The Beauty of Champa Ancient Fashion Runway by Lê Tường

PERFORMING ART Name: Le Khanh Cat Tuong Lecturer: Michael Ling Tiing Soon Class: Edexcel 6

CONTENTS 1. INTRODUCTION 1.1 About The Designer

4 5

2. RESEARCH & CASE STUDY 2.1 Ethnic Minorities in Viet Nam 2.1.1 Overall Characteristics 2.2 Specific Tribe

6 7 8 10

3. FINAL ASSIGNMENT DESIGN 3.1 Fashion Runway 3.2 Site & Location

14 15 18

4. CONCEPT & INSPIRATION 4.1 Beauties in Arched Archs 4.2 Mood Broad

20 22 24

5. DESIGN DEVELOPMENT 5.1 Bubble Diagram 5.2 Circulation Diagram 5.3 Floor Plan 5.4 Section Plans 4.5 Details

26 27 28 29 31 35

6. AXONOMETRIC & 3D RENDERING

7. POSTER (A1)

1 INTRODUCTION

KHANH

CAT

TUONG

1.1 About The Designer

INTERIOR DESIGNER “Your time is limited. So don’t waste it living someone else’s life” - Steve Job

Hello, I’m Tuong, just call me Erik. I’m a really huge fan of beauties as a boy who is always extremely curious about surroundings, circumstances, exteral events, and want to discover it. The boy has a wish that he must dedicate his life to enjoying the universe’s beauty and always wondering how to bring it back the ordinary life... 5

2 RESEARCH &

CASE STUDY

2.1 Ethnic Minorities in Viet Nam

here are 53 ethnic minorities in Vietnam according to the Vietnamese government (54 including the Vietnamese, which are known as the Kinh or Viet) . Other sources come up with different numbers depending on how groups and subgroups are distinguished and defined. Ethnic minorities make up between 10 to 15 percent of the population in Vietnam. Chinese (Hoa) comprise around two percent of Vietnam’s population (the percentage may have been higher before as many Chinese “boat people” fled Vietnam after the fall of Saigon in 1979.

Among the ethnic groups found in Vietnam are the Hmong, Thai, Khmer, and Cham—which are all found elsewhere in Southeast Asia—and the Montagnards, a general term describing several indigenous groups that live in the Central Highlands. According to the 1999 census the Kinh (Viet, Vietnamese) made up 85.7 percent of the population followed by the Tay: 1.9 percent; Thai: 1.8 percent; Muong: 1.5 percent; Khmer: 1.5 percent; Mong 1.2 percent; Nung: 1.1 percent; others 5.3 percent (mostly Chinese).

http://factsanddetails.com

Overall Characteristics

he non-Chinese minority peoples of Vietnam are for the most part highlanders who live in relative independence and follow their own traditional customs and culture. They are classified as either sedentary or nomadic. The sedentary groups, the more numerous of the two kinds, are engaged mainly in the cultivation of wet rice and industrial crops; the nomadic groups, in slash- and-burn farming where forested land is cleared for a brief period of cultivation and then abandoned.

Both groups inhabit the same four major areas: the northern Chinese border region and the uplands adjacent to the Red River Delta, the northwestern border region adjoining Laos and China, the Central Highlands and the area along the Giai Truong Son, and parts of the Mekong River Delta and the central coastal strip. These groups are notable for their diverse cultural characteristics. They are distinguished from one another not only by language but also by such other cultural features as architectural styles, colors and shapes of dress and personal ornaments, shapes of agricultural implements, religious practices, and systems of social organization.

he number and variety of languages used by Vietnamâ&#x20AC;&#x2122;s minorities reflect the countryâ&#x20AC;&#x2122;s ethnic complexity. Minority groups are distinguished by more than a dozen distinct languages and numerous dialects; the origins and distribution of many of these languages have not yet been conclusively established. They can, however, be classified loosely into three major language families, which in turn can be divided into several subgroups. Eleven of the minority groups--Tay, Thai, Nung, Hmong, Muong, Cham, Khmer, Kohor, Ede, Bahnar, and Jarai-have their own writing systems. Religious practices among highland minorities tend to be rooted in animistic beliefs. Most worship a pantheon of spirits, but a large number are Catholics or Protestants. In contrast to the Mahayana Buddhist beliefs of the majority of Vietnamese, the Khmer practice Theravada (or Hinayana) Buddhism, and the Cham subscribe to both Islam and Hindu beliefs. http://factsanddetails.com 9

2.2 Cham Ethnic Group

hampa civilization was one of the most vibrant civilizations in Southeast Asia. In this case, the influence and interference of two great cultures, India and Dai Viet (ancient Vietnamese), came into the Champa culture after the eleventh century. The most obvious of which was the Buddhist influence which is in a state of prosperity combined with indigenous culture - has created a unique, innovative and vibrant Champa culture. The Cham ethnic groups speak a dialect of the Malayo-Polinesian language and are related to the Raglai, Ede, Chu Ru and Gia Rai groups in Vietnam. The Cham people share ethnic similarities with Indonesians, Malaysians and Bruneians in South East Asia. In Vietnam, they are native to the south central coastal region and build their culture under the influence of Indian culture. The Cham in Vietnam number more than 160,000, concentrated in Ninh Thuan, Binh Thuan and parts of Phu Yen, Binh Dinh, An Giang, Tay Ninh and Ho Chi Minh city. Cham villages are scattered in the south central coasts. The Cham comprises of various local groups with varying religion, belief and culture. Some attend mosques, while others practice their religion in pagodas or tower temples. Le Duy Dai of the Vietnam Museum of Ethnology says the Cham in Vietnam comprises of 4 distinct groups: The 4 Cham groups are different by religion. The majority of Cham in Vietnam are Cham Balamon or Hindu. The second group is Cham Bani or old Islam. The 3rd group is Islam. The 4th group, the Cham Hroi, do not follow any religion http://vovworld.vn

History:

The Cham, who have lived along the coast of central Vietnam for a long time, possess a rich culture profoundly influenced by Indian culture. Until the 17th century, the Cham had successfully maintained their own nation, known as Cham Pa. The local population is composed of two groups: those living in Ninh Thuan and Binh Thuan believing in Brahmanism, with a smaller group following Bani (old Islam). Those residing in Chau Doc, Tay Ninh, Dong Nai and House Chi Minh City follow what is referred to as new Islam.

Production activities:

The Cham have a tradition of wet rice cultivation. They are experienced in intensive farming and gardening and use irrigation. Apart from wet rice cultivation, the Cham also cultivate an annual crop of rice on dried swidden fields located on the mountainsides. Meanwhile the economy of the Cham living in the South is characterized by fishing, agriculture, textile weaving and small-scale enterprise. Handicrafts are fairly well-developed, especially silkworm textiles and handmade pottery wares that are baked in open kilns. The Cham engaged early on in external trade with other population, as the central coast used to be a busy hub for commercial transactions by famous merchant ships.

Clothing:

Both men and women wear long onepiece sarongs or cloth wrappers. Men wear shirts fastened down the center with buttons, while women wear long-sleeved pullover blouses. The main color of their daily dress is cotton white. Nowadays, the Cham dress like the Viet in other parts of central Vietnam, with long-sleeved blouses which is only worn by elderly women. 12

Lifestyle:

The majority of Cham live in Ninh Thuan and Binh Thuan. They build their houses on the ground, with the rooms being arranged according to a particular order: the sitting room, rooms for the parents, children, and married women, the kitchen and warehouse (including the granary), and the nuptial room of the youngest daughter.

Festivals:

Various agricultural rites are performed each year. These include ceremonies for the opening of a canal and embankment, for young rice, for the appearance of paddy ears. The most important event, called Bon Kate, is held by the Cham towers in the tenth moth of the lunar year.

Artistic activities:

Among the more striking Cham musical instruments are their drums with leather drum heads, called Paranung, cylindrical drums, and the xaranai clarinet. Cham folk songs and ancient Cham music have influenced considerably the music and folk songs of the Viet people in the central parts of Vietnam, particularly cylindrical drum music, songs relating sad or tragic stories, and traditional songs of Hue. Traditional Cham dances are also found in the important annual event of Ban Kate held by the Cham towers.

Games:

Children are font of games such as kite flying, mock combats, flag seizing, hide and seek, etc.

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3 FINAL ASSIGNMENT

DESIGN

3.1 Fashion Runway Although all designs incorporate the components or elements of fashion design, the principles of fashion design -- its guiding rules or fundamentals -- govern whether or not a particular design is successful and aesthetically pleasing. Of course, that judgment can be a somewhat subjective one as anyone who has watched a fashion design show such as Project Runway can attest from having heard the judges, who usually are experts in the fashion design field, disagree at times about a particular contestantâ&#x20AC;&#x2122;s design.

Four Basic Principles of Fashion Design:

Emphasis

There are a number of techniques that a fashion designer may use to place emphasis on a feature of a garment or a fashion accessory. Such techniques may include the addition of embellishment, cut-outs, ruffles, peplums, and so on. Use of color and its placement is another way to create emphasis, making some areas stand out more than others. Exaggerated or unusual designs, such as the leg-o-mutton sleeves that were popular on 1980s wedding gowns, also create emphasis, highlighting a particular area. Knowing about emphasis, which can be part of the design itself or emphasis on the body because of the way a garment is designed, can help any woman when she is selecting a garment or fashion accessory. For example, if a woman wants to showcase her shoulders, she may select a strapless top or dress. If she wants to highlight her cleavage, she may select a gown with a deep V-neckline.

Balance

Balance in fashion design can be achieved with the use of features, such as seams, hemlines, and necklines. Symmetrical applications of balance (for example, a straight hemline) are the norm, but asymmetrical balance can be effective too. In the past several years, asymmetrical necklines have achieved popularity. Asymmetrical balance is more complex and trickier to achieve than symmetrical balance. For example, a one-shoulder gown might look interesting with its asymmetrical neckline, but a jacket with one lapel larger than the other would just look bad.

Proportion

Proportion in fashion design is the principle that holds that the size of various components of a garment or fashion accessory must look good together. Proportion is one of the most important principles of fashion design for the petite woman because when she selects garments, their proportion (or size/scale of the garment or various components of a garment or fashion accessory) should be relative to her small stature. For example, a tea-length, full skirt would have so much volume that it would be overwhelming on a petite woman.

Unity

When the principle of unity in fashion design is applied well, a garment or fashion accessory should look good overall. It should look as though it goes together, and it should look as though all the design elements are contributing to make a harmonious whole. In an effective application of the principle of unity, each element enhances the others, rather than distracting from the design.

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3.2 Site & Location

Phan Rang - Thap Cham City NINH THUAN Province

4 CONCEPT &

INSPIRATION

4.1 Beauties in Arched Archs

In that culture, the Champa architectural decoration is an important element, expressing the vitality and creativity of the Champa culture, contributing to the special appeal of the culture. Temple structures and especially the sculpture on the arch has shown a diverse combination of cultural symbols. We can understand that the arch is an arched arch that is used in the main door, false doors, pillar walls, foundations or on the floors of the tower roof to create decorative patterns for Champa architectures. Sculptural architecture with arches symbolizes the world view of the Cham about the universe. In general, the ancient Cham artists, through sculpture, have shown their awareness of harmony balance and flawless beauty by triangular shape, cone, mountain shape,... The world view of the ancient Cham in the universe is also expressed through the form of dome, cave is the embodiment of the egg, symbolic meaning to protect the roots of the universe that â&#x20AC;&#x153;the image of the Universe and cave ground is Earth, the dome is Heavenâ&#x20AC;?.

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In the Cham sculpture, a motif symbolizing destruction and creation, the symbol of transformation, the regeneration that is the flame. The ancient Cham used fire as a symbol of the gods, the enlightenment, the awakening of people in social life. Leaf motifs, through many stages, have changed from the shape of twists (Dong Duong style), turns to the form of dense (My Son style) and is reduced to a leaf or flame with deep grooves. With the upward peaks, it also symbolize penis, fire or sun... was applied in Binh Dinh style and â&#x20AC;&#x153;lateâ&#x20AC;? style which impressed by the grandeur, the majestic. Lotus motifs are considered by the Cham as a sacred flower of nature and God appearing at the bottom of small arches or in churches... these motifs make a lot of meaning which are the symbol of pureness, purity, transcendental wisdom, proliferation, eternal life and rebirth.

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4.2 Mood Broad

5 DESIGN DEVELOPMENT

5.1 Bubble Diagram Gate area Central Stage Audience area VIP area

5.2 Circulation North Flow West Flow South Flow East Flow

PROJECT TITLE:

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID UNIT : PERFORMING ART

DRAWING TITLE:

PROPOSED MASTER PLAN

NOTES 1.

This draw shall not breach o

All specif discrepa are advis purposed

CLIENT HAS REVIEWED AND APPROVED.

COMMENTS:

wing and concept contained thereon are and remain the property of LE KHANH CAT TUONG and be copied or used in whole or part without the written consent of LE KHANH CAT TUONG. Any of this condition shall be deemed to be breached of copyright. All rights reserved.

fication and dimension to be verified on site before commencement of any works. Any ncies must be reported to the respective designer immediately for further clarifications. Contractors sed to clarify all site measurement and shop-drawings are not to be scale for construction d. Otherwise the contractor must bear all the responsibilities. ___________________________________________________________ CLIENT SIGNATURE & DATE

PROJECT TITLE:

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID UNIT : PERFORMING ART

DRAWING TITLE:

PROPOSED SECTION PLAN A-A

NOTES 1.

This draw shall not breach o

All specif discrepa are advis purposed

CLIENT HAS REVIEWED AND APPROVED.

COMMENTS:

fication and dimension to be verified on site before commencement of any works. Any ancies must be reported to the respective designer immediately for further clarifications. Contractors sed to clarify all site measurement and shop-drawings are not to be scale for construction d. Otherwise the contractor must bear all the responsibilities. ___________________________________________________________ CLIENT SIGNATURE & DATE

PROJECT TITLE:

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID UNIT : PERFORMING ART

DRAWING TITLE:

PROPOSED SECTION PLAN B-B

NOTES 1.

This draw shall not breach o

All specif discrepa are advis purposed

CLIENT HAS REVIEWED AND APPROVED.

COMMENTS:

PROJECT TITLE:

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID UNIT : PERFORMING ART

CHAMPA CENTRAL STAGE

DRAWING TITLE:

All specification and dimension to be verified on site before commencement of any works. Any discrepancies must be reported to the respective designer immediately for further clarifications. Contractors are advised to clarify all site measurement and shop-drawings are not to be scale for construction purposed. Otherwise the contractor must bear all the responsibilities.

This drawing and concept contained thereon are and remain the property of LE KHANH CAT TUONG and shall not be copied or used in whole or part without the written consent of LE KHANH CAT TUONG. Any breach of this condition shall be deemed to be breached of copyright. All rights reserved.

NOTES

CLIENT HAS REVIEWED AND APPROVED.

___________________________________________________________ CLIENT SIGNATURE & DATE

COMMENTS:

FINISHED FLOOR LEVEL

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID

PROJECT TITLE:

WEST KALAN BRICK PAVILION

DRAWING TITLE:

UNIT : PERFORMING ART

CLIENT HAS REVIEWED AND APPROVED.

___________________________________________________________ CLIENT SIGNATURE & DATE

COMMENTS:

NOTES

FINISHED FLOOR LEVEL

PROJECT TITLE:

BAMBOO FIRE TOWER

DRAWING TITLE:

& METAL STOOL

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID UNIT : PERFORMING ART

NOTES

CLIENT HAS REVIEWED AND APPROVED.

___________________________________________________________ CLIENT SIGNATURE & DATE

COMMENTS:

FINISHED FLOOR LEVEL

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID

PROJECT TITLE:

BRICK BENCH

DRAWING TITLE:

UNIT : PERFORMING ART

NOTES

CLIENT HAS REVIEWED AND APPROVED.

___________________________________________________________ CLIENT SIGNATURE & DATE

COMMENTS:

FINISHED FLOOR LEVEL

PROPOSED FASHION RUNWAY EDEXCEL 6 - ID

PROJECT TITLE:

PITCH ROOF

DRAWING TITLE:

UNIT : PERFORMING ART

NOTES

CLIENT HAS REVIEWED AND APPROVED.

___________________________________________________________ CLIENT SIGNATURE & DATE

COMMENTS:

FINISHED FLOOR LEVEL

AXONOMETRIC & 3D RENDERING

The Beauty 54

of Champa Ancient Fashion Runway

Designer: Le Khanh Cat Tuong Instructor: Micheal Ling Date: March, 2018

The beauty of Champa Ancient reeects deeply on the ru fashion runway. Champa temples, sculptures, pavilions and the conection between people and nature contribute to the beauty of the design. With the love for Champa civilization, the designer want to remind people that it is too beautiful as well as helpful to be forgotten or abandoned. People have responsibility such as protecting, saving and promoting with this beauty for young generations in the future. And Nature is the same thing. thin