis
Identity of Halifax The Walk/ Texture of Halifax
Spatial Manifesto
Mills' History
Fabric Manipulation
Halifax Today
Constructing Volume
Facilities in Halifax
Further Fitting
The Cultural Quarter Data of Halifax
Next Steps
The Northern Powerhouse Engines of Prosperity Decentralizing the Monopoly Fashion Empire Identifying Stakeholder Thematic Exploration(Individual)
Fashion and Architecture Building Programme
Case Study i. The Clothworkers’ Centre ii. Design Museum iii. Ateliers
Bibliography
THESIS INTRODUCTION
# HISTORIES OF PLACE #
Engines of Prosperity The Northern Powerhouse
Situated in HALIFAX What is HERITAGE? Textile Mills / Typology
TEXTILE HERITAGE
[Thematic Exploration]
The legacies of the textile industry
#WHAT IS FASHION? #
# THEMATIC EXPLORATION #
‘Fashion is a conversation, the continual dialogue between you, the Vogue readers, and the times we live in, fusing fashion with art, politics and society1.’ -Edward Enninful, Vogue’s Editor
# THESIS QUESTION #
‘...Fashion is not an art, it’s part of the art of living2.’ -Marc Jacobs, Fashion designer
How does FASHION translate to ARCHITECTURE? THE NORTHERN FASHION HOUSE # DESIGN MANIFESTO #
Because fashion is affordable to most people, it becomes a way of establishing our identity This is where I see the parallel between fashion and architecture, where a physical object becomes a means of creating identity. The easy access to information allows us to explore different styles that leads to the plurality of style today becomes a struggle to build our own identity through style.
Defining Terminology
Same as the architecture industry, where few architects design to stand out3, how should we design architecture elegantly without compromising the contextual identity?
Explaining the theme
To be Continued...
Programme Design Parameter Next steps...
Design
Refine
Final Design
1 Edward Enninful, 'Editor’s Word', Vogue, 2017 2 Marc Jacobs, Marc Jacobs Teaches Fashion Design [Video], 2017 3 Patrick Lynch, Adam Caruso: “Fashion is the Opposite of Architecture” [Archdaily article], 2 March 2017
STUDIO INTRODUCTION 1750
1800
The Age of Factory
1850
1760-1820 The rise of factory
In the Histories of Place, we explored the relationship between heritage and community. The built environment of a place is a tangible record of human activities; and a point of reference in re-imagining the future of place-making. As a studio we adopted a qualitative approach to understand the city of Halifax and which informs the decision making in terms of deriving our own research methodology, potential sites, design approach etc..
Pre-1760 Domestic textile production was common in many households 1779 Opening of Piece Hall 1802 Opening of Dean Clough Mills by John Crossley Economic boom in Halifax due to the industrial revolution 1860s Lancashire Cotton Famine
1890 Opening of Halifax Borough Market
1900
2000
The Decline
1950
1982 Closure of John Crossley’s and Son Ltd.. The Dean Clough Mills reopened as a business complex
The Northern Fashion House The textile heritage of Halifax and the North in general is the pride of the region. The project will be an addition to the thriving cultural quarter which celebrates and promotes the fashion and textile industry in the north, while using textile history as a point of reference for future design decisions.
2014 Reopening of Piece Hall
Timeline of the Textile Industry and Som of the Key Moments in History of Halifax
Trade Technological advances in transportation means correlate with an increased volume and value of exported woollen and worsted goods in the UK. The data suggests that increasingly larger amounts of wool are imported into the UK, in parallelwith increasing amounts of woolen fabrics exported. Whilst woollen production has largely ceased in Halifax, it continues to be a significant sector in British Trade. = £500,000 UK produced export value. = 2,000,000 lbs. UK Wool import lbs. weight.
2015
1907
1850
1840
1828 1832
1826
1825
1818
1800
1814
1816
1790
1774
1766
1760
1750
1730
1720
1700
1688
= 2,000,000 lbs. UK Wool export lbs. weight.
The Railway System in 1967
Fashion The timeline illustrates changing trends in fashion and textiles over the years.
Textile Produiction
GROWING TREND OF THE USE OF COTTON A typical outfit consisted of a full-skirted knee-length coat, knee breeches, a vest or long waistcoat, a linen shirt with frills, linen underdrawers, silk stockings and leather shoes.
Women mantua dresses known for formal occasions. It was an open-fronted silk or fine wool gown with a petticoat. To give the shape of the dress, Hoop dress was sorn underneath the dress to give structural support to the fabric.
Invention of waxed cotton for waterproofed garments was developed in Manchester, known as the Makintosh Raincoat
London’s Great Exhibition in 1851 marked the start of 1856 international trade exhibitions where manufacturers could showcase their work. That enhanced the techniques and Founding of Burberry development in the textile industry. The Industrial Revolution also by 21 year-old Thomas opened up new business opportunities which lead to increasing Burberry demand for goods and mass-production. Fashion was no longer solely a privilidge of the upper class.
FASHION = SHOWCASE OF WEALTH AND SOCIAL STATUS
1880
1950
The 17th century is famous for its rich design styles. The Jacobean period saw luxurious and exotic materials brought to Britain for the first time. The Restoration was a time of great artistic opulence and flamboyance. Meanwhile the Baroque style brought European luxury to British design.
Founding of British Millerain, with their first mill in Halifax 1879
Fashion designers like Christian Dior and Coco Chanel revolutionised the silhouette of womenswear.
Brands including Fred Perry, J. Crew, Nike, Supreme, Timberland etc., continue to use their fabric for waterproof products.
The rise of punk fashion in the 70s was a backlash of the etherealness heavily branded in the previous centuries. Its anti-fashion philosophy also defined the movement. Vivienne Westwood debuted in the 70s in response to this movement.
PRACTICALITY AND COMFORT
Gabardine was invented by Thomas Burberry, as a response to Makintosh Raincoat
CONSUMERISM AND FAST FASHION
2003 Architect Rem D Koolhaas founded the footwear company United Nude. His collaboration with Zaha Hadid, the Nova shoes and Flames, and other architects and designers introduced new language to footwear design. 3D printing is changing the industry for brands like Nike and Adidas are using it to produce
THE SEARCH FOR parts INDIVIDUALITY of shoes; designers and
studios like Iris Van Herpen, United Nude are known for their bold designs
Over the years, the need to power machinery has led to the development of new engines. The earliest mechanised engines used in textile production can be traced back to the mid 17th Century. Significant improvements have influenced the rate of production.
TRANSITION FROM DOMESTIC TO MASS PRODUCTION KAY’S FLYING SHUTTLE (1733)
THE SPINNING JENNY (1764)
CROMPTON’S SPINNING MULE (1779)
ARKWRIGHT’S WATER FRAME (1768)
DEAN CLOUGH CARPET FACTORY (built 1840-1860)
JACQUARD LOOM (1804)
CARTWRIGHT’S POWER LOOM (1785)
No industry can separate itself from the real world connections with other industries. As a studio cohort, we soon realised that the textile industry had shaped the development of the town in many different ways and was influenced by the advances of technology. The transport network, and advances in power generation allowed the textile industry to grow and scatter further in Halifax away from the stream. Industrialisation changed the way textile was produced, from domestic production to factory-led mass production. This also changes the fashion industry in many ways, which will be discussed in later chapters.
Power Engines have evolved over time to enable an increase in the production of goods. The earliest mechanised engines used in textile production can be traced back to the mid 17th Century where a shift from water mills to steam powered engines occured. NEW STEAM ENGINE
CONDENSOR ENGINE
(1765)
STEAM ENGINE IMPROVEMENTS (1698)
James Watts invents separate condensor engine.
1836
Steam power came to replace water power in worsted working.
1832
1770
1860
1839
Hippolyte Pixii invented the first Edmond Becquerel discovered dynamo. the photovoltiac (PV) effect to generate electricity
Record number of fulling mills in the country reaching 115.
The Road System in 1836
150 125 100 75 50 25 0 1798 1804
1817
1830 1832
1824
Leeds
Inland Navigation
Growth of Railway Passengers Traffic millions of passengers
Number of carriers
175
Manichester
Stage icoaich transportation
65 60 Goods 55 50 45 40 35 30 25 20 15 10 5 1850
1400 1300 1200 1100 1000 900 800 700 600 500 400 300 200 100
1927
1942
Benson steam generator developed
First sef-sustaining nuclear reaction demon strated in Chicago, Manhattan Project.
1910
1903
World first DC hydroelectric First 5MW steam Introduction of turbines with steam extraction for feedwater heating power station opened. turbine engine developed 1903 and AR preheating for steam generby General Electric ators boosted coal fire powerplant 1884 efficiency by 15% Sir Charles Parson developed the frst steam turbine generator.
Goods trains
1972
1980
Operation of the first integrated coal gasification combined cycle power plant.
First utility-scale wind farms
1941
1950
1957
First wind turbine connected to the power grid.
Silicon solar cells were frst produced commercially.
First commercial nuclear power plant.
Train Reiceipts
The Railway System in 1967
Passenger trains
1860 Road and Water Transportation in the Railway Age
200
1790
1882
1870
Antonio Pacinotti further Water power accounted for 21.5% of Dynamo to hydraulic turbine the total horse-power capacity of the developed improved the dynamo developed and the commercial by incorporating a continuous production of electricity started. country’s woolen industry. direct current.
Goods Train Receipts and Passenger Train Receipts
Thomas Newcomen improves Thomas Savery’s steam engine design.
1810s - 1820s
(1774)
James Watts further developed James Watts invents rotating Thomas Newcomen’s design and condensor engine. created a steam engine with an external condenser. CONDENSOR ENGINE (1774)
1870
1880
1890
1900
50 40 30
Number of vehicles in millions
18 Century Majority of mills were water-powered.
Total Vehicles, Cars and Goods Vehicles in Great Britain
(1712)
Goods tonnage carried (millions)
STEAM ENGINE IMPROVED Thomas Newcomen invents the first steam engine that is safe and practical.
(1691)
£Millions
VACCUUM STEAM ENGINE Invented by Thomas Savery, but this was initially deemed too unsafe.
Road Goods Haulage for Leeds & Manchester
F POWER
THEMATIC EXPLORATION (STUDIO)
Road and Water Transportation
15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0
Total Vehiicles, Cars, and Goods Vehiicles in Great Britain
Total motor vehicles
Total cars
Total goods cars 1910
1920
1930
1940
1950
1960
1970
20 10 0
1888
1845
1898
1905
1919
1927
1950
1968 Source: Bagwell (1974)
Note: Totals for 1950 and 1968 comprise only tonnages conveyed over canals owned by British Waterways Commission.
Growth of Railway Passengers Traffic
Transition from railway to road transport
Railway Age
Motor transport
Transport The timeline illustrates the various modes of transportation that have been used in Halifax over the years to transfer goods and raw material to and from nearby cities and ports. Changes in modes of transportation have had a substantial impact on the city’s infrastructure aswell as to methods of production of goods. Transportation has evolved to become more time and cost efficient.
1660
THE CREATION OF A MODERN TRANSPORT SYSTEM “Modern transport began when an extensive and reliable system could move bulk goods at low cost or high value goods at high speed. Accomplished only with a combination of land and water transport. It required roads which could support wheeled traffic so that professional carrier systems could be developed.” -Richard Szostak
1680
TURNPIKE ROADS
TRAVELLING SALESMEN
CHANGING GROWTH
Wheeled traffic expanded and led to development of regular carrier services. Turnpike roads were often unreliable due to weather conditions.
Merchants and producers loaded products on packhorses and travelled selling their goods at fairs.
Improvements in transportation led to a shift from Smithian Growth to Schumpeterian Growth at the start of the 19th century.
18th Century
1720
1740
1760
1850
1780
19th Century
1890
THE CALDER AND HEBBLE NAVIGATION BRANCH INTO HALIFAX
THE RAILWAY ARRIVES IN HALIFAX (1844)
Built in 1828 and removed in 1942. The output comparison of packhorses and canal barges: 1 Barge, 1 worker, 1 horse = 10 workers, 10 horses.
Railway is extended to Bradford in 1850, and a link to North Bridge and Keighley is introduced in the 1870s.
1820
1840
1860
1900
1880
MOTORISED VEHICLES (1918)
INTERNAL COMBUSTION ENGINES (1930s-1940s)
USE OF THE RAILWAY FOR FREIGHT DECREASES (1970)
PASSENGER RAILWAY CONTINUES (21st Century)
The Halifax Corporation Tramways Steam powered vehicles and transports people throughout the lorries outcompete the use of inner city. packhorse transportation.
Dramatic shift from steam powered engines to internal combustion for cars and trains.
By 1970, the railway tracks which linked Halifax with North Bridge and Keighley was eventually removed when motorised vehicles became more efficient method of transport for inner city transfer of goods.
Passenger railway retains importance.
TRAMWAYS IN HALIFAX (1898-1939)
Lancashire and Yorkshire Railway, 1881
20th Century
1940
1920
1940
1950
1960
1980
1980
21th Century
2010
2020
2017
Urban Development This serie of maps highlights the significant urban growth which occurred over the years in Halifax. It identifies the location of places of production and the transportation network which supported the transfer of goods and mobility. Due to the city’s topography, urban expansion was focused towards the west but also occured along the valley where there was a high concentration of mills which harnessed energy from the flow of the stream.
WORKING TIMELINE
Combined Legacy Poster (Group resource)
PROJECT INFLUENCES
Personal and Academic Influences Very often fashion icons today point out their first style inspiration comes from their grandparents and their first Vogue. I realise that perhaps there is some truth behind it, when I revisited my personal encounters that has led me to the thesis manifesto.
INDUSTRIAL HERITAGE OF HALIFAX
IDENTITY OF HALIFAX Existing and demolished mills are mapped to understand the logic behind the planning of the town. Textile mills built in 1700s were mainly water powered1 and hence the higher concentration of mills along the river of Hebble Brook. The significant mill buildings shaped the built fabric of Halifax. MILLS DOMINATED THE SKYLINE OF HALIFAX 1 Colum Giles, et al, Yorkshire Textile Mills : The Buildings of the Yorkshire Textile Industry, 1770-1930, 1992
DECLINE
MILLS LEFT BEHIND
DEMOLISHED
Halifax is a town full of heritage, visitors can find heritage trails of the war and of Mackintosh’s toffee making. It is known for Piece Hall, which was a cloth trading market since 1779 and was one of the most significant surviving example of such building typology2. It was re-opened on 1st August last year after a £19 million conservation project. Next to it was the Woolshops Shopping Centre which derived its name from the street’s history of trading wool in Medieval times3. The richness in history can be read from the architecture in the city. To insert a project into a town full of textile history, this study helped identify potential sitesSedburgh Mills, which was a demolished mill site; Rawson's Mill, which was a derelict mill; and area immediately next to Dean Clough. The latter was chosen because it is a more appropriate location for the building programme.
RE-PURPOSED LEFT TO DECAY
REDEVELOPED
2 Colum Giles, et al, Yorkshire Textile Mills : The Buildings of the Yorkshire Textile Industry, 1770-1930, 1992 3 Welcome to Yorkshire, Woolshops Shopping Centre- Overview & Description (Website)
Photos of Mills (Group resource) THE PHYSICAL IDENTITY OF HALIFAX The textile industry flourished during the industrial revolution. The boom of mills and factories created a defined skyline for Halifax. Mapping of Mills (Group resource)
Poster of materiality (Group resource)
THE WALK / TEXTURE OF HALIFAX We explored the textile heritage of Halifax along Hebble Brook, following the trail of textile mills. This was the first instance encountering the Dean Clough site, The extensive carparks, highway and North Bridge was like a division between the NW and the SE of Halifax.
MAPPING LOCAL MATERIAL COMPOSITIONS AND TEXTURES The exploratory journey upstream along the Ovenden / Hebble Brook revealed different types of materials and textures that experienced weathering and other changes over the years and begin to define the character of the area. These were documented through photographs and organised into particular zones of focus along the path.
1) Rawsons Mill The building stands solitarily over the Ovenden Brook dale. Its facade is primarily composed of locally quarried sandstone masonry that has, for the most part, blackened through weathering and is tampered by graphiti. It also holds iron fixtures and frames that have parially been deteriorated or oxidised. Minor infills and steel doors that were added more recently block entry into the building but contrast the original fabric of the building. a)
a
b
c
d
e
f
a
b
c
d
e
f
Map of Context Scale: 1:10,000
Areas of interest
Journey Route
close uP of weathered masonry
b) in-fill of ground floor entry door c)
collaPsing brickwork d) facade along east elevation e) tamPered steel external door f) weathered iron bridge
2) Old Lane / Dean Clough Mill The Old Lane road runs along the extensive Dean Clough Mill. An array of weathered stone masonry walls align the edge of the road and are encroached by the natural environment (A and C). They also juxtapose the polished facade of the redeveloped Dean Clough Mills. a)
weathered masonry road wall different road material layers c) weathered stone masonry wall d) masonry wall of dean clough mill e) masonry wall of dean clough mill f) facade of 121 old lane b)
1
END
2 3) Waterside Running between the railway line and Nestle factory is the waterside pathway which is composed of cobblestones that are partially submerged by dirt and debris. (C) There is a stone masonry wall supporting the railway line features rusted iron patresses where chemical interactions have darkened the facade. (D) Sitting along the edge of the path is a derelict building facade made of stone masonry with weathered timber opening frames that has been vandalised. (F)
a
b
c
d
e
f
3
a)
stePs under the railway line b) sPilled chemical seePing into stream c) submerged cobblestone Path d) oxidised iron Patress Plate e) brick wall with amendment Patches f) vandalised facade
START
4 4) Shawlodge Mill The complex of buildings is situated between the railway line and Hebble brook. Its facade is primarily composed of variations of sandtone masonry that is weathered. Some parts along the facade have been repaired and filled in with new blocks. The road is composed of different types of cobblestone which reflect new and old.
a
b
c
d
e
f
a
b
c
d
e
f
a)
variations of sandstones blocks b) existing vs. filled-in masonry wall c) shallow weathered sandstone blocks d) Peeling timber oPening frames in derelict adjacent mill e) irregular cobble stone floor f)
Patterned obble stone floor
5) Boy’s Mill Sitting along the edge of the Hebble Brook. This mill has a distinctly thicker layer of mortar between the weathered sandstone blocks. Moss and other vegetation is seen to encroach the coarse and uneven surfaces of the facade. Areas of weathered brickwork fill in the original sand stone facade along the edge of the site. (A) a)
Patch of weathered brick work b) Patterned cobblestones and edge of coarse stone Pavement c)
d)
weathered sandstone facade oxidised iron Patress Plate with con-
centration of moss on facade e)
Poster of the walk along Hebble Brook(Group resource)
newer concrete blocks against de-
teriorating original masonry f)
distinct thick mortar
This investigation suggests 5 the materiality and palette of the site. Very much like a mood board used to inspire a fashion collection. For my project, as it is located at the edge of Dean Clough, potentially rearranging the access points, the materiality and palette study of the Dean Clough Mills will be a source of reference in determining the building material approach.
MILLS' HISTORY
Akroydon, built by and named after the Akroyd family who ran textile business in Dean Clough, was a significant example of how the textile industry influenced the town.
Because there are 1365 of derelict mills in West Yorkshire, redeveloping mill sites will be a sustainable way to go forward; but that has to be supported by other infrastructure and facilities. Dean Clough, for example, lacks linkage to the inner city. Although sitting just 460m from the busy high streets in the city centre, access to the site is not clear, and rather underwhelmed. During the 19th century, mill complexes were built for the efficiency of production as a result of expansion, they were not intended to be accessible to the public. Very often only the reception building has slightly more elaborated decorations due to its public interface1.
My project will therefore introduce a better and more welcoming gateway to Dean Clough. My chosen site is situated to the east of the complex, which is the direction of where the public mostly arrive at when they come from the city centre. Introducing better layout and way-finding to Dean Clough will be one of the aims in this project. This will be discussed in later chapters. The Northern Fashion House will be an extension of the cultural aspect of the Dean Clough development, identifying some of its users as stakeholder of the project.
1 Colum Giles, et al, Yorkshire Textile Mills : The Buildings of the Yorkshire Textile Industry, 1770-1930, 1992
Proposed Site
Today’s Uses
Hotel, Hairdresser
A& B/ Halifax Courier, Offices
H/ Bowling Dyke Mill - Offices, Hairdresser
C/ Gym, Theatre D/ Offices, Restaurant, Bar, Garage, Health& Wellness Centre, Post Office, Artist Studio, The Creative Learning
G/ Offices, Bank, Bow Maker I/ Offices J/ Offices K/ Offices, Taxi Rank
Guild, Shop
L/ ACDC (Charity), Phoenix Radio
E/ Bar, Offices, Calderdale College. Job Centre, Theatre,
M/ Derelict
Music Education and Production, Outlet
N/ Indoor Soft Play
F/ Offices, Restaurant, NHS Calderdale, Artist Studio,
O/ Offices, Artist Studio, Producer, Nursery
HALIFAX TODAY Below is a summary of my first impressions of Halifax• Potential to celebrate fashion and textile heritage in Halifax, and potentially in the North • Continue to expand the cultural quarter1 • A disconnection between the regenerated areas and the wider area of Halifax
Heritage, Culture, Pride
Piece Hall
Calderdale Industrial Museum
HALIFAX Situated in West Yorkshire, it is the largest town in the Metropolitan Borough of Calderdale.
Regenerated
Woolshops
Dean Clough
Market
Westgate Arcade
Cinema
Derelict, Run-down, Empty
Rawson’s Mill YORKSHIRE
Bankfield Museum
Textile Mills
Disconnected Community
The shadow of history
UNITED KINGDOM
1 Julia Chandler, Jon Medcalf, A Growing Cultural Quarter in Halifax, 2017
FACILITIES IN HALIFAX
THE CULTURAL QUARTER
Bankfield Museum- It used to display the local textile collection; now a museum for temporary collections; also includes a library, but most are moved to the new Central library and Archive
Dean Clough- The Spotlight Gallery, The Missing Link Gallery, The Crossley Gallery, Viaduct Theatre, The IOU Theatre,
Calderdale Industrial Museum- Reopened in September 2017, volunteer museum staff includes former workers from the textile industry who demonstrate the use of machinery live
The Piece Hall Redevelopment, Central Library and Archive, The Square Chapel are all recent regeneration projects in Halifax
The Northern Fashion House will be an important landmark for the growing cultural quarter1, acknowledging the textile heritage in the North. It addresses the 3 layers in time of the fashion and textile industry- the history/heritage, the present industry, while also looking into the future by providing for education and training opportunities. It will be a place to admire history, to learn, and to attract and inspire young talents.
1 Julia Chandler, Medcalf, Jon, A Growing Cultural Quarter in Halifax, 2017
Mapping of Facilities and Civic Buildings in Halifax
DATA OF HALIFAX [As a group resource, a booklet for census data was created. Below are some pages taken out from the document.]
Temporal Area Classification
Social Grade of HX1-3
Education and Qualifications of HX1-3
Halifax is a minster town within the Metropolitan Borough of Calderdale. It has a population of around 90000. With a projection of growing population, the city has to cater for growth and provide opportunities for the next generation in order to keep these talents in the region. Understanding the demographic in central Halifax helps setting the foundations of the project. As seen from the data, Dean Clough (proposed site), as a regenerated area, has changed the demographic of the immediate area. Although located in the most/ second most deprived area, it has the highest concentration in top jobs because of the amount of
offices and cultural venues to let. From the above data, we can see a growing area of students and aspiring professionals; this is the pool of creative minds that the project wants to attract. Also it has to be noted that there is significant areas of hard-up households and serious deprivation in the NW area. Future prospects of the town will depend on the opportunity to provide support for the growing population so that they can generate more income for the city. While regeneration projects raise the immediate cultural profile of Halifax, the town should seek to develope a lasting legacy in the long run.
THE NORTHERN POWERHOUSE
ENGINES OF PROSPERITY
illed anced 'A highlyd sk rkfor o w te educa al to economic y1 .' ic it it is cr d productiv growth an In response to the skill level as illustrated in the previous page - (the average proportion of graduates in Halifax is 5.5% below the national average, and that of no qualifications is 2.9% above the national average. This is in line with the overall demographic in the North) a vision for sustaining growth relies on the ability to train and educate future generations and retain the talents in the region.
Skills
Enterprise and Innovation
Trade and Investment
Engagement
North East Combined Authority
Connectivity
West Yorkshire Combined Authority Hull City Region
The Northern Powerhouse is the government's initiative to foster sustainable economic growth in the Northern England. The Northern Fashion House will be a landmark project in West Yorkshire and contribute to the wider vision to sustain growth, enhance skills, and foster creativity in the region.1The Northern Powerhouse continues to support the cultural regeneration in the North, through providing ÂŁ98 million funding on several cultural projects including the Great Exhibition of the North, and a new theatre in Manchester.
1 HM Treasury , Northern Powerhouse Strategy, P.13, 2016
Liverpool City Region Manchester City Region Sheffield Combined Authority
Engines Of Prosperity, published by historic England, encourages the re-purposing and redevelopment of neglected mills2. The strategy to the studio methodology as we are tackling sites with industrial heritage.
Key Cities in the Northern Powerhouse
2 Historic England, Engines of Prosperity, 2016
The British Fashion Council is an organisation committed to developing excellence and growth in the fashion and textile sector. Founded in London in 1983, it is supported by the British fashion industry, the Government and the European Regional Development Fund. It aims to promote British fashion globally through 'business, reputation, education, digital and investment2 '. By commissioning the Northern Fashion House, it celebrates the heritage in the region, inspires researchers and designers, and attracts more young talents in the North to contribute to the industry.
Decentralizing the Monopoly Fashion Empire London, Milan, New York, Paris- the fashion capitals recognised globally. But Northern England is a cradle for aspiring designers, only lacking the right initiative and infrastructure to support such creativity to be spawn in the North1- a power house yet to be rediscovered and celebrated. The north has a significant history in textile manufacturing, but this piece of history is disappearing in the North as London is the focal point of the fashion industry and also is where the best fashion and textile museums and institutions are concentrated at. However, high rent and living cost in London is pushing people out to work and live in other parts in the country. Opportunities in the North 1 Adam Murray, How the north of England impacted style [Interview with DAZED], 2016
sig n Young de
ers in the North lacks sui table
plat form The North was the cradle of fabric innovation- this history be celebrated
High-profile designers such as Gareth Pugh, Paul Smith, Raf Simons turning to Northern England for inspirations
h as :F
t nti
y
T h e Fash
r th No e Th
e Id ion
ion C
apit al
Seeking opportunity to decentralise the fashion capital
Adam Murray, Curator of the Exhibition 'North: Fashioning Identity'
2
British Fashion Council, About the BFC
THEMATIC EXPLORATION (INDIVIDUAL)
Textile is the basic material for making any garment. Although evidence of dressmaking shops in Halifax were nil, these shops could be found in every street, usually produced in a domestic scale1. Industrialisation revolutionised the fashion industry, turning it from a luxury that only bourgeois could enjoy, to a commodity that is accessible to the wide public.
1 Interview with a volunteer working at the Calderdale Industrial Museum, 2017
FASHION AND ARCHITECTURE 'You live dozens of different lives- one at home, another at work, another out in the evening, another in the country, another in the city, and at least two more for fun... Be yourself in fashion, and you can live nine lives at once1.' Vogue, April 1974
Historic Value
Reflecting Heritage
Singularity -> Uncertainty -> Plurality Uniqueness
Creativity
Ubiquitous Functionality Practicality
Both architecture and fashion is a tool to express identity- from the Medieval times where a town showed off power and wealth by constructing cathedrals, to us dressing according to our character.
Economy
FASHION /ˈfaʃ(ə)n/ noun 1. A popular or the latest style of clothing, hair, decoration, or behaviour. 2. A manner of doing something.
Social Status Wealth and Power
ME VS. HALIFAX • Represented by the physical attributes • Interpretation is a social construct of society • The Question is: How can we be fully represented by the skin?
In the past, styles and trends and be identified and be associated with in relation of year/ century. But advances in technology and the rise of globalisation change how we live our lives radically. People become more ambitious, and we are exposed to more information. Architecture and fashion hence develop rapidly since the 20th century. We are now reaching a plurality of styles2, celebrating diverse identities, where no single style can define the era. Neither a city nor a person can or should be defined by a singular style.
1 Stephen Quinn, 'Vogue Says', Vogue, P.110, 2016 2 Hugh Pearman, Contemporary World Architecture, 1998
Balenciaga: Shaping Fashion
Creating a coat with one piece of fabric
Vocabularies Shared by Both Disciplines
Architecture and fashion share many similar language. Skin + Bones: Parallel Practices in Fashion and Architecture was an exhibition organised by the Museum of Contemporary Art, Los Angeles, in 2006. It was later exhibited at the Somerset House in 20081. A book about this exhibition in detail was published and becomes a key reading of the topic of architecture and fashion, and will become major reference points in the design stages of this project in the future. Apart from the similar language that the two industries share, there is also a similarity in the design process. The 'Balenciaga: Shaping Fashion' exhibition at the Victoria and Albert Museum in London was my source of inspiration for my design approach. Belenciaga was known for designing his collection by understanding the fabric first, then created unique 3-dimensional volume suitable for that fabric. This can be reflected in my design approach as shown in the diagram on the right.
How simple pleats and drapes create volume
Other designers
Balenciaga
Inspirations
Choosing Fabric
Collection Theme
Choosing fabric
Collection
Fabric properties
Designing within the parameter of fabric material
Collection
Fitting and Alterations Inspirations
FASHION
Choosing Fabric
Understanding The Fabric
Fabric Manipulation
Designing the Collection
ARCHITECTURE
Choosing the Building Material
Material Investigation
Concept, Testing on Site
Design
Textile
Cover and Poster of Skin+Bones
1 Brooke Hodge, et al, Skin and Bones : Parallel Practices in Fashion and Architecture, 2006
Client Requirements
Precedent Study
Regulations, Client Requirements
Testing and Making Changes
FINAL DESIGN
A Collage of the Merging of Architecture and Fashion
BUILDING PROGRAMME The main function of the building is a museum and archive of fashion and textile produced and designed in the North. The atelier will be part of the ‘live’ exhibition demonstrating the real everyday working of fashion design. The overall design concept is to democratise the very ‘bourgeois1’ concept of museum and make it more accessible and favourable to the public. As David Chipperfield mentioned, a successful museum should engage with the local community in a meaningful way to drive social cohesion in the local area. After it has established a local reputation, then it will spread globally2.
1 Anders Harm, et al, 'On Creating a Museum and a Public' in Outside the Box: The Relation between Art and the Public, 2015 2 Haus der Kunst, Conversation – Renovate/Innovate. David Chipperfield and Okwui Enwezor, 2016
Inspire
ATELIER •
MUSEUM
• • Learn
To be rented out to young fashion designers, preferably those from the North Can be viewed from the museum Collection to be sold in the museum shop
• •
ARCHIVE Appreciate
•
• • •
Permanent collection: key pieces from the regional collection of textile and garment produced in the North (from private collectors and partners) In-house ateliers to be part of the 'live' collection Temporary collection: for example, special collections inspired by the North, new designers from the region, etc. Includes workshops and activities rooms for the community to engage with fashion designers, and professionals and specialist from the fashion and textile industry
Archival of textile, garment, and fashion accessories Includes study room open to the public and conservation studios for maintenance and repair of objects.
CASE STUDY I
Improved studios on the conservation floor Level 4 Floor Plan
The Clothworkers’ Centre Location: Blythe House, London Client: V&A Museum Value: £2,171,000 Year Completed: 2013 Architect: Haworth Tompkins Functions: Houses fashion and textile archive collection, Opens to visitors on request to study and examine garments Archives are usually only open to public by appointments to control the number of visitors for conservation purpose. This will be further explored in the future after the guided tour that is held at the end of the month.
Study area- can be used by public by appointment
Level 3 Floor Plan
Seminar Room for up to 20 people
Level 2 Floor Plan 1
1 Victoria and Albert Museum, The Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion, 2013
Ground Floor Floor Plan
CASE STUDY II
Spatial arrangement :
The precedent study only focuses on the exhibition building
Basement Level Floor Plan
Level 1 Floor Plan
Ground Floor Floor Plan
Level 2 Floor Plan
Residential Blocks
Design Museum Location: London Client: Design Museum Value: ÂŁ83,000,000 Gross Floor Area: 9276m2 Year Completed: 2016 Architect: John Pawson + OMA Functions: Art and design exhibit space and learning Centre Overall Design: General improvements of the original museum, with an additional 2150m2 space for exhibition and storage, and improved access and spatial organisation within the building. General Area Arrangement1: Public Non-Collection 2157m2 (23%) Public Collection 2155m2 (23%) Non-Public Collection 395m2 (10%) Non-Public Non-Collection 1452m2 (16%) Technical/Circulation 2605 m2 (28%)
1 OMA, The Parabola- Design and Access Statement, 2009
CASE STUDY III
Oscar de La Renta3
Dior Men Paris1
Location: New York Functions: Offices, studio, atelier
Location: Paris Client: Christian Dior Couture Year Completed: 2014 Architects: Antonio Virga Architecte, Dior Men Architecture Department Functions: Offices, studio, atelier, retail The film ' Dior and I' shows a holistic view of the behind the scenes of a high end fashion house, briefly introducing the key back-of-house spaces within the headquarters in Paris.
Simone Rocha4 Location: London Functions: Offices, studio, atelier
Christian Dior Headquarters2 Location: Paris Functions: Offices, studio, atelier, retail
The following diagram summarises a typical spatial arrangement of atelier in reference to short chips about other fashion design ateliers and an interview with a fashion designer who is currently working in Manchester5. She points out the need for spacious studio and appropriately lit environment.
For fabric, accessories, patterns, tools etc.
Storage
QC
Atelier/ Studio
Marketing Office
1 2 3 4 5
Merchandise
Showroom
Human Resources
Archdaily, Dior Men Paris / Antonio Virga Architecte + Dior Men Architecture Department [Archdaily article],2015 Dior and I , 2014 Harper's BAZAAR, Inside the Bridal Atelier: Oscar de la Renta [YouTube video], 2016 The New York Times, Inside Simone Rocha's All-Female Fashion House | In The Studio [YouTube video], 2017 Anonymous, Interview with a fashion designer, 2018
BUILDING PROGRAMME BREAKDOWN
Includes all back of house offices, i.e. I.T., Marketing, Public Relations, Board Room etc.
Ticket Office 10m2
Security 25m2
Office 700m2
Cloak Room 50m2
Delivery 200m2
Cafe 200m2
Typology of the Northern Fashion House according to Geoffrey Matthews, a museum consultant1
1 David Littlefield, Metric Handbook. 4th ed., 201
Inspection Event Space 200m2
Auditorium 175m2 (150 Seats)
Atelier/ Studio 100m2
As part of 'live' exhibit
Plant 700m2
Office 80m2
Workshops 300m2
Data Collection
As textile, especially historic collections, is a fragile material prone to chemical change, the environment has to be controlled and monitored to prevent any sudden changes in the environment that can cause damage to the collection. Optimal condition for conserving textile is summarised as follow: Relative Humidity: 45-50% Temperature: 20-22 °C Lighting: Exposure of exhibit item to direct sunlight should be avoided; maximum light dousages should be limited to 200 kl/h; the level of illuminance should be limited to 50 lux per annum
Shop 150m2
Store 100m2
Conservation
It is important to determine the typology of the museum so as to design for an appropriate layout and environmental approach for the collection. Spatial standards depend on the type of relationship that the museum curator want to create between the exhibit and visitors. Also, as technology advances, the museum should provide for the demonstration and exhibition of mixed media.
Larger shop to accommodate for garments / textile produced by the in-house designer
Exhibit Area 2000m2 (Permanent 1300m2 / Temporary 700m2)
Storage 15m2 Restoration Studios 150m2
Atelier/ Studio 100m2
Archive Storage 1000m2 BOH Office 150m2
As it houses the regional collecStorage tion, it requires 15m2 a much smaller storage area. But due to the extent of sizes of textiles, Office a spacious study 80m2 room is still preferred
Study Room 200m2
200m2
PROPOSED SITE
Car parks are overtaking the city- How can we efficiently turn these spaces into usable ans productive spaces?
13m
154m
Birdeye Views of the Proposed Site
112m
BANKFIELD MUSEUM HAL
EY
53m
SUPESRHMOPS, A CAFERKET,
HIL
L
D MILL
PHOENIX RADIO
BOWLING MILL
45m
OLD
LAN
H BR
H
19m
LEIS CENTURREE
OV A629 END EN R
D
O RAN
GE STREET ROU NDABOU T
ATE
THG
NOR
Project Site: 18000 m2 Gross Floor Area: 9845 m2 [7875m2 (Public+non/Public Collection+NonCollection 80%) + 1970m2 (Technical+ Circulation20%)]
CLOUG
NOR T
DEAN
A58
12m
37m
m
21
23m
IDGE
E
C
A INEM
TO RE CENT
S SUPERHMOPS, ARKET
HISTORIC DEVELOPMENT OF SITE Restitching the disconnected city edges
1890 The site was a part of the railway. Dean Clough mills benefited from the close proximity to the railway station for the transportation of raw materials and processed textile.
1950 When the textile industry declined during the 1900s, the railway was removed and the site became a park.
2017 The flyover was constructed in the 90s and the site is now a carpark owned by the Calderdale Metropolitan Council
Re wi conn de r c ectin om g t mu o th nit e y
NOW After the decline in the 20th century, the city had to restore its economy by regenerating the city. The cultural quarter and other projects are initiated but I see a disconnection between plots of regenerated projects
>2020 My project- the Northern Fashion House, will hopefully restitch the deanclough cultural complex with the regenerating city centre, forming a stronger cultural quarter.
Ex
ten sio no fD
ean
Clo ug
Be Cu ing ltu a P ral art Qu of art the er
h e sur Lei
Re-stitching the fragmented ‘patterns’ of Halifax
SITE ANALYSIS PROPOSED SITE
PROPOSED SITE
The proposed site is 0.8 mile from the train station. However, once at the junction in front of the North Bridge, one might be tempted to go across the bridge where it would not reach the proposed site.
Existing entry points
+131.4m +124.5m +134.4m +137.2m
PROPOSED SITE
Significant level change in site
DEAN CLOUGH
THE PROJECT: AS A MEANS TO PROMOTE SOCIAL COHESION
ion nnect Disco DERELICT, RUN-DOWN BUILDINGS TOWN CENTRE
Proposing a masterplan for better access
FABRIC MANIPULATION
CONSTRUCTING VOLUME
Texture
FASHION 2D Material to 3D Volume
ARCHITECTURE
Form
QUIETER END OF SITE
IMPROVING ACCESS FROM HALEY HILL TO THE SITE PHYSICAL CONSTRAINTS INFORM THE SHAPE AND LAYOUT OF EXHIBIT AREA
Volume ARCHIVE
1 Brooke Hodge, et al, Skin and Bones : Parallel Practices in Fashion and Architecture, 2006 2 Laura Boyle, Smocking: A Stitch in Time [Blog], 11 January 2013
ATELIER
MUSE
Greg Lynn, Nigel Coates, Toyo Ito, Junya Watanabe, Victor and Rolf, Zaha Hadid, Alexander McQueen - All of them are known for designing intriguing and daring shapes and forms1. Inspired by smocking, an embroidery technique developed in England in the Middle Ages, I experimented with this technique to create volumes and shapes as a massing exploration. SMOCK = A farmer's workshirt flexible, form-fitting2 - Useful experiment as the site has much physical constraints - level changes, highway structure
UM
CON BETTE NECT R IVIT Y
IF THIS BUILDING IS TO BE DEMOLISHED, IT WOULD BE THE IDEAL ENTRANCE TO THE SITE
Honeycomb smocking on an 18th c. gown
From fabric manipulation to conceptual massing
FURTHER FITTING
Conceptual spatial testing derived from the smocking experiment
From the fabric manipulation experiment• Further testing and scaling on site will refine the massing and landscaping of building • To further develop massing with the fabric manipulation create habitable spaces 1 Inspired by the reading of 'Sensorial Playscape: Advanced Structural, Material and Responsive Capacities Of Textile Hybrid Architectures As Therapeuticenvironments For Social Play' • Experiment with using textile as a means of spatial division as well as decoration to create softer and blur boundaries like artist Piper Shepard2 • Experiment with light and shadow using textile to create atmosphere in architecture inspired by Janet Echelman's3 installation •
Piper Shepard, Lace Meander, 2006
Janet Echelman, The Wonder Exhibition, 2015 The Northern Fashion House
is to design blurred and soft boundaries to create a social inclusive environment4 that can stimulate different senses to inspire visitors 1 Bradley Quinn, Textile Futures : Fashion, Design and Technology, 2010, P.153 2 Bradley Quinn, Textile Futures : Fashion, Design and Technology, 2010, P.152 3 Bradley Quinn, Textile Futures : Fashion, Design and Technology, 2010, P. 166
4 Sean Ahlquist, 'Sensorial Playscape: Advanced Structural, Material And Responsive Capacities of Textile Hybrid Architectures As Therapeuticenvironments For Social Play' in Fabricate, 2017
US Embassy Building, KieranTimberlake Architects, London, 2016
NEXT STEPS Technology Report - Sensory/smart fabric intervention - Environmental Strategy - Develope a sustainability ethos to be followed through the year
Materiality - Continued with fabric experiment to derive form, massing and spatial strategy/concepts - Facade system to be explored through the following: - Ways of weaving - Properties of fibres - How it drapes and wraps the skin of a building - Translucency
Design, Testing, and Refine
Frei Otto’s wool experiment
To be Continued...
Komatsu Seiren Fabric Laboratory, Kengo Kuma, Japan, 2016
Scaffolding in Hong Kong
Bibliography Books:
Ahlquist , Sean, 'Sensorial Playscape: Advanced Structural, Material Andresponsive Capacities of Textile Hybrid Architectures As Therapeuticenvironments For Social Play' in Fabricate, (London: UCL Press, 2017) Bolton, Andrew, et al, Alexander Mcqueen : Savage Beauty (New York: Metropolitan Museum of Art, 2011) Bolton, Andrew, et al, Punk : Chaos to Couture, Edited by Eugenia Bell (New York: Metropolitan Museum of Art, 2013) Pearman, Hugh, Contemporary World Architecture (London: Phaidon, 1998) Hodge, Brooke, et al, Skin and Bones : Parallel Practices in Fashion and Architecture (New York: Thames & Hudson, 2006) Dower, John W, et al. Wearing Propaganda : Textiles on the Home Front in Japan, Britain, and the United States, 1931-1945 (New York:Yale University Press, 2005) Giles, Colum, et al, Yorkshire Textile Mills : The Buildings of the Yorkshire Textile Industry, 1770-1930 (London: H.M.S.O, 1992) Quinn, Bradley, Textile Futures : Fashion, Design and Technology (Oxford: Berg, 2010) Tosh, John. The Pursuit of History : Aims, Methods and New Directions in the Study of History, Sixth ed. (London : Routledge, Taylor & Francis Group, 2015)
Harper's BAZAAR, Inside the Bridal Atelier: Oscar de la Renta [YouTube video], 15 April 2016,< https://www.youtube.com/ watch?v=FZ7qvu_vJ2g> [Accessed 28 December 2017] Hodge, Brooke, Brooke Hodge: “Skin + Bones: Parallel Practices in Fashion and Architecture” [YouTube video], 12 April 2013 < https:// www.youtube.com/watch?v=EDM58TW-Nx4&index=1&list=PLbTW5P25wNDQrIYUGcRNAbeTGkcAHOQwC > [Accessed 18 November 2017] Jacobs, Marc, Marc Jacobs Teaches Fashion Design [Video], 2017 < https://www.masterclass.com/classes/marc-jacobs-teaches-fashiondesign> [Accessed 8 December 2017] Victoria and Albert Museun, The Clothworkers’ Centre for the Study and Conservation of Textiles and Fashion [Vimeo Video], 7 October 2017 <https://vimeo.com/76322118> [Accessed 15 December 2017] Online Resources: Archdaily, Dior Men Paris / Antonio Virga Architecte + Dior Men Architecture Department [Archdaily article], 5 June 2015 < https://www. archdaily.com/638248/dior-men-paris-antonio-virga-architecte-dior-men-architecture-department> [Accessed 7 January 2018] http://www.calderdalenextchapter.co.uk/timeline https://www.bl.uk/collection-items/two-illustrations-of-18th-century-textile-production
Schiavi, Alessia, et al, Fashion 150- 150 Years/ 150 Designers , Translated by Sylvia Adrian Notini (London: Laurence King Publishing, 2016)
Murray, Adam, How the north of England impacted style[Interview with DAZED], 30 November 2016 <http://www.dazeddigital.com/ fashion/article/33880/1/how-the-north-of-england-impacted-style> [Accessed 15 January 2018]
Donnelly, Mark, and Norton, Claire, Doing History, Abingdon (New York: Routledge, 2011)
British Fashion Council, About the BFC < http://www.britishfashioncouncil.co.uk/About/About-the-BFC > [Accessed 18 December 2017]
Harm, Anders, et al, 'On Creating a Museum and a Public' in Outside the Box: The Relation between Art and the Public (Manheim: Herausgeber,2015), P.188-193 (P.189) HM Treasury, Northern Powerhouse Strategy (London: HM Treasury, 2016)
Chandler, Julia, Medcalf, Jon, A Growing Cultural Quarter in Halifax [Libraries Taskforce Blog] , 30 October 2017 <https://librariestaskforce. blog.gov.uk/2017/10/30/a-growing-cultural-quarter-in-halifax/> [Accessed 28 November 2017]
Historic England, Engines of Prosperity (Historic England, 2016) Littlefield, David, Metric Handbook, 4th ed., (New York: Routledge, 2011) OMA, et al, The Parabola- Design and Access Statement, (London: OMA, et al: 2009) Magazines: Enninful, Edward, ‘Editor’s Letter’, Vogue, 2017, P.70 (London: Vogue, December) Quinn, Stephen, 'Vogue Says', Vogue, 2016, P.110 (London:Vogue, June) Videos: Haus der Kunst, Conversation – Renovate/Innovate. David Chipperfield and Okwui Enwezor [YouTube Video], 22 September 2016 <https://www.youtube.com/watch?v=weOnF7SlCSw&list=PLbTW5P25wNDTva7yUT-J8Cr-wD11Z8z4X&index=2 > [Accessed 12 June 2017] Lynch, Patrick, Adam Caruso: “Fashion is the Opposite of Architecture” [Archdaily article], 2 March 2017 <https://www.archdaily. com/806474/adam-caruso-fashion-is-the-opposite-of-architecture> [Accessed 20 October 2017] Corner, Francis, Don’t tell me fashion is frivolous | Frances Corner | TEDxWhitehall [YouTube video], 17 October 2016 < https://www. youtube.com/watch?v=sjLBbWbBTPc&index=4&list=PLbTW5P25wNDQrIYUGcRNAbeTGkcAHOQwC > [Accessed 15 November 2017] The New York Times, Inside Simone Rocha's All-Female Fashion House | In The Studio [YouTube video], 16 September 2017 < https:// www.youtube.com/watch?v=wpPsnXBSYHk > [Accessed 28 December 2017]
Film: Dior and I (France: Frédéric Tcheng , 2014) AEG, The Next Black - A film about the Future of Clothing [YouTube video], 21 May 2014 < https://www.youtube.com/ watch?v=XCsGLWrfE4Y&t=121s&index=2&list=PLbTW5P25wNDQrIYUGcRNAbeTGkcAHOQwC> [Accessed 23 November 2017]