SCHOOL OF ARCHITECTURE COLLEGE OF ENGINEERING AND TECHNOLOGY−PAYYANUR (Approved by AICTE. Govt. of Kerala, COA & Affiliated to KTU) KAITHAPRAM, MATHAMANGALAM (P.O), KANNUR (DT.) −670306
ARCHITECTURAL THESIS 2020−2021 FASHION HUB,NEW DELHI
Submitted in partial fulfillment for the award of the degree Of BACHELOR OF ARCHITECTURE Submitted by Hazeem haneef, Reg. No. CEN17AR008
DEPARTMENT OF ARCHITECTURE 2021
SCHOOL OF ARCHITECTURE COLLEGE OF ENGINEERING AND TECHNOLOGY−PAYYANUR (Approved by AICTE. Govt. of Kerala, COA & Affiliated to KTU) KAITHAPRAM, MATHAMANGALAM (P.O), KANNUR (DT.) −670306
BONAFIDE CERTIFICATE This is to certify that the thesis entitled ‘Fashion hub,Delhi’Submitted by Hazeem Haneef , Reg. No. CEN17AR008 to the APJ Abdul Kalam Technological University in partial fulfillment of the requirement for the awardof degree in Bachelor of Architecture is a bonafide record of the work carried out by her under our guidance and supervision.
External Examiner Head of the Department
Guide Director
THESIS REPORT | FASHION HUB DELHI
DECLARATION
I Hazeem Haneef , do hereby declare that the thesis titled ―FASHION HUB,DELHI” is a bonafide record of the study done by me during the 10th Semester of the B. Arch Degree course at the School of Architecture, CETP and that, this Thesis has not been submitted elsewhere for the award of B. Arch. Degree.
Place: KANNUR Date:
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ACKNOWLEDGEMENT
I would take this opportunity to thank everyone who has helped me in the successful completion of this effort, right from the suggestion of project to the criticisms. Acknowledgments for this Thesis extend beyond the walls of the School of Architecture, CET Payyanur to include all the support that I have been given. I take this opportunity to extend my sincere gratitude to all those who have shared their knowledge and efforts to help me in the completion of this Thesis. I am deeply indebted to my guide Ar. ARUN, I am grateful to all other staff members for their guidance and support for the successful completion of this Thesis. I am also greatly indebted towards classmates and other eminent persons who were happy to find time to help me through this process. I also extend my gratitude towards my parents, whose prayers and blessings were there always with me. And at the greatest, towardsGOD, the Almighty who makes things happen.
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ABSTRACT India has become one of the fastest growing countries in all aspects, to make people aware about the process that is involved in the production of garment and accessories Fashion Hub can play a vital role. With the help of fashion hub we can spread awareness about the Indian Fashion and Textile Industry and make India emerge as a major hub for international fashion events. For decades, western designers and global fashion brands have looked into Indian craftsmanship, rich textile raw materials in India makes Indian fashion as a source of inspiration. From obscure Indian embroidery techniques, to variety of fabrics and in numerous print practices, India‘s influence on global fashion has been significant from time to time. India as a fashion market has grown tremendously. Fashion weeks have become very important in indie. The Indian ethnic oriented fashion market doesn‘t really need global attention; this is something which will help India get a big market. The Indian market is self-sufficient And massive on its local basis
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DECLARATION .......................................................................................................................ii ACKNOWLEDGEMENT ........................................................................................................iii ABSTRACT .............................................................................................................................. iv CHAPTER 1 - INTRODUCTION ............................................................................................. 1 1.1 WHAT IS FASHION HUB ............................................................................................. 1 1.2 FASHION CAPITALS .................................................................................................... 1 1.3 THE ECONOMIC IMPORTANTS ................................................................................ 1 1.4 NECESSITY OF FASHION HUB .................................................................................. 2 1.5 AIM .................................................................................................................................. 2 1.6. OBJECTIVE.................................................................................................................... 2 1.7. LIMITATIONS ............................................................................................................... 2 1.8. SCOPE ............................................................................................................................ 2 CHAPTER 2 – LITERARTURE REVIEW .............................................................................. 3 2.1.INRODUCTION .............................................................................................................. 3 2.2. WHAT IS FASHION HUB............................................................................................. 3 2.3. FASHION EVENTS IN INDIA ...................................................................................... 3 2.4. USER GROUP OF FASHION INDUSTRY .................................................................. 4 2.5. DATA COLLECTION .................................................................................................... 6 CHAPTER 3 – CASE STUDY ................................................................................................ 17 3.1. PEARL ACADEMY OF FASHION,JAIPUR .............................................................. 17 3.1.1
PURPOSE OF THE STUDY ............................................................................ 17
3.1.2
PLANNING ...................................................................................................... 18
3.1.3
INTERIOR ........................................................................................................ 18
3.1.4
ANALYSIS ....................................................................................................... 19
3.2 SABYASACHIS FLAGSHIP STORE ......................................................................... 20 3.2.1 CONCEPT ......................................................................................................... 21 3.2.2 PLANNING ...................................................................................................... 22 3.2.3
PLANNING OF INTERIOR ............................................................................. 22
3.2.4 ANALYSIS ........................................................................................................ 22 3.3 MUSEE YVES SAINT LAURENT ............................................................................ 23
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THESIS REPORT | FASHION HUB DELHI 3.3.1 ARCHITECTURE ............................................................................................ 23 3.3.2 DESIGN SPACES............................................................................................. 24 3.3.3 BUILDING MATERIALS ..................................................................................... 25 3.3.4 INTERIOR ........................................................................................................ 25 3.4 DILLI HAAT ................................................................................................................ 26 3.4.1
CONCEPT ......................................................................................................... 26
3.4.2
PLANNING ....................................................................................................... 27
3.4.3 MATERIALS USED .......................................................................................... 28 3.4.4
HISTORY ........................................................................................................... 27
3.4.5
ANALYSIS ....................................................................................................... 28
3.5 COMPARATIVE ANALYSIS................................................................................. 29 3.6 DESIGN BRIEF ....................................................................................................... 30
CHAPTER 4 - SITE STUDIES ............................................................................................... 31 4.1. INTRODUCTION ......................................................................................................... 31 4.2. NEARBY BUILDINGS ................................................................................................ 31 4.3. SOCIAL ECONOMIC FACTORS ............................................................................... 32 4.4. KEY PLAN ................................................................................................................... 33 4.5. TOPOGRAPHY ........................................................................................................... 34 4.6. SITE PLAN ................................................................................................................... 35 4.7. SWOT ANALYSIS ....................................................................................................... 35 4.8. WIND DIRECTION ..................................................................................................... 36 4.9. SUN PATH ................................................................................................................... 36 4.10.NOISE .......................................................................................................................... 37 4.11.SHADOW ANALYSIS................................................................................................ 37 4.12.CLIMATE ANALYSIS ............................................................................................... 37 CHAPTER 5 – CONCEPT ...................................................................................................... 38 5.1. FASHION AND ARCHITECTURE ............................................................................ 39 5.2. FASHION INSPIRED ARCHITECTURE ................................................................... 40
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THESIS REPORT | FASHION HUB DELHI 5.3. FORM DEVELOPMENT ............................................................................................. 40 5.4. DESIGN DEVELOPMENT .......................................................................................... 40 5.5. ZONNING ..................................................................................................................... 41 CHAPTER 6 – SPECIAL TOPIC............................................................................................ 42 6.1. PHYSICAL LAYOUT OF FASHION SHOWS .......................................................... 42 6.2. FASHION RAMP ......................................................................................................... 42 6.3. RUNWAY LENGTH .................................................................................................... 42 6.4. RUNWAY STAGE SHAPE ......................................................................................... 43 6.5. FASHION LIGHTING ................................................................................................. 43 6.6. RUNWAY MATERIALS ............................................................................................. 44 6.7. CASESTUDIY .............................................................................................................. 45 CHAPTER 7– DESIGN ........................................................................................................... 46 7.1. MASTERPLAN ............................................................................................................ 53 7.2. FLOOR PLANS ............................................................................................................ 54 7.3. SECTION ...................................................................................................................... 58 7.4. ELEVATION ................................................................................................................ 58 7.5. VIEWS .......................................................................................................................... 59 CHAPTER 8 – CONCLUSION............................................................................................... 60 CHAPTER 9 – REFERENCE ................................................................................................. 61
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CHAPTER 1 - INTRODUCTION
1.1 WHAT IS FASHION Fashion includes all external displays of civilised behaviour that gain widespread popularity over a limited time. When man realised the purpose of garments as a protection from nature's harshness that they began to study their aesthetic element.A popular style or practise is fashion,not only in clothing, but also in shoes, accessories, cosmetics, hairstyles, and the body. Fashion is an unique and generally ongoing trend in a person's dressing style.fashion industry is the advance product of the modern age.
1.2 FASHION CAPITALS
Fig .1.2.1 (Milan)
Fig .1.2.2(Paris)
Fig .1.2.3(London)
Fig .1.2.4(New York)
The ―big four of fashion‖ refers to cities that are usually leaders in innovative designs and clothing. The term fashion capital is nowadays used for the cities that hold fashion weeks.The cities that host and are notable for being the fashion capitals are located in the west.
1.3 THE ECONOMIC IMPACT OF THE FASHION INDUSTRY The fashion industry has a huge economic influence. Because of the number of jobs it creates and the amount of money it generates, this is extremely beneficial to the economy. India's textile heritage is rich and diverse, with each area having its own local clothing and traditional costumes. Fashion is a fast growing sector in India,with international events such as Fashion Week and yearly fashion shows in the country's major cities.
Fig .1.2.2(Paris)
India is a major exporter of textiles and accessories to the global fashion industry. Indian cultural patterns and materials are an important element for fashion companies and garment makers all over the world. India is one of the most important participants in the world fashion field when it comes to materials and manufacturing for clothes.
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1.4 NECESSITY OF FASHION HUB IN INDIA
Building a community, understanding and studying fashion, and helping young designers in developing and displaying their work on a worldwide scale are all benefits of designing a fashion hub.
It has the possibility to employ a large number of people. Jobs and the economy go hand in hand. The economy performs better when more jobs are provided. Fashion industry is becoming increasingly popular in society.
1.5 AIM To design a Fashion Hub which has a combination of fashion and fashion related business.
1.6 OBJECTIVE 1. Study about fashion hub and need of fashion hub in india. 2. Analyze the spaces and functions need for the fashion hub. 3. To identify the facilities and areas based on live case studies and literature case studies that is related to fashion hub. 4. Design a fashion hub which will provide an opportunity for students, manufacturers, retailers, and business organizations. And to promote Indian fashion on a larger scale.
1.7 SCOPE 1.There is a need for a zone that will serve as a one-stop shop for all buyers and media who want to connect designers before to or after Fashion Week. 2.The proposed Fashion Hub will serve the purpose of a permanent market-place for the Indian fashion industry. 3.Creates a unique image for fashion in a city,this creates a landmark.
1.8 LIMITATIONS 1.Due to time limits, the solution would be given a minimal level, but with the maximum amount of effort. 2.Frequent visit to the site would be difficult because of the on going crisis
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CHAPTER 2 – LITERATURE REVIEW
2.1 INTRODUCTION Fashion is the widest sense comprises all outward manifestations of civilized behavior which general acceptance for a limited period of time. From the moment when man discovered the function of clothes as a protection against the vegans of nature, it cannot have been long before they began to consider their aesthetic aspect. Fashion is a popular style or practice, not only in clothing, also in footwear‘s, accessories, makeup, hairstyle and body. Fashion is a distinctive and often constant trend in the style in which a person dresses. It is the prevailing styles in behavior and the newest creations of textile designers. The fashion industry is a product of the modern age. By the beginning of the 20th century—with the rise of new technologies such as the sewing machine, the rise of global capitalism and the development of the factory system of production, and the proliferation of retail outlets such as department stores- clothing had increasingly come to be mass produced in standard sizes and sold at fixed prices. Where is the birth place of fashion? One might say Paris of course but it is not a matter of course. Throughout the centuries many countries and towns have claimed to be leaders of taste. Fashion arrived on the banks of the scene by circuitous router and Italy , Spain and later England were station on its own journey through Europe , today it is an international and highly globalized industry.
Fig 2.1.1 (Image showing evolution of fashion)
2.2 WHAT IS FASHION HUB? While going through the phases of film making i.e. from development phase to the distribution phase different facilities are needed like office space for establishing production office, indoor and outdoor shooting area, green studios etc. so that film can be completed in effective way. Following are the facilities needed for the completion of any motion picture and are arranged according to the phases of making motion picture.
2.3 FASHION EVENTS IN INDIA • Lakme fashion week: Lakme fashion week is the first fashion show that took place in India. It is a bi-annual Indian fashion event organized in Mumbai. It is organized by Fashion Design HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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Council of India (FDCI) and supported by Lakme. The first show takes place in February and is known as the Lakme Fashion Week Summer Resort and the second event is held in August and is called the Lakme Fashion
Week Winter Event. • India fashion week: India fashion week is an event that happens in Delhi every year and is sponsored by Wills Lifestyle. This event is one of the top fashion weeks that happen in India, showcasing the collections of more than 130 fashion designers. The designer list includes names like Sabhyasachi, Rituberi, Rohitbal, Rohit Gandhi and Rahul Khanna, Taruntahiliani and Wendell Rodricks. • Wills lifestyle India fashion week: it is a bi-annual event showcasing both summer and winter collections respectively.It is held in Delhi. • India bridal fashion week: India bridal fashion week held both in Mumbai and Delhi, is among the top 4 fashion events being held in the country twice a year. • Van-heusan India men’s week: Cementing India's position as the 4th fashion capital for menswear in the world. Annual Van Heusen Men‘s Week is poised to be a highly stylish and sophisticated event showcasing the very best of Indian menswear designer talent (JOHRI, 2017)
Fig 2.3..1 (Indian fashion week)
Fig 2.3..2 (lakme fashion week)
Fig 2.3..3 (van husen mens week)
2.4 USER GROUP OF FASHION INDUSTRY In this phase the movie is finally released in cinemas or occasionally to media in the form of DVD, CD, VHS, Blue ray or direct download from the internet website. The film is duplicated and distributed to the cinemas as required. Press kits, posters, and other advertising materials are published and the film is advertised and promoted. After all of these processes finally the movie enters the market.
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Fig 2.4..1 (lakme fashion week
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2.5 DATA COLLECTION GENERAL BUILDING REQUIREMENTS AND SERVICES Requirements for Parts of Buildings
Plinth -The plinth or any part of a building or outhouse shall be so located with respect to the surrounding ground level that adequate drainage of the site is assured. The height of the plinth shall be not less than 450 mm from the surrounding ground level, in case of independent houses and not less than 300mm in case of other buildings.
Interior Courtyards and Covered Parking-Every interior courtyard shall be raised at least 150 mm above the determining ground level and shall be satisfactorily drained.
Habitable Rooms -Height For residential, business and mercantile buildings, the clear height of all rooms for human habitation shall not be less than 2.75 m measured from the surface of the floor to the lowest point of the ceiling (bottom of slab) provided that the minimum clear headway under any beam shall not be less than 2.4 m. In the case of pitched roof, the average height of rooms shall not be less than 2.75 m. The minimum clear head room under a beam, folded plates or eaves shall be 2.4 m. In the case of airconditioned rooms, a height of not less than 2.4m measured from the surface of the floor to the lowest point of air-conditioning duct or the false ceiling shall be provided
SL.NO
TYPE OF OCCUPANCY
CEILING HIEGHT
1.
Educational Buildings
Ceiling height 3.6m for all regions
2.
Industrial Buildings
Ceiling height 3.6m, except when air conditioned, 3m (Factory Act 1948 and Rules therein shall govern such heights, where applicable) Table 2.5..1
The area of habitable room shall not be less than 9.5Sqm, where there is only one room with a minimum width of 2.4 m. Where there are two rooms, one of these shall not be less than 9.5Sqm and the other not less than 7. 5Sq.m, with a minimum width of 2.1 m. Kitchen 1.3.1 Height The height of a kitchen measured from the surface of the floor to the lowest point in the ceiling (bottom of slab) shall not be less than 2.75 m, except for the portion to accommodate floor trap of the upper floor. 1.3.2 Size The area of a kitchen where separate dining area is provided, shall be not less than 5.0 Sq. m with a minimum width of 1.8 m. Where there is a separate store, the area of the kitchen may be reduced to 4.5 Sq. m. A kitchen, which is intended for use as a dining area also, shall have a floor area of not less than 7.5 Sq. m with a minimum width of 2.1m. 1.3.3 Other Requirements Every room to be used as kitchen shall have: a) unless separately provided in a pantry, means for the washing of kitchen utensils which shall lead directly or through a sink to a grated and trapped connection to the waste pipe b) an impermeable floor c) a HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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flue, if found necessary 1.4 Bathrooms and Water-Closets 1.4.1 Height The height of a bathroom or water-closet measured from the surface of the floor to the lowest point in the ceiling (bottom of slab) shall not be less than 2.1 m. 1.4.2 Size The area of a bathroom shall not be less than 1.8 Sq. m with a minimum width of 1.2m. The floor area of watercloset shall be 1.1 Sq.m with a minimum width of 0.9 m. If bath and watercloset are combined, its floor area shall not be less than 2.8 Sq.m with a minimum width of 1.2 m. 1.4.3 Other Requirements Every bathroom or water-closet shall: a) Be so situated that at least one of its walls shall face a shaft or open space b) Not be directly over or under any room other than another water-closet, washing place, bath or terrace, unless it has a water-tight floor; c) Have the platform or seat made of water-tight nonabsorbent material; d) be enclosed by walls or partitions and the surface of every such wall or partition shall be finished with a smooth impervious material to a height of not less than 1 m above the floor of such a room; e) Be provided with an impervious floor covering, sloping towards the drain with a suitable grade and not towards VERANDAH or any other room; f) Have a window or ventilator, opening to a shaft or open space, of area not less than 0.3 Sq.m with side not less than 0.3 m. 1.4.4 No room containing water closets shall be used for any purpose except as a lavatory and no such room shall open directly into any kitchen or cooking space by a door, window or other opening. Every room containing watercloset shall have a door completely closing the entrance to it. 1.5 Loft 1.5.1 Height The minimum head-room of loft shall be 2.2 m. The maximum height of loft shall be 1.5 m. 1.5.2 Size A loft in a habitable room shall not cover more than 25 percent of the area of the floor on which it is constructed and shall not interfere with the ventilation of the room under any circumstances. 1.6 Mezzanine Floor 1.6.1 Height It shall have a minimum height of 2.2 m. 1.6.2 Size The minimum size of the mezzanine floor, if it is to be used as a living room, shall not be less than 9.5 Sq.m. The aggregate area of such mezzanine floor in a building shall in no case exceed one third the plinth area of the building. 1.6.3 Other Requirements A mezzanine floor may be permitted over a room or a compartment provided: a) it conform to the standard of living rooms as regards lighting and ventilation incase the size of mezzanine floor is 9.5 Sq.m or more b) It is so constructed as not to interfere under any circumstances with the ventilation of the space over and under it; c) Such mezzanine floor is not sub-divided into smaller compartments; d) Such mezzanine floor or any part of it shall not be used as a kitchen; and e) In no case shall a mezzanine floor be closed so as to make it liable to be converted into unventilated compartments. 1.7 Store Room 1.7.1 Height The height of a store room shall be not less than 2.1 m. 1.7.2 Size The size of a store room, where provided in a residential building, shall be not less than 3 Sq.m 1.8 Basement 1.8.1 The Authority in accordance with the land use and other provisions specified under the Zonal Regulations shall allow the construction and usage of the basement. 1.8.2 The basement shall have the following requirements: a) Every basement shall be in every part at least 2.4 m in height from the floor to the underside of the roof slab/beam joists and at any part shall not exceed 4.5m in height; b) Adequate ventilation shall be provided for the basement. The ventilation requirements shall be the same as required by the particular occupancy according to byelaws. Any deficiency may be met by providing adequate mechanical ventilation in the form HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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of blowers, exhaust fans, airconditioning systems, etc. c) The maximum height at the top of the roof slab of the basement floor shall not be more than 1.2m above the average surrounding ground level; d) Adequate arrangements shall be made such that surface drainage does not enter the basement; e) The walls and floors of the basement shall be watertight and be so designed that the effects of the surrounding soil and moisture, if any, are taken into account in design and adequate damp proofing treatment is given; and f) The access to the basement shall be separate from the main and alternative staircase providing access and exit from higher floors. g) Where the staircase is continuous in the case of buildings served by more than one staircase, the same shall be of enclosed type serving as a fire separation from the basement floor and higher floors. Open ramps shall be permitted if they are constructed within the building line subject to the provision of (d). The exit requirements in basements shall comply with the provisions of these Byelaws. 1.9 Parapet Parapet walls and handrails provided on the edges of roof terraces, balcony, verandah, etc. shall not be less than 1.0 m and not more than 1.2 m in height from the finished floor level. Note: i. The above shall not apply where roof terrace is not accessible by a staircase. ii. However on terrace floor in the portion where installations like DG Set, Water Tank and other, screening parapet of a suitable height may be constructed to hide such equipment‘s etc. and there is no need to have uniform increase in the height of the parapet. 1.10 Boundary Wall The requirements of the boundary wall shall be as follows: a) Except with the special permission of the Authority, the maximum height of the compound wall shall be 1.5 m above the Centre line of the front street. Compound wall up to 2.4 m height may be permitted if the top 0.9 m is of open type construction of a design to be approved by the Authority. b) In the case of a corner plot, the boundary wall shall be constructed as specified by the ULB or the Government. and c) However, the provisions of (a) and (b) are not applicable to boundary walls of jails. In electric substations, transformer stations, institutional buildings like sanatoria, hospitals, industrial buildings like workshops, factories and educational buildings like schools, colleges, including hostels and other uses of public utility undertakings and strategically sensitive buildings, a height up to 2.4 m may be permitted by the Authority. 1.11 Meter Rooms For all buildings above 15 m in height and in special occupancies, like educational, assembly, institutional, industrial, storage, hazardous and mixed occupancies with any of the aforesaid occupancies having area more than 500 m2 on each floor, provision shall be made for an independent and ventilated meter (service) room, as per requirements of electric (service) supply undertakings on the ground floor with direct access from outside for the purpose of termination of electric supply from the licensee‘s service and alternative supply cables. The door/doors provided for the service room shall have fire resistance of not less than two hours. 1.12 Roofs 1.12.1The roof of a building shall be so designed and constructed as to effectively drain water by means of sufficient rain-water pipes of adequate size, wherever required, so arranged, jointed and fixed as to ensure that the rain-water is carried away from the building without causing dampness in any part of the walls, roof or foundations of the building or an adjacent building. a. The Authority may require rain-water pipes to be connected to a drain or sewer to a covered channel formed beneath the public footpath to connect the rainwater pipe to the road gutter or in any other approved manner. b. Rain-water pipes shall be affixed to the outside of the external walls of the building or in recesses or chases cut or formed in such external walls or in such other manner as may be approved by the Authority. c. It is desirable to conserve rain water using suitable rain water harvesting techniques including by roof water collection. In this context, HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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THESIS REPORT | FASHION HUB DELHI reference may be made to Part 9 ‗Plumbing Services, Section 1 Water Supply, Drainage and Sanitation (Including Solid Waste Management)‘ of NBC, 2005. 1.13 Disposal of polluted and unpolluted water a) Separate drains shall be provided for the disposal of polluted and unpolluted water seperately from the buildings. Polluted water shall be the water coming out from lavatories, bathrooms, water closets, kitchen and from other parts of the building which is already used for domestic or other purposes. Unpolluted water shall include rain water and the unpolluted subsoil water, if any.
There is also a strong trend toward double decking of the stores themselves so that the central pedestrian mall has two interconnecting levels, each lined with shops. The double level mall is also due, in part, to the need to keep horizontal walking (shopping) distances within reason. As land costs continue to rise and projects to grow larger, three- and four level malls will, no doubt, become common. 4. Renewal Projects (Downtown) Because of their complexity in matters legal and political---as well as physical— downtown centres are still, to some extent, in tire experimental stage. The trend is toward a close integration, on two or more shopping levels, of department stores, shops of all sorts, restaurants, etc.
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The multilevel malls may connect directly or by bridges to other shopping facilities, hotels, office buildings, theatres, and parking garages . Because of high land costs, all parking is normally multidecked and can be above, below, or, better, laterally contiguous to the shopping facilities. The downtown trend is toward a multilevel pattern interconnecting the essential parts of the central business district. SPACE ALLOTMENTS Structures For retail purposes (retail areas) For service purposes (heating and air-conditioning plants, electric substations, maintenance shops, truck roads, loading docks, and equipment storage) For other commercial uses (offices and recreational facilities) For public use such as civic and social facilities (community center, auditorium, exhibition space, and children's play areas) Car storage areas Surface parking lots Double-deck or multiple-deck garages Pedestrian areas Malls, courts, lanes, and plazas Covered pedestrian areas, such as public corridors and covered malls or courts Automobile movement areas Distribution road system on site Public transportation areas Bus roads, bus terminals, and taxi stands Buffer areas Landscaped areas separating car storage areas or service areas from the public road system, or areas separating parking areas from one another or parking areas from service areas Reserve areas Portions of site to be held in reserve for the planned growth of the shopping ceffiter.
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MUSEUM Building museums in parks or gardens offer considerable advantages of a wider choice of detached positions thus reducing the risk of fire, a relative degree of protection from dust, noise, vibrations, exhaust gases from motor engines and factories and smoke from the chimneys of houses and municipal heating plants. A belt of trees surrounding the museum serves as an effective natural filter for dust and chemical discharges and also helps to stabilize the humidity of the atmosphere. Large trees cut off light or deflect light and thus diminish or alter its effect on colour. Strong artificial lights are generally used as being more effective than daylight. The most important thing is that the construction should be flexible, capable to adaptation to different features that it must simultaneously or successively contain while preserving its unchanged framework. CIRCULATION
ENTRANCE There must be only one public entrance placed quite separately from the others. This should lead into a vestibule where certain essential services should be located such as the sale of tickets, information center. It is important for the entrance hall to be attractive. It should provide an easy introduction to the building, a point from which the individual visitor can find his way without difficulty and where large parties can be greeted and assembled. It requires to be fairly spacious with minimum sturdily built furniture. It is not advisable to have only one door from here into the exhibition rooms; there should be two, an entrance and an exit, far enough to prevent delay and placed such that it can easily be watched at the same time.
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THESIS REPORT | FASHION HUB DELHI Field of Vision The flow of visitors is like the flow of water in a stream. If cases are arranged in a gently curving line, to take advantage of this pattern, then visitors will find the room more attractive and can progress easily in the line of the curve. Staggered arrangements often causes mystery Cases that are arranged to narrow the entrance a bit which in turn opens up as one enters it create interest.
Other important requirement Sanitary facilities must be located at the entrance and more toilets should be provided for a bigger exhibition space. Number of toilets have to be optimum and queues should be minimized. The toilet area for disabled must be included. Also facilities like First aid center, exhibition organizer‘s office, and pressroom should be included. The table giving the thumb rule for calculating number of toilets for an exhibition space is given below
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The viewing arc for acute vision without moving the head is up to 54o wide, 27o upwards and 10o down from the horizontal, and this is the basis on which displays, exhibitions and notices
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THESIS REPORT | FASHION HUB DELHI AUDITORIUM The design of an auditorium is to determine a seating area, establish the position of walls and shape of floors within the limitations to see satisfactorily.
Center of curvature- It is located on the center line of the auditorium, approximately the depth of the house behind the proscenium. Aisles- Maximum legal number of seats into each row in every section- 14. A center aisle wastes the most desired seating area in the front Visual acuity- Distance of not more than 15m Capacity- Varies with the different performances in the stage. For pageants/shows, 48-60m is generally adopted on grounds of visibility for determining the maximum depth of the house. Floor slope- To determine floor slope, establish eye position of spectator in first row on center line by approximately 30o vertical angle above. For live shows stage floor will be 0.05m below the eye level. A point 1.12m below and 0.45m in front of the eye position will be the floor level for the first row. Considerations in planning depth of house Draw a sight line from the from the eye position to the downstage edge of stage and extend it back of the eye position for the front row, step off horizontal seat spacing and draw vertical lines at the points thus established. Establish a point 0.127m above the intersection of the extended sight line and the next vertical line. This is the eye position for the second row and the floor level at the front edge of the second row seat is 1.12m below in front of the eye position. Repeat steps 1, 2, 3 to the back of the house and draw in the floor slope. Where the slope exceeds 0.03 in 0.3, platforms are required under the seats and steps in the aisles. In laying out the balcony, sight lines are laid out from rear to front because it is unsafe to change balcony slope. Proscenium width for pageant performances- 24m Spatial requirements for HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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Pageant/Shows productions General characteristics- dramatic episodes, processions, marches, dances and crowd scenes. Masses of performers engaged in simple but expansive movements before very large audiences. Acting area size- From 185-465sqm, depending on the scale of the project. Shape Rectangular shape with aspect ratio between 1 to 3 and 2 to 3 Performance –Audience arrangements Audience looking in one direction towards the performance proscenium. It affords maximum confrontation of performers and audience and is best for concert performances and presentations. It offers limited orientation of performers to the audience. It creates a limited, unified, fixed frame for the pictorial composition of the performance. CHANGING ROOMS These are needed for artistic personnel, directors and administration. From a historic perspective the personnel rooms were placed on the either side of the stage. Nowadays, it is built on one side of the stage, opposite to the technical side and on several floors.
TECHNICAL ROOM Transformer room, Medium and low-voltage switch room, emergency power batteries, air conditioning and ventilation plant, water supply- sprinkler system according to local requirements and specialist planning.
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CHAPTER 3 - CASESTUDY LIVE CASE STUDY 3.1 PEARL ACADAMY OF FASHION, JAIPUR
Located in a typical hot, dry, desert type climate on the outskirts of jaipur in the Kukas industrial area, about 20Km from Jaipur. PLOT AREA: 12 acres. It ranks third in the top 10 fashion design colleges in India. Materials Used for Construction: Locally available stone, steel, glass , concrete. Contemporary design accommodating heritage values Climate Responsive: The double skin facade acts as a thermal buffer between the building and the surroundings. Shadow Patterns for Diffused Light: self-shading to control temperature while allowing diffused natural light to the interiors like studios and classrooms. 100% Energy Efficient
3.1.1 Purpose of the study Purpose Of the Study To understand the function and different spaces in a fashion institute which can be incoperated in the training center.
Fig 3.1.1
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Fig 3.1.2
Fig 3.1.3
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3.1.2 PLANNING
Fig 3.1.4(Ground floor plan)
Fig 3.1.5(first floor plan)
1.MAIN ENTRANCE 2.RECEPTION 3.EXHIBITION AREA 4.LECTURE THEATRE 5.STUDIOS 6.LIBRARY 7.RESOURCE CENTER 8.CLASSROOMS 9.LABS 10.ADMINISTRATIVE OFFICE 11.STAIRCASES 12.CANTEEN 13.OUTDOOR SEATING 14.KITCHEN 15.BACKSTAGE 16.LOCKERS 17.SHOP
3.1.3 INTERIOR
Fig 3.1.6(Studio)
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Fig 3.1.7(Studio)
Fig 3.1.8(Studio)
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THESIS REPORT | FASHION HUB DELHI The studio spaces have glass windows and the jali which provides shadow and prevent direct sunlight. Studios have workstations for designing purpose and also mannequins for trials of the designs they make.
Fig 3.1.9(Studio)
Fig 3.1.10(Studio)
Fig 3.1.11(Studio
Passages are wide and the works of the students are exhibited there. Niches to corridors to exhibit student works and achievements. There is a room called resource room which acts a fashion incubator with meeting room. There are labs like sewing lab, printing and dyeing room, art room etc.. Spaces are well zoned snd the circulation pattern is excellent. Ground floor which is like an activity space is converted to exhibition spaces. Ground floor area used as informal area for students.
3.1.4 ANALYSIS
Proper ventilation and area in the class rooms Studios are spacious and properly designed . Proper circulation spaces. Corridor space and courtyard space is sufficient as interaction spaces.
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3.2 SABYASACHI's FLAGSHIP STORE , DELHI
LOCATION Mehrauli,Delhi India BUILDING TYPE Retail Store AREA 13500 sqm
3.2.1 CONCEPT The Sabyasachi brand is dedicated to maintaining Indian culture through its products. 'International styling with an Indian soul,' is the brands vision and mission. Through current fashions, every accessories, store design, and clothes have a distinctively Indian feel to them. Tradition is a huge factor in all of his work it contains all of the traditional qajar art of Persia, to the victorian influence, to the darkly lighted hallways,to the luxurious exhibition of his progress everything is characterised in all of his luxury store.
Fig 3.2.1
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Fig 3.2.2
Fig 3.2.3
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3.2.2 PLANING The building is separated into two wings, one for apparel and another jwellery section, with a stairway in the middle which leads to admin area. The straight floor plan maximises the utilisation of space and makes the most use of the available area. Customers may move around easily at a retail store with a straight floor plan. The facade has a symmetrical symbol design and a big entryway that is the first thing that people notice.
Fig 3.2.4(floor plan)
1.ENTRY 2.RECEPTION/ACCOUNTS 3.SITTING AREA 4.DISPLAY 5.TRIAL ROOM 6.PANTRY 7.STAIR CASE
3.2.3 PLANING OF INTERIOR The store's interior has no natural lighting, therefore it's lighted entirely by decorative chandeliers. The main disadvantage of this type of light is that it is difficult to clean. Indian heritage is represented in every area. This 13500 sqft shop is divided into two wings by a huge stairway. Art from the Sabyasachi Art Foundation, vintage carpets, chandeliers, and bottles of ittar decorate the store.Inside the store, we can experien ce about Indian heritage.
Fig 3.2.5
Fig 3.2.6
Fig 3.2.7
3.2.4 ANALYSIS The design focused on providing the visitors with experiential elements. The dim lighted interior, the choice of colors and the use of mirrors and chandeliers helps to attaract the customers. Sabyasachi flagship store is a proof that a space could be designed as a narration of a story, as a space that will invoke emotions and a space where one can feel rooted to their traditions. HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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LITERARTURE CASE STUDY 3.3 MUSÉE YVES SAINT LAURENT MARRAKECH
LOCATION Marrekesh,Morocco,Africa BUILDING TYPE Fashion Museum ARCHITECTS Studio Ko AREA 4000 sqm Dedicated to the work of the legendary French fashion designer, the Musée Yves Saint Laurent Marrakech (mYSLm) Yves Saint Laurent's large collection, which includes 5,000 garments, 15,000 luxury fashion accessories, and tens of thousands of sketches and other things. The building has been designed by the French architecture firm Studio KO, founded by architects Olivier Marty and Karl Fournier. Situated on Rue Yves Saint Laurent, adjacent to the famous Jardin Majorelle.The library‘s collection includes books on Arabic and Andalusian history, geography, literature, and poetry, as well as numerous volumes related to botany, Berber culture, Yves Saint Laurent‘s oeuvre and the world of fashion.
3.3.1 ARCHITECTURE The building's facade looks an intersection of cubes with covering of bricks, creating patterns that resemble fabric's weft and warp. The inner is completely different, just like the lining of a luxury jacket: silky, smooth, and bright. The design of the building involves references to the work of the fashion designer while also utilising local materials and construction techniques.
Fig 3.3.1
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Fig 3.3.2
Fig 3.3.3
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3.3.2 DESIGN OF SPACES exhibition spaces, auditorium, bookshop, and basement conservation chambers, the museum maintains the characteristic and durability of the medina. café that faces a courtyard cooled by water and greenery, everything is turned indoors, away from the harsh desert heat and light.
Fig3.3.4(Groundfloorplan) 1.ENTRANCE PATIO 2.GRAND HALL 3.PERMANENT EXHIBITION 4.TEMPORARY EXHIBITION 5.MUSEUMSHOP 6.CAFE 7.FOYER 8.AUDIOTORIUM 9.STAIRS 10.LIFT
Fig3.3.5(first floor plan) 11.LIBRARY 12.CONFERENCE ROOM 13.AUDITORIUM 14.OFFICE HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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3.3.3 BUILDING MATERIALS made of terracotta, concrete, and an earthen-colored terrazzo with Moroccan stone pieces, mixes in perfectly with its surroundings. The terracotta bricks that decorate the exterior are created from Moroccan soil and manufactured locally. The terrazzo on the floor and the facade is mix of local stone and marble. Terracottas porous nature allows for air and water to move through the walls Brick is energy efficient and helps regulating the temperature of the building.
3.3.4 INTERIOR The architects worked with Theatre Projects Consultant to develop the auditorium's acoustics. Concerts, film screenings, and conferences are all held here, because soundproof . Lighting engineers I.C.O.N installed lighting for the museum's exterior areas, and museum's interior, and ambient li ghting for the exhibition space after a detailed research.
Fig 3.3.6
Fig 3.3.7
Fig 3.3.8
Entrance to museum from the outside through the short passage between brickwork walls and the entry courtyard, has a six-foot YSL logoStudio KO' Used the exterior patio to highlights the interaction of light and shadow using sun light. This contrast between light and dark, as well as between the outside and inside, was a key element in developing this space.visitors find themselves here completely different atmosphere
3.3.5ANALYSIS The design was inspired from the site location, climate as well as the city‘s old characteristics. Since it is located in a semi desert area, the green spaces with the water elements acts like an oasis where people go for refreshing. Like which the cafe is placed to get maximum view of these green spaces. The matetials chosen are all local and easily available. The central patio is an element of contrast that will instantly give a feeling of vastness to the users. The dark and light colors also helps in this.
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3.4 DILLI HAAT
Dilli Haat is a traditional market complex that has open-air shops and activities. Dilli Haat Janak Puri is a combination of an open-air market and a state-of-the-art air-conditioned facility, meant to appeal to a modern audience. DTTDC has promoted music all across Delhi with its concerts and other initiatives. The idea was to give them a home for playful music and give these homes a place to play with music.
3.4.1 CONCEPT
The concept of a crafts haat, with the idea of creating a seamless business interface between the artisans and the buyers.All these haats need their own identity to attract people not only from their own neighborhood, but from the city at large They couldn't be mimicked, either as expansions of previous haats or as imitations of city. They had to be contemporary, in sync with the times, and respectful of the project's craft and cultural . As a result, the design solution is an understanding between the past and the present, an understanding of tradition and its adaptation in modern times, both in idea and in execution.
Fig 3.4.1
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Fig 3.4.2
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3.4.2 PLANNING The Dilli haat concept includes outdoor stores with roofing canopies and craft shops that host craftsmen' workshops. Air-conditioned shops have been added to give it a more shopping experience. The food court, which includes underground parking, connects everything together and ensures long-term sustainability.
Fig 3.4.3(site plan).
1.ENTRY 2.PARKING 3.TICKET COUNTER 4.CENTRAL PLAZA 5.SHOPS 6.RAMPS FOR WALKING OVER SHOPS 7.AC CAFE 8.EXIHIBITION HALL 9.BASKET TOWER(information centre,cafe,museum,music centre) 10.AMPHITHEATRE 11.AUDITORIUM 12.SERVICE ENTRY Central plaza gives a rythemic flow to the flow which leads to differeny zones The spaces of the site is well-thought-out. On two floors, open areas that flow freely connect different activities.There is a separate service entrance.
Fig 3.4.4(site section). HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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Fig 3.4.5(site zonning).
As made for the locals, barrier free techniques provides the easy acess to reaching shops and all. it is basically for the disabled people Easy access with the overbridges.Ramps for physically challenged persons. Everything is open to the air, so there are lots of interactive spaces for people to gather, and the amphitheatre is utilised for both music and interaction. designed for both tourists and locals well-equipped, 800-seat auditorium for formal performances and an open-airamphitheater with equal capacity that works hand in hand with independent areas.
3.4.3 MATERIAL USED BAMBOO Widely used throught for baskets and food court,sculpture for street furniture etc. Bamboos that are naturally growing are also planted alongside for walls. Stone tiles combine the strength of concrete with a distinctive texture and aesthetic, as well as providing shade. USE OF SANDSTONE FOR FLOORING- Different designs are produced to distinguish different zones. Dholpur (agra stone) is utilised because it is strong, long-lasting, and resistant to wear and weathering.
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3.4.3 HISTORY -1993, architect Pradeep Sachdeva design the first ever haat in South Delhi. -2005 constructed a traditional haat that included stores, workshop and display areas, and craft show rooms. Local brick, stone, wood, and metal combined to produce a vernacular, rustic patterns that complemented the crafts business in north-west Delhi. -New Dilli Haat project were given the task of developing a new design identity that would respond to the 'here' and 'now.' 'A haat requires its own personality to attract individuals not just from its own neighbourhood, but from all around the city,.
Fig 3.4.6 .
3.4.4 ANALYSIS Parking is restricted to the front, so it does not block pedestrian walkways. This is for people's safety while also keeping pollutants to a minimum. Bamboo jaalis used for the two baskets help diffuse sunlight hence the interiors are well lit with natural soft light. The positioning of central plaza ensures good circulation to the other spaces. Projected arches outside exhibition space ensures that only less amount of sunlight enters the hall.
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3.5 COMPARATIVE ANALYSIS
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CHAPTER 4 - SITE STUDY
4.1 INTRODUCTION LOCATION-MAIDAN GARHI,NEW DELHI.
Fig 4.1.1(Site map).
DDA has already demarcated a piece of land measuring 10 acres near IGNOU campus in Maidan Garhi for allotment to Ministry of Textiles, Govt. of India for proposed Fashion Hub.The proposed Fashion Hub will be implemented under the administrative control of the Ministry of Textile through Public Private Partnership as proposed by the Planning Commission.
4.2 NEARBY BUILDINGS
Fig 4.2.1
Fig 4.2.4
Fig 4.2.2
Fig 4.2.5
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Fig 4.2.3
Fig 4.2.6
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4.3 SOCIAL AND ECONOMIC FACTORS Most of the well known fashion designers and fashion stores are near to the site. currently there is no permanent place for fashion shows in india.This proposed fashion hub can be used as a permanent place for conducting fashion shows fashion related exhibitions etc. Also the site is located near sainik farms it is a residential area for high income group this attracts the potential investors and promoters to fashion start ups. 4.4 KEY PLAN
Fig 4.4.1( key plan)
4.5 TOPOGRAPHY
Site highest pint 253m from sea level and lowest point 249m from sea level. The site is primarily flat and has a marginal slope towards North East. . The soils are fine loamy and range in colour from yellowish white to strong brown
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4.6 SITE PLAN
Fig 4.6.1( site plan)
Fig 4.6.1( site section)
4.7 SWOT ANALYSIS
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4.8 WIND DIRECTION
Fig 4.8.1( Wind direction)
4.9 SUN PATH
Fig 4.9.1( Sun direction)
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4.10 NOISE
Fig 4.10.1( noise)
4.11 SHADOW ANALYSIS
Fig 4.11.1( Shadoe analysis)
4.12 CLIMATE ANALYSIS The hot season lasts for 2.8 months, from April 15 to July 9, with an average daily high temperature above 96°F. The hottest month of the year in New Delhi is June, with an average high of 101°F and low of 83°F. The cool season lasts for 2.2 months, from December 8 to February 14, with an average daily high temperature below 74°F. The coldest month of the year in New Delhi is January, with an average low of 47°F and high of 68°F
Fig 4.12.1(Average High and Low Temperature in New Delhi)
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Fig 4.12.2(Average rain fall in New Delhi)
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CHAPTER 5 - CONCEPT 5.1 FASHION AND ARCHITECTURE In recent years it is obvious that architecture in many cases is an inspiration and motivation for fashion designers and also a similar case for architects to get inspired. the similarities in fashion and architectureare much more visible in the end product and which in these cases are dress and buildings or structure. the techniques that are mostly common between these two professions, such as, pleating, folding, twistingand layering are more accurate in fashion design, however they can also be used in architectural design in a technically and aesthetically way.Exaggerated proportions and carved angles, as well as special attention to structure and forms, are all characteristics of fashion inspired by architecture. Fabrics are frequently manipulated by pleating, folding, and stacking to provide a three-dimensional, architectural aesthetic.
Fig 5.1.1
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5.2 FASHION INSPIRED ARCHITECTURE
Fig 5.2.1
Fig 5.2.2
YVES SAINT LAURENT MUSEUM The building is composed of cubic forms adorned with bricks which create a pattern resembling threads of fabric.
5.3 FORM DEVELOPMENT
Fig 5.3.1
Form of the design is developed taking inspiration from the organic patterns of attires. The flowy nature is developed as waves in the facade and edges and avoided.
5.4 DESIGN DEVELOPMENT
Fig 5.4 .1
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Fig 5.4 .2
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5.5 ZONING
Fig 5.4 .3
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CHAPTER 6 - SPECIAL TOPIC 6.1 PHYSICAL LAYOUT OF FASHION SHOWS Physical layout of fashion shows includes decorations,backdrops,runways,lightings,and props to create the right atmosphere. Types of fashion shows- Production fashion shows:most elaborate and expensive type of fashion show.It includes backdrops,lighting effects,choreography,and entertainment. - Formal runway shows: A typical presentation of fashion models parading on a runway in a certain order of appearance - Informal fashion show- A more casual presentation of garments and accessories.models walk through the manufactures showroom or the sales floor of the retail store.They carry sign with information about the merchandise. - Tearoom modeling-Models walks individually from table to table in a restaurant to show and tell about what they are wearing.
6.2 FASHION RAMP In fashion, a runway,catwalk or ramp is a narrow,usually flat platform that runs into an auditorium or in outdoor seating area ,it used by models to demonstrate clothing and accessories during a fashion show. - The stage is a platform that models enters on - The runway is the long platform that extends into audience . - The ―T‖ is additional staging perpendicular to the runway. - Runways with T shape are great for showcasing the entire line of clothing during final.
6.3 RUNWAY LENGTH There is no overage length for a runway stage. A general rule of thumb when determining the length of a runway is to determine the size of the venue and then construc t your runway length to be two- thirds the length of your room. The area of space needed for your backstage will factor into the runway length according to venue as well
Fig 6.3 .1
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6.4 RUNWAY LENGTH Fashion show runway width may vary according to the overall volu me of the garment vs. number of models on the same stretch of runway at a time. For fashion shows, the basic stage width is roughly 4'ft. A four-foot wide stage is the most basic runway design and allows for one model to comfortably pose at the end of therunway to display a clothing item, and then turn and return to stage. The 4' runway width is ideal for small to medium sized fashion shows that do not hove optimal space for a larger runway. For a basic fashion show 4'ft runway will fit your need for a great stage to allow your audience an optimal viewing experience. If you ore hosting a runway show in a larger venue such as a banquet hall. mall. arena. gym, or other large open space. recommend 8'ft wide runway stage. This allows for more models. better viewing experiences for larger audiences. and more space to showcase larger garments such as bridal dresses or prom gowns.
Fig 6.4 .2
6.5 RUNWAY STAGE SHAPE - Most commonly and classically, a runway or catwalk is set to be in the center of a room stretching down the center elevated slightly above the ground in a T-shaped formation. - A black backdrop with a center opening is standard for small to medium fashion shows. Custom flat backdrops can be created to allow multiple entrances and exits for models. Custom flet backdrops are an excellent for an elegant way to display your logo or other sponsors for your event. - Some other common runway stage shapes include circular or box shaped runways so that models only walk in a circle without having to stop and change direction. An """ shaped stage is a adaptation of the "T" shaped runway stage design that is great for showcasing an entire collection for a truegrand fashion finale.
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Fig 6.5 .1(Different shapes of fashion runways.)
6.6 FASHION LIGHTING THE FASHION LIGHTING: Photographers and cameramen love working with C&S. because we understand their needs and give the best lights for photos and film- ing. while still keeping ii exciting and spectacular for the live audience. Techniques and considerations for catwalk lighting As with most fashion shows, a range of colours, textures and shades will be shown in the fabrics of the garments plus any theatrical ele- ments in the make-up and hair design of the models on the catwalk. As such. There are three main ways of achieving the correct tone and hues of light to perfectly enhance a fashion show - Full spectrum lighting Full spectrum white lighting features all the light frequencies at a similar illumination level as white. In contrast. fluo-rescents whilst they appear to be white . Full spectrum lighting is essential to truly illuminate the full spectrum of colours. textures and shades in any of the garments to be featured. - Colour temperature Colour temperature is equally important in creating tones and hues that match the ambience of your show that rightly reflect the emotion you want to portray from your collection and also lend well to great photography and film. - Light distribution Ensuring that models are evenly well lit wherever they may be on a runway is essential to ensuring all of your audience ore full engaged with your show. Failure to light evenly results in hot and cold spots of light which negatively impact on the quality of the apparels visibility and any photography or film wor k that may be toking place. By using multiple incandescent light sources, evenly distributed and installed with respect for the venues architecture and placement of the catwalk itself, you can achieve the correct level of light distribution to ensure maximum effect and visibility of the fabrics. TYPES OF FASHION LIGHTING - Couture Catwalk Lighting Fall, spring, summer, and winter: as the seasons & styles change. so should the runway lighting design options. Various lighting options in-cluding Fresnel's. Par 56's, LED lights, HAZEEM HANEEF | SCHOOL OF ARCHITECTURE, CET
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intelligent lighting. lasers, digital projection, specialty effects and more - Spring Runway lighting Spring fashion should be showcased in subdued soft lighting under medium focus Fresnel lighting. A very light and airy atmosphere should be conveyed to your audience to invoke feelings of tulips and fresh green gardens\ - Fall Runway Fashion Light Options For fall fashion runway shows. think warm colors, reds. oranges. and yellows to light your venue and project a crisp fall feel to your eagerly awaiting audience of fashionistas. For added fun up light your models with a combination of block light up lighting options to really make your whites and other couture accents. - Winier Runway Special Effects Winter fashion runway shows should use bright lights mixed with subdued gray lighting options to reflect the comfort and cozy as well as the bright lights ref lecting off of fresh snow - Summer Runway Splendor Bright lights and cheery intelligent stage lights will light the models to give them a true glow amongst the flashing bulbs of fashion photog- raphers. To really up the ante. rent a bubble machine to elegantly and silently blow bubbles out over your audience to invoke fun free feelings and positive thoughts when v iewing your couture clothing collection. Runway Up lighting
6.7 RUNWAY MATERIALS Runway materials • Carpet runways Fashion Show Runways can be as simple as a run of carpet. • Clear Plexi runways Modular plexigalss decks that are used to create fashion show runways over water. • Frosted Plexi runways This modular deck system is typically underlit with white light, but can be lit with any color and can even have a chase or color changing lighting system included. High Gloss runways • Muslin runways • Seamless. Clean. • Muslin runway will have experience clean straight lines. • Each application is custom.
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Fig 6.7 .1
6.8 CASESTUDIES PRADA FASHION SHOW,MILAN Prada's Spring Summer 2017 menswear show in Milan, which was designed by Dutch studio AMO.
Fig 6.8 .1
OMA organised this fashion show. It was installed at the Fondazione Prada complex,Metal mesh ramps illuminated by colorful lights
Fig 6.8 .2(Plan)
They walk ascending the ramp's elongated slope, moving towards the exit.In the centre,sections of metal mesh created a continuous ramp suspended between the floor and ceiling. It was used for a false ceiling,and as a covering for columns.
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Fig 6.8 .3(section)
The width of the fashion ramp was 2.5m(approx)
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CHAPTER 7 - DESIGN 7.1 MASTER PLAN
Fig 7.1 .1(master plan)
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7.2 FLOOR PLANS
Fig 7.2.1(Ground floor plan)
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Fig 7.2.2(first floor plan)
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Fig 7.2.3(second floor plan)
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Fig 7.2.3(basement plan)
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7.3 SECTION
Fig 7.3.1(section A-A’)
Fig 7.3.2(section B-B’)
7.4 ELEVATION
Fig 7.4.1(elevation)
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7.5 VIEWS
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CHAPTER 8 - CONCLUSION This report is a detailed study of the case studies and data collected for this project along with the inferences and analysis derived from it. This report is divided into five chapters. The first chapter deals with introductory studies regarding the topic followed by the literature review, special topic and live case studies of the project in the second and third chapters respectively. The fourth chapter shows the detailed design process, drawings. The final chapter concludes the report with its references.
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CHAPTER 9 - REFERENCE https://www.archdaily.com/40716/pearl-academy-of-fashion-morphogenesis https://www.archilovers.com/projects/44815/rajesh-pratap-singh-store-new-delhi.html https://www.biec.in https://architexturez.net/doc/az-cf-166162 https://www.dezeen.com/2016/06/20/prada-spring-summer-2017-menswearshow-milan-amo-sloping-mesh-catwalk/ http://www.icmrindia.org/casestudies/catalogue/Marketing/Fission%20in%201 ndian%20Fashion.htm https://www.ibef.org/exports/apparel-industry-india.aspx http://www.Delhi.climatemps.com/ https://en.wikipedia.org/wiki/Delhi https://www.archdaily.com/40716/dellihaat
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