CLASS OF 2021_Rakgalakane, TVR by jacques_23

Fashioning architecture: An interdisciplinary study on boundary-making in clothing and building in the South African urban context by Thato Rakgalakane 213677020 Submitted in partial-fulfilment of the requirements for the degree MASTER OF ARCHITECTURE IN ARCHITECTURAL TECHNOLOGY (STRUCTURED) at the Department of Architecture and Industrial Design in the FACULTY OF ENGINEERING AND THE BUILT ENVIRONMENT at the TSHWANE UNIVERSITY OF TECHNOLOGY Supervisor: Professor J Laubscher Co-supervisor: Mr SP Steyn PRETORIA 2022

Declaration I, Thato Viola Ruth Rakgalakane declare that this mini-dissertation is a representation of my work that is submitted for the Master of Architecture degree in Architectural Technology (Structured) at the Tshwane University of Technology. I further state that my mini-dissertation has never been, or is currently not being submitted by me for a degree or other qualification at any other tertiary institution. All material taken from the work of others is acknowledged through references in accordance with the requirements of the institution.

24/11/2021 Signature Date

III

Acknowledgements Firstly, I would to thank God Almighty. To my research supervisor, Professor J Laubscher. thank you for providing me with the necessary tools that I needed to complete the research. I would like to express my profound gratitude to my co-supervisor, Mr SP Steyn for his assistance and support throughout the process. A big thank you to my family and friends for their support during the duration of the thesis, and especially to my parents, Aaron Rakgalakane and Busi Rakgalakane, my brother, Bokang Rakgalakane, and my partner, Mthokozisi Nkosi for supporting me throughout the journey. I also thank three of my colleagues at the Department of Architecture, Mpinane Qhobela, Phila Ntshangase, and Tonderai Chisvo for offering me encouragements and helping me throughout this mini-dissertation. I would not have accomplished this without them. Thank you. Thato Rakgalakane

Abstract The public at large perceives fashion and architecture as distinct disciplines. As a discipline, fashion is characterised by flexibility and movement, while architecture is characterised by rigidity and static qualities in form. The purpose of this mini-dissertation is to define, compare, and explore the symbiosis between architecture and fashion. This study aims to conflate the ‘interspace’ between clothing and the human body; with the ‘interspace’ between a building and the human body. This conflation identifies the overlaps between clothing and building and is useful in developing a definition for architecture that allows it to exploit traditions in clothing making. This study is a continuation of existing studies on the interdisciplinarity between fashion and architecture. This theory is tested by designing prototypes to demonstrate some of the potential for interdisciplinarity in fashion and architecture. The author hypothesises that the interdisciplinarity between fashion and architecture could result in architecture

that responds to an emerging dwelling type preferred by South African urban nomads (in the form of wearable architecture). The theory developed in this study suggests that the difference between clothing and building centres on ideas of proximity. A building is further away from the human body as the structure stands independently from the human body. Clothing depends on the human body for structural support and is effectively attached to the human body. The boundaries are therefore blurred when buildings are wearable, and clothes become architecture. The research uses an iterative, design-research methodology to shape the theory on interdisciplinarity in fashion and architecture. The researcher designed ‘clothing-building’ prototypes to examine, demonstrate, and define the theory at hand. This process offered a deeper understanding of the definitions of both fashion, gender and architecture and explored where the disciplines can be merged to create new types of urban spaces.

Keywords: Architecture, fashion, interspace, nomad, proximity, symbiosis

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TABLE OF CHAPTER 1: Introduction to the study

06 1.1 Introduction 10 1.2 Statement of the problem 11 1.3 Objectives 12 1.4 Delimitations 13 1.5 Methodology 14

16 CHAPTER 2: Site and context 2.1 Site 18 2.2 Definition of concepts 20 20 2.2.1 Fashion 20 2.2.1 Architecture 21 2.3 Reconstructing disciplines 22 2.4 Dissolving boundaries 24 2.5 Urban Nomads in South Africa Today 25 CHAPTER 3: Characters and their 26 Architecture 3.1 Problem statements 28 3.2 Design reflection 28 3.3 Architecture for the characters: 29 Development of characters 3.4 The characters 32 3.4.1 The thrill seeker 34 3.4.2 The Jeweller 36 3.4.3 The bibliophile 38 3.4.4 The architect 41 3.5 The thrill seeker’s air camper 41 3.6 The Jeweller’s pocket dress 44 3.7 The bibliophile’s library 47 3.8 The architect’s portable studio 50 2

CONTENTS CHAPTER 4: Theory 54

4.1 Spaces 56

4.1.1 About Spaces 57 4.1.2 Spatial arrangements 57 4.1.3 Enclosures 58 4.1.4 Architecture beyond enclosures 59

4.2 Scale 60

4.2.1 About Scale 60 4.2.2 Occupancy 60 4.2.3 Human body in architecture 62

4.3 Structural Principles 64 4.3.1 About Structural Principles 4.3.2 Similarities of structural principles 4.3.3 Connection between both disciplines

64 65 65

4.4 Material 68

4.4.1 About Materials 68 4.4.2 Similarities of Materials 69

CHAPTER 5: Developments 70 5.1 Pocket dress 71

5.1.1 Developments 72

5.2 Portable studio 78 5.2.1 Developments 78

CHAPTER 6: Final Designs and 84 conclusion 6.1 Design resolution 86

5.1.1 Pocket dress 86 5.1.2 Portable studio 92

6.2 Conclusion 96 CHAPTER 7: References 98

List of figures Figure 1: Collage of architecture and fashion matgazine covers (Author, 2021). 8 Figure 2: Human body, dress, Gallery of Freedom Park (Author, 2021). 11 Figure 3: Clothing-building diagram (Author, 2021). 12 Figure 4: Process diagram of iterative design methodology (Author, 2021). 15 Figure 5: Estimated provincial internal migration stream between 2016 and 2021 ( Author, 2021) 19 Figure 6: Map of South Africa showing in-migration patterns to Gauteng ( Author, 2021) 19 Figure 7: Fashioning clothes (Author, 2021). 20 Figure 8: Fashioning buildings (Author, 2021). 21 Figure 9: Demonstration of the function of architecture (Author, 2021). 22 Figure 10: Venn Diagrams (Author, 2021). 23 Figure 11: Church Square precinct in Pretoria,South Africa (Ndebele, 2021). 24 Figure 12: Infographic of Le Corbusier’s life (Mahe, 2015). 28 Figure 13: Vitruvian Man and Modern Man (Argitect, 2010). 31 Figure 14: Thrill Seeker (Author, 2021). 32 Figure 15: Thrill seeker in the city (Author, 2021). 33 Figure 16: Jeweller (Author, 2021). 34 Figure 17: Jeweller (Author, 2021). 35 Figure 18: The Bibliophile (Author, 2021). 36 Figure 19: The Bibliophile (Author, 2021). 37 Figure 20: Furniture in the Valley (de Chirico, 1926). 37 Figure 21: The Jeweller (Author, 2021). 38 Figure 22: The Jeweller (Author, 2021). 39 Figure 23: Hammock (Chen, 2018). 41 Figure 24: Thrill seeker carrying bag with tent structure (Author, 2021). 41 Figure 25: Tent structure equipment (Author, 2021). 42 Figure 26: Air camper hanging from an apartment in Menlyn (Author, 2021). 42 Figure 27: Air camper hanging from an City Lodge Hotel (Author, 2021). 43 Figure 28: Air camper hanging from an City Lodge Hotel (Author, 2021). 43 Figure 29: Concept of pocket dress (Author, 2021). 44 Figure 30: Jeweller in concept dress (Author, 2021). 46 Figure 31: Oase no. 7 Fridericianum, documenta 5 (Haus-Rucker-Co, 1972). 47 Figure 32: Concept of bubble library (Author, 2021). 48 Figure 33: Concept of bubble library (Edited by author, 2021). 49 Figure 34: Woman carrying pots (Author, 2021). 50 Figure 35: Mood board of the portable studio(Author, 2021). 51 Figure 36: A-z Wagon station (Edit by author, 2021). 52 Figure 37: A-Z Wagon stations (Edit by author, 2021). 52 Figure 38: Portable workstation (Author, 2021). 53 Figure 49: Section of the studio (Author, 2021) 67 Figure 50: Front view of the studio (Author, 2021) 68 Figure 51: View of the studio (Author, 2021) 69 Figure 52: Top view (Author, 2021) 70

Figure 58: Woman holding books (Author, 2021) 72 Figure 59: Concept of pocket dress (Author, 2021) 72 Figure 60: Coat dress and fixture explorations (Author, 2021) 73 Figure 61: Pocket dress explorations (Author, 2021) 74 Figure 62: Ndebele woman wearing traditional Ndebele attire (South African tourism, n.d.) 75 Figure 63: Pocket dress design developments (Author, 2021) 76 Figure 64: Pocket dress design developments (Author, 2021) 77 Figure 65: Portable studio initial design (Author, 2021) 78 Figure 66: Cross section of portable stodio (Author, 2021) 78 Figure 67: Portable studio design developments (Author, 2021) 79 Figure 68: Portable studio design developments (Author, 2021) 79 Figure 69: Diagrams showing how the studio chair opens up (Author, 2021) 80 Figure 70: Portable studio supported by head (Author, 2021) 80 Figure 71:Refuge wear habitent (Jorge Orta, Rita Orta, 1991) 80 Figure 72: Portable studio design developments (Author, 2021) 81 Figure 73: Exploration of configuration of spaces (Author, 2021) 81 Figure 74: Portable studio design developments (Author, 2021) 82 Figure 75: Pattern of dress (Author, 2021) 86 Figure 76: Top view of train of the dress (Author, 2021) 87 Figure 77: Details of pockets (Author, 2021) 88 Figure 78: Top view of dress (Author, 2021) 89 Figure 79: View of dress (Author, 2021) 90 Figure 80: Top view of portable studio (Author, 2021) 92 Figure 81: Front view with architect carrying portable studio (Author, 2021) 93 Figure 82: View of portable studio (Author, 2021) 94 Figure 83: Section of portable studio (Author, 2021) 95

CHAPTER 1 Introduction to the study 1.1. Introduction 1.2. Statement of the problem 1.3. Objectives 1.4. Delimitations 1.5. Methodology

Figure 1: Collage of architecture and fashion matgazine covers (Author, 2021).

The combination of clothing and buildings shape the metropolis spatially and socially (Crewe, 2015) (Figure 1). Interior retail spaces and the exterior built form reveal the nature of what the public calls ‘fashion’, which means things that are popular in style. Crewe argues that the way clothes are cut and shops look is part of the same thing (Crewe, 2015). The study supports the statement because the clothing and building industry aestheticise urban spaces. This realisation demonstrates how both disciplines create an urban space using clothing and building techniques. This realisation augments the argument that clothing, and buildings significantly impact the urban space. Clothes and buildings fashion the metropolis through their shared understanding of the influence of form, materiality, colour, and space. Clothes and buildings mediate between the environment and bodies (Crewe, 2015). Both touch one’s senses as the clothes and buildings can be seen, felt, and smelled.

Does one have to fit into the conception of the world that exists? What if one develops a different category to fall under? Many of the rules that were created in the world were amended and one can amend more.

1.1 Introduction to the study There has been an economic, political, and social transformation in South Africa since the dismantling of apartheid. The changes brought about by this transformation led to an economic and social reconstruction (Booysen, 2007). Recently, the world was faced with a pandemic. Expansions of theories occur during historical transformation. The current economic and environmental changes drive social transformation and migration. These changes triggered new actions and behaviours (Egerer et al., 2021). The shifting definitions accompany these changes for terms used to describe fields of knowledge (disciplines). Psychological studies argue that there is an increase in the expansion of psychological terms. An example of this is how the word ‘harm’ has expanded. In the past, the word ‘trauma’ was limited to surviving soldiers who came back from trench warfare who witnessed their friends being executed every day. The limitations of the word trauma were expanded when psychology studies demonstrated that trauma could also result from normal experiences, such as tragic accidents, natural disasters, and domestic violence (Haslam, 2016). The term has expanded to include offensive tweets, controversial books, and mean-spirited comments. This phenomenon indicates an increase of breadth and an overlapping of fields where interdisciplinarity becomes useful in understanding a given discipline’s practices and knowledge landscape. Research papers on concept-creep open dialogues on expanding concepts. These studies prove that broadening concepts opens new opportunities (Haslam, 2016). This study attempts to identify a space between fashion and architecture, creating a new awareness of the possibilities for both fields while claiming that space is part of the discipline of architecture. In parallel with current shifts in psychological terms and developments in technology,

there are changes in the way people live. The nomadic culture is identified with an ancient way of life and is becoming a reality in the twenty-first century – the difference is that nomadic practices are now practiced within urban contexts. There is increased mobility among individuals living in the city, as workspaces are increasingly digital (Hamurcu, 2018). Many citizens migrate to work areas during the week and home for weekends and holidays. They regularly transplant themselves to cities to follow their next career opportunities. This flexible way of living poses challenges and produces opportunities for architects and fashion designers to collaborate to design facilities that accommodate it. The author argues that some of the most progressive and interesting developments occur when disciplinary boundaries are blurred (Louise, 2010, p.3). The professor at the Harvard University and author of Symbolic boundaries, Michele Lamont defines the word ‘boundary’ as “…distinctions of classification systems…”. The study aims to blur existing boundaries within the fashion and architecture discipline by creating new ones that include both disciplines. The exercise of ‘boundary-making’ suggests that the combination of the disciplines offer a possibility to remodel the understanding of bodies, space, and the way we inhabit space, with the aim of creating designs that are socially inclusive. The exercise transforms how one perceives accommodation, space, habitation, and the city, revealing new possibilities and promoting collaboration between both fields.This study invites architects to explore clothing design and fashion designers to explore building design, thus expanding both disciplines by dissolving the line that separates them.

1.2 Statememnt of the main problem

Figure 2: Human body, dress, Gallery of Freedom Park (Author, 2021).

Change has occured in this historical age and adjusting to these changes can be overwhelming. These changes are brought about by the development of technology and the outbreak of the pandemic named COVID-19. People would benefit if designers illustrated ways to adjust to the diverse emerging cultural possibilities within the male environment. This adjustment to possibility calls for a new approach in designing clothes and buildings to accommodate and reflect the emerging nomadic lifestyles. This study argues that the blurring of boundaries suggests solutions for the emerging challenges and opportunities. The study aims to fashion ‘clothing-building’ prototypes; identify the spaces between the human body, clothing, and buildings in the South African urban context, then develop and broaden the definitions of fashion and architecture (Figure 2).

Table 1: Sub-problems and Hypotheses

Sub-problem

Hypothesis

Sub-problem 1 How can the criteria be used to analyse and The author hypothesises that through design, compare clothes and buildings be developed? the criteria can be established to evaluate the materiality of the objects, the structural principles involved, and the space and scale of clothing and buildings relative to the human body. This will assist in identifying existing boundaries and making new boundaries. Sub-problem 2 What are the points at which boundaries are The author hypothesises that the difference bemade between clothing and buildings? tween clothing and buildings are proximity to the human body and that a building’s form can stand on its own while the clothing depends on the human body. Sub-problem 3 What does one learn by comparing clothes and The author hypothesises that clothes and buildbuildings relative to the human body to accom- ings have the same function relative to the humodate urban nomads? man body, which is to provide shelter and express users’ identities. The blurring and creation of new boundaries within the disciplines can result in inclusive architecture that accommodates the emerging lifestyle of urban nomads.

1.3 Objectives

Clothing

Building

Figure 3: Clothing-building diagram (Author, 2021).

The study’s objective is to develop the theory on the interrelationship between clothing and buildings and fashion (design) architecture and document the process thereof. This objective was achieved by developing a collection of ‘clothing-buildings’ in the urban context of South Africa and claiming for that category the title of ‘architecture’ (Figure 3). This study attempts to change the perception of clothing and building as separate entities while stretching boundaries to explore fashioning (making) architecture opportunities. This fashioning of architecture is achieved by: • Designing clothing-building prototypes to determine the interspace between clothing and building design • Analysing theories developed from the prototypes and literature to identify the interchanges between the two disciplines • Expanding meanings of the theory on fashion and architecture.

1.4 Delimitations

This study focuses on interdisciplinarity in making clothing and buildings that represent the culture and identity of urban nomads of South Africa. The designs consider urban nomads living in South Africa. This study suggests that emerging South African identity is not universal, as the South African culture is specific to the southern African region. This study demonstrates the future of South African identity and does not consider it an ‘ideal type’ of living or dwelling. This study does not engage with homelessness as analogous to nomadic lifestyles since the author argues that the lifestyle represented should be voluntary and homeless.

1.5 Methodology

This study adopted an iterative design methodology to achieve research objectives. When there is limited information, design research asks questions to reveal and shape the theory (Collins et al., 2004). As fashion and architecture evolve, they redefine their own form, the experience for its users, and design questions to ask. The activity of design reveals new questions, in which some are answered (Collins et al., 2004). The researcher engages in a recurrent process of prototyping, comparing, analysing, and refining the work in progress. The initial designed work is used to inform and develop the theory as successive iteration is the concluding argument. Through the process of prototyping, the theory develops using a dialogue between the fashioned collection (wearable architecture), the designer (researcher), and the testing audience (supervisors and critics). This process starts with prototypes of a collection of clothing-buildings for South African urban nomads and descriptions obtained from literature to develop the theory of interdisciplinarity between fashion and architecture. This study attempts to demonstrate differences and similarities between clothing and building. This study focuses on proximity and structure relative to the human body and the various material characteristics that define the disciplines. Through the iterative process, the final collection of wearable architecture produces a refined, illustrated, and demonstrated theory on the interdisciplinarity between fashion and architecture (Figure 4).

Character 4 Character 3 Character 2 Character 1

Figure 4: Process diagram of iterative design methodology (Author, 2021).

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CHAPTER 2 Site and context

2.1 Site 2.2 Definition of concepts 2.2.1 Fashion 2.2.1 Architecture 2.3 Reconstructing disciplines 2.4 Dissolving boundaries 2.5 Urban Nomads in South Africa Today

2.1 Site

The changes brought about by the economic, political and social transformation in South Africa has led to a re-emergence of the nomadic culture. The nomadic culture is not only identified with an ancient way of life; it is also becoming a reality in the 21st century- the difference is that nomadic practices are pervasive within urban areas. With more than 60% of South Africa’s population living in urban areas, Gauteng has experienced the largest inflow of 1 643 590 of immigrants in South Africa since 2016 (Staff. 2020). This population includes citizens who live in the urban area during the weekdays then go home to their family during weekends and holidays. A fraction of the citizens rent homes close to their workplaces rather than purchasing them. They regularly transplant themselves to cities to follow their next career opportunities. Oftentimes, street traders pay products and store their inventory in formal shops on the same streets of the central business district (Arias, 2019). Similarly so, the urban context is used to provide basic infrastructure.

WESTERN CAPE NORTH WEST

PROVINCE

NORTHERN CAPE MPUMALANGA

TSHWANE

LIMPOPO

KWA-ZULU NATAL

GAUTENG

GAUTENG FREE-STATE EASTERN CAPE 0

500 000

1 000 000

1 500 000

2 000 000

IN-MIGRANTS

Figure 5: Estimated provincial internal migration stream between 2016 and 2021 ( Author, 2021)

Figure 6: Map of South Africa showing in-migration patterns to Gauteng ( Author, 2021)

2.2 Definition of concepts 2.2.1. Fashion

Many researchers use ‘fashion’ and ‘clothing’ interchangeably when analysing fashion. Crewe refers to fashion as garments that are characterized by temporality and operate in the closest scales of the body. While Fermanto Lianto refers to fashion as an object that is placed on the body (Lianto, 2020). This realisation suggests that the word ‘fashion’ is often used to describe clothing. The word fashion goes beyond clothing, therefore, it is essential to clarify these terms to broaden the the knowledge therof. Valerie Steele - a director of a Museum at the Fashion Institute of Technology authors a book titled “Fashion Theory: The Journal of Dress, Body and Culture where she analysed the importance of culture in the fashion discipline. In Steele’s book, she defines fashion as “the cultural construction of the embodied identity”, which includes the types of self-fashioning (street wear) and high fashion (couture fashion) (Steele, 2021). There is fashion in clothing, architecture, furniture, automobiles and other objects.

More attention is paid to sartorial fashion because it involves an intimate relationship between clothes and the body and the personal identity of the person (Steele, 2021). Another function of ‘fashion’ is its use as a verb when referring to making something into a particular form (Oxford Dictionary, n.d.). ‘Fashion’ is an English word that originates from the Latin word ‘factio’ or ‘facio’, defined as doing or making (Kawamura, 2020). The term ‘fashion’ is a way of making clothes developed predominantly in the early sixteenth century (Kawamura, 2020). Fashion does not only exist in the way we dress. It also includes architecture, furnishings, food, and our way of thinking (Kawamura, 2020).

The process of fashioning clothes Figure 7: Fashioning clothes (Author, 2021).

2.2.2. Architecture

Architecture is the technique and art of designing a building and the building itself (Encyclopaedia Britannica, n.d.). In popular terms, architecture is a practice employed to complete practical requirements. Whether nomadic or settled, every society has a spatial relationship to the environment. The structures built for these societies reflect their history, the surrounding environment, artistic sensibility, and many other aspects of life. Architecture is not designed for itself, it is designed to satisfy human needs and guarantees survival in the environment (Chęć-Małyszek, 2021).

Chęć-Małyszek defines architecture as a mixture of ideas satisfying basic human needs and technical possibilities. Apart from providing shelter, architecture also has an important social function: it satisfies users mentally, physically, and spiritually, ensuring that they are functioning harmoniously in the environment (Chęć-Małyszek, 2021). Oftentimes, architecture is perceived as spaces designed by architects in the form of buildings and landscapes. This study suggests that such a perception is limiting.

The process of fashioning buildings

Figure 8: Fashioning buildings (Author, 2021).

This study argues that architecture could benefit from including everything designed to shelter human beings, such as buildings and clothing. Renowned architect Zaha Hadid said: “[B]oth architecture and fashion are based on structure and shape and turning basic necessities (like clothing and shelter) into art” (Rudy, 2019). Fashion designer Coco Chanel said: “fashion is architecture, it’s a matter of proportion” (Rudy, 2019). Architects and fashion designers have the same aim: to make inventive designs developed from theory, technique, and philosophy (Rudy, 2019). In using the words ‘fashioning architecture’, this study critiques the limitations of architecture as buildings and fashion as clothing. In this study, ‘fashion’ refers to the making or designing something and ‘architecture’ as a collection of buildings and clothing designed for the body.

Figure 9: Demonstration of the function of architecture (Author, 2021).

2.3 Reconstructing disciplines In the essay ‘Sculpture in the expanded field’, art theorist Rosalind Kraus (1979) identifies three disciplines in the built environment: sculpture, architecture, and landscape. She questions the spaces between the identified disciplines and describes how the spaces were claimed as sculptures. Kraus argues that sculpture is something that is simultaneously neither architecture nor landscape. The essay reconstructs the foundations of what art practices were and were not and what the foundations of art practices could become.

Kraus (1979) redefines the boundaries of the mentioned disciplines then claims that spaces that are difficult to classify as architecture or landscape can be sculptures. This study also redefines boundaries between clothing design and building design by arguing that the building and clothing practices are a collection of architecture, thus claiming territories that are occupied by both or neither discipline.

Venn diagram demonstrating the interchanges between clothing and buildings.

Figure 10: Venn Diagrams (Author, 2021).

2.4 Dissolving boundaries The techniques, rhythms, temporalities, and spaces of what is known as fashion and architecture may be perceived as different to one another. However, in the article ‘Wear: where? The convergent geographies of architecture and fashion’, Louise Crewe (2010) suggests that the two disciplines are equally involved in creating and developing urban environments as they question the notion of form, fit, time, space, interactivity, and mobility. In the book African nomadic architecture: Space, place, and gender, Labelle Prussin (1995) explains the style, designs, technology, and symbolic meanings of the African nomadic architecture for nomadic women living across African deserts. The African nomadic architecture described is an assemblage of multi-functional art, thus serving transport and building needs (Prussin, 1995). In the section on ‘The creative process’, Prussin argues that nomadic building technology and transport technology follow the same structural principles, making transport structures and buildings involved solve the same problems: balance, rigidity, movement, among others. Similarly, this study argues that structural principles of clothing and buildings have significant similarities. The literature identifies three structural systems with the same construction principles: building, human body, and the pack animal (Prussin, 1995). The principle shared among these structures is balancing the law of structures against the laws of gravity and motion. This logic suggests that the same laws apply for buildings, the human body, and the pack animal, thus concluding that buildings, human behaviour, and transport systems fall within one creative process. The book titled Skin + bones: parallel practices in fashion and architecture authored by Andie Roberson presents work from international clothing and building designers in themes such as shelter and identity. Apart from sharing the primary function of providing protection and shelter to the human body, Andie Robertson (2009) argues that fashion and architecture create volume and space from flat materials. In the 1980s, disciplines merged boundaries as the creative cultures started a dialogue that encouraged exchanging ideas and possibilities (Robertson, 2009). Fashion designers assess clothes to find the potential to address the modern needs of ‘urban nomads’. The potential evidence is using high-performance fabrics that incorporate ideas of identity, protection, and mobility. Also, the role of traditional ‘bricks and mortar’ structures is being questioned by architects. The questioning of traditional structures calls for architects to use new techniques and materials to create more adaptable, ecological, and versatile structures that respond to humanitarian needs (Robertson, 2009).

Figure 11: Church Square precinct in Pretoria,South Africa (Ndebele, 2021).

2.5 Urban nomads in South Africa In African nomadic architecture: Space, place, and gender, Labelle Prussin (1995) describes the primitive nomad as an African woman who constructs a tent-like house that transforms into a saddle-litter palanquin for travel by camel with her children. Nomadism has occurred since the beginning of humankind as progress was related to finding a home or making shelter in a new place (Acton, 2010). Hunters and gatherers were regarded as nomadic, as they would leave areas where fruits were temporarily exhausted and to allow areas to regenerate, the nomads would return cyclically (Acton, 2010). As the years progressed, commercial nomads emerged from rural areas. The emergence of commercial nomads occurred due to the high demand for urban-quality goods and services and the need to spend less on travel due to low income (Acton, 2010). Human beings currently live in strange times where strange things happen. These are times of ever-expanding and fast-moving waves of change. Accounting for the fast-changing reality is considered hard work, but attempting to escape this occurrence is more difficult. This study explores how South Africans can account for the new reality they face. Most contemporary subjects are familiar with metamorphosis, mutations, transformations, and the process of change. Age-old habits and traditional points of reference are recomposed in modern times (Braidotti, 2015). Conceptual creativity is important in such times. The nomadic culture or nomadism was regarded as an ancient and cheap living. The nomadic lifestyle is an emerging trend with the young South African population: individuals are becoming more mobile (Hamurcu, 2018). As technological developments and accessibility increase rapidly, the individual’s place-dependency has decreased. In the thesis Nomadic product: Furniture design for the modern urban nomad, Qiangwei Zhu- an industrial design graduate at Rochester Institute of Technology (2015) describes modern-day urban nomads as college students and young professionals who maintain a high standard of living and have a special or particular way of living. These urban nomads live in urban areas where most rent rather than purchase homes (Zhu, 2015). As they move from one city to another, they travel with their belongings or leave them behind to follow their next business opportunity. This study explores how architecture can achieve the goal of providing clothing-buildings that are easily transformable and transportable (Figure 10).

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CHAPTER 3: Characters and their Architecture 3.1 Problem statements 3.2 Design reflection 3.3 Architecture for the characters: Development of characters 3.4. The characters 3.4.1 The thrill seeker 3.4.2 The jeweller 3.4.3 The bibliophile 3.4.4 The architect 3.5 The thrill seeker’s air camper 3.5.1 Precedent 3.5.2 Potential sites and Concept 3.5.3 Visualisation on buildings 3.6 The Jeweller’s pocket dress 3.7. The bibliophile’s library 3.8. The architect’s portable studio

3.1 Problem statement The thesis asks the following questions: How does one harmonise a diversified world? Instead of asking how one make the modern man’s world, it asks: How can designers make a world for everyone?

3.2 Design reflection The tradition employed by Le Corbusier using the modern man prioritised masculine ideals over feminine ideals. He insinuated that gender is one gender. This study changes this medium and acknowledges that individuals are different from one another, that gender is not one, as there are many others.

Figure 12: Infographic of Le Corbusier’s life (Mahe, 2015).

3.3 Architecture for the characters: Development of characters There are cases where architects followed a tradition of developing characters to produce architecture in the past. A well-documented case following this tradition is Le Corbusier’s ‘modern man’. Swiss-French architect Le Corbusier is interested in breaking Victorian and bourgeois traditions (Flint, 2014). He developed the modern man as a tool to break the old traditions. Le Corbusier invented new ways of thinking and building in the architectural discipline. Modern Man (Flint, 2014) is a biography that portrays Le Corbusier as a constant self-inventor and genius (Argitect, 2010). He sought to refashion the world through his vision. Le Corbusier invented the ‘Modern Man’ to develop the theory that supports his buildings that fall under the modern architecture category. He used this figure of the modern man to describe an architectural context that insists that sacred buildings conform to the modern man’s proportions. Although the creation of the modern man was an attempt to start a new vocabulary for designers to draw from, this study argues that the concept of the modern man is flawed in that Le Corbusier’s aspirations were subjective and imposed on readers, as men and women are influenced to have the same aspirations. Critics labelled Le Corbusier as a stubborn

man whose strong opinions were often contradictory regarding the urban form. Hseuh-Bruni (2015) mentions that the French architect portrayed himself as concerned with improving living conditions. In truth, Le Corbusier was obsessed with uniformity, artificial order, and control that symbolised totalitarian rule. This totalitarianism resulted in segregated societies (Hseuh-Bruni, 2015). Le Corbusier’s work was influenced by the aftermath of World War I: pollution, poverty, tuberculosis, overcrowding, and chronic housing shortages (Maycroft, 2010). He wrote passionately about his aspirational architectural concepts. He called a home a machine in which to live. His utopia included affordable homes for the masses located within cities arranged for efficiency and maximum order (Flint, 2014). This collection of machines was a utopian city for the modern man. The creation and description of users of a particular architecture is a tradition that early architects employed. Le Corbusier’s sketch of the Modulor man showed a silhouette of a man who was 1.83m tall. The first sketch of this man was finished in 1943. The value of the sketch was proportion and how proportions bring order to the relationship between humans and their surroundings.

Another architect who practised this tradition of describing architecture’s uses is the ancient Roman architect Vitruvius. Vitruvius described an ideal man’s proportions, resulting in a drawing of a multi-limbed man in a circle and square drawn by the famous renaissance artist Leonardo da Vinci. Da Vinci used this figure to describe an architectural context that insists that sacred buildings conform to its proportions. This study adopts the tradition by developing various dwelling types representing clothing-buildings from imagined nomadic characters. The following chapters describe the proposed nomadic characters, the potential spaces they could use as part of their living arrangements, and the architecture that encourages using that space. Despite far-reaching influence on architecture development, Le Corbusier has critiqued himself and evolved, which is evident in his buildings. In Modern architecture: A critical history, British architect, critic, and historian Kenneth Frampton (1985) surveyed modern architecture and outlined trends and philosophies of the twentieth century. Frampton (1985) divides Le Corbusier’s architecture into two sections, from the early days to 1930, and between 1930 and 1960. Frampton (1985) describes Le Corbusier’s early work as the kind that enriches the abstract and has the reductive nature of the purist style. Purism is defined as an art movement that attempts to restore regular composition (Gibson, 2017). The style is distinguished by the purity of geometric form (Gibson, 2017). Le Corbusier then lost interest in heroic and grand modernist projects (Maycroft, 2010). He followed architecture as it evolved into more exposed concrete that is monumental in scale in the architectural style is known as brutalism1 (Frampton, 1985). The thesis follows the same tradition of architectural practice, which can be described as an act of planning, designing, and altering what has to be improved (Figure 11).

1 The word ‘brutalism’ is derived from the French expression beton brut, which is translated as ‘raw’ or ‘rough concrete’ (Hanley, 2019).

Figure 13: Vitruvian Man and Modern Man (Argitect, 2010).

3.4 The characters 3.4.1 The thrill seeker - James The study makes use of a number of occupational types in order to develop the characters. Thus, the characters will develop the architecture, concurrently, the architecture will develop the characters.

The world is in a strange time where strange things are happening. These are times of ever-expanding and fast-moving waves of change. Accounting for the fast-changing reality is considered hard work, but attempting to escape this occurrence is a lot harder. The study is exploring how South Africans can begin to account for the new reality we are faced with. The majority of contemporary subjects are familiar with metamorphosis, mutations, transformations and the process of change. During this fast-paced time, age-old habits and traditional points of reference are re-composed (Braidotti, 2015). Conceptual creativity is important in such times. The study is considering subjects that are becoming and embracing the transformation that is occuring. The following character embraces complexity as a core value of his cultural practice. He adequately expresses change and mutation in a pleasurable manner instead of experiencing them with a lot of anxiety. He enjoys living amidst the time of the process of hybridism, transition, and nomadisation. These are points at which the established modes of representation are defied. This person enjoys the thrill of heights. He enjoys the idea of being suspended. He lives in multi-storey hotels or Airbnb’s around Gauteng. He enjoys activities like bungee jumping and sky diving.

Figure 14: Thrill Seeker (Author, 2021).

Figure 15: Thrill seeker in the city (Author, 2021).

Migration is considered an immense behaviour change as it requires a conscious choice to break a routine (Tabor, 2010). It has been expected that in post-apartheid South Africa, temporary or regular internal labour migration would be substituted with the permanent settlement close to places of employment. However, Dorrit Posel (2004) has found that temporary internal labour migration has not declined in the country. Her evidence shows that it has rather increased (Postel, 2004). Although most of the migration is involuntary, there is a considerable amount that is voluntary. Unlike many psychological universals, migration is starting to be influenced by wanderlust instead of forces such as the economy. Aidan Tabor, an academic student refers self-selected migrants who decide to move independently as voluntary migrants (Tabor, 2010). The migration pattern of this character is determined by location of high rise residential buildings and extreme activities.

3.4 The characters 3.4.1 The jeweller - Samantha

As worries about humans’ impact on the environment and the climate increase, the retention of material has become a priority. Waste management is one of the major challenges in modern cities around the world. The main elements of solid waste management are recycling, the operation of green centres, and composting (Drimili, Herrero-Martin, Suardiaz-Muro & Zervas, 2020). Waste presents a threat to the health of the public and environment if it is not collected, stored and disposed of properly. Waste is perceived as a material that is unwanted and of no value. John Ruskin is a famous writer who is famous for opposing restoration. He spent most of his life comparing buildings and plants. In his book titled Prosperpina (1875), he explained plant structure using architectural analogies. One analogy includes parts of a root which is named or represents ruins, refuges, and store-houses. He argues that the remaining structure in the ruin has a basis for the future plant to grow (Roark, 2021). The same analogy can be applied to waste. When a product has fulfilled its purpose, what remains should be considered a beginning to something of good value.

Figure 16: Jeweller (Author, 2021).

Figure 17: Jeweller (Author, 2021). The jeweller walks around the city to collect her potential products. She walks between cities in Gauteng looking for products to upcycle and convert into jewellery. She carries her tools and simultaneously works as she walks around the city looking for material for upcycling.

3.4 The characters 3.4.1The bibliophile - Bob In the Journal article Strange Places: Estrangement, Utopianism, and Intentional Communities, professor and scholar regarding utopianism Lucy Sargisson (2007) claims that estrangement in utopianism permits critical distance and encourages paradigm shifts- it provokes fresh perceptions regarding limitations of what is possible. Sargisson’s research indicates that remote, distanced and strange utopias permit users to interrogate the present from a good, imaginary place. However, note that estranged relationships are complicated. Therefore, the level of estrangement in this study is light and voluntary and only lasts for a moment to reflect and recharge oneself. This person is a student who sets aside time to spend in strange spaces to reflect, recharge and recuperate from the busy lifestyle he lives. One can define his personality trait as an external introvert who loves the typical busy student life, but often needs some time alone. The student enjoys reading books in a quiet space. He stays in student residences where he hardly gets some time alone in a quiet space. He tours around the city planning his next escape in strange places to read a book without being distracted.

Figure 18: The Bibliophile (Author, 2021).

Figure 19: The Bibliophile (Author, 2021). The location of unfamiliar quiet places determines the migration pattern of bibliophiles.

Figure : Furniture in the Valley (de Chirico, 1926). The painting on figure 19 was done by an Italian writer and artist called Gorgio de Chirico in 1928. It captures the intermingling of furniture placed outside their normal space. According to Giorgio de Chirico, furniture that is considered familiar to a typical living room that is encountered in a context that is unfamiliar livens up a space- through the intimacy that is formed between them and the emotion

imparted in the experience (Green, 2019). The bibliophile travels around the city to experience strange places with joy. He GREEN, K.E. 2019. Strange Places: Loci of Design Inspiration. Proceedings of the Thirteenth International Conference on Tangible, Embedded, and Embodied Interaction. 173-180.

3.4 The characters 3.4.1 The architect - Palesa

The quality and nature of the relationship between the architect and their client is important for the project’s success. The architectural discipline is a specialised activity that puts the architect in what a French sociologist Pierre Bourdieu calls an ‘architectural habitus’ (Siva & London, 2009). The theory of habitus relates to ways in which people think about or how they perceive space and place (Hillier, 1999). The habitus distinguishes the professional from their client since they are not trained to become professional architects (Siva & London, 2009). The project starts a dialogue between the professional and the client. The project represents the professional that is extending themselves as they meet the client where they are to symbolize their will to have a smooth building project with fewer misunderstandings.

Figure 21: The Jeweller (Author, 2021).

Figure 22: The Jeweller (Author, 2021).

The architect is constantly travelling around the country to find inspiration for her projects and to meet her clients. She makes human connections by setting up a space where she meets her clients. Instead of being a typical architect where clients follow the architect for meetings, she chooses to meet them to create a two-way relationship. The architect migrates internally for work as she gets clients from all over South Africa. She also enjoys working in the outdoors.

3.5 The thrill seeker’s air camp 3.5.1 Precedent

Figure 23: Hammock (Chen, 2018).

The project takes inspiration from a hummingbird nest and a traditional hammock. Hammocks originate in central America. They were crafted by the ancient Mayans a thousand years ago. Mayans handcrafted the hammocks using tree barks. The hammocks were made to keep users above ground as they sleep to prevent them from being in contact with the dirt or undesirable insects and animals (Figure 12) (Chen, 2018).

3.5.2 Potential sites and concept

Hammocks are a tent-like structure suspended in the air. The structure is stored in a bag when not in use (Figure 13). Figure 24: Thrill seeker carrying bag with tent structure (Author, 2021).

3.5.3 Equipment that comes with air camper

Nylon straps

Rope

Carabiners Storage bag Figure 25: Tent structure equipment (Author, 2021).

3.5.4 Visualisations buildings

The form of the air camper is influenced by the structure to which it is fixed. This structure is made of nylon fabric with ropes with fixing brackets at the end (Figure 14).

Figure 26: Air camper hanging from an apartment in Menlyn (Author, 42 2021).

The air camper is a type of architecture that connects the body to the surrounding built environment in a profound and pervasive way. It opens up new ways of sensing space.

Figure 27: Air camper hanging from an City Lodge Hotel (Author, 2021).

Figure 28: Air camper hanging from an City Lodge Hotel (Author, 2021).

The jeweller’s pocket dress

Colour Inspiration CONCEPT Figure 29: Concept of pocket dress (Author,44 2021).

MATERIAL

The pocket dress is a jacket-like structure that allows the pockets to be attached. The dress has pockets that jewellers use to store the collected items to be used. After collecting the items, she transforms the collected items into jewellery that is sold at the local markets. The dress comprises a mixture of materials that accommodate the items expected to be collected. The materials are soft fabrics like cotton to store the softer, less harmful items than the leather and woven straw for the harder and heavier material (Figures 16 and 17).

Figure 30: Jeweller in concept dress (Author, 2021).

3.7 The bibliophile’s bubble library 3.7.1 Precedent Oase no. 7 Fridericianum, documenta 5, kassel 1972 By Haus-Rucker-Co.

Figure 31: Oase no. 7 Fridericianum, documenta 5 (Haus-Rucker-Co, 1972).

Figure 18 depicts the installation by HausRucker-Co and is a representation of a parasitic architecture movement. The pneumatic structure grows out of a pre-existing building. In seven minutes, the structure transforms from a flat-pack into a fully inflated bubble. This structure results from a “new concept of

architecture” to solve the potential catastrophe of environmental pollution (Moore, 2012). The inflatable structure was designed to create a space of play and relaxation. The structure critiques confined spaces, creating temporary, disposable architecture (Moore, 2012).

3.7.2 Concept The bibliophile inhabits this space to read during hot summer days. The maintenance hole is always cool because it is located underground. He takes advantage of the maintenance hole as a way to escape the busy life at the school residence. The inflatable bubble that creates a space within a space

The bubbles are connected together to create a space.

The net is used to create multiple forms. and to make it easy for the user to fix the structure onto its existed supporting structure

Examples of structure that could be formed Figure 32: Concept of bubble library (Author, 2021).

The bibliophile inhabits this space to read during summer hot days. The maintenance hole is always cool because it is located underground. He takes advantage of the maintenance hole as a way to escape the busy life at the school residence. The inflatable bubble that creates a space within a space

Figure 34: Bubble library in manhole (Edit by author, 2021).

Figure 33: Concept of bubble library (Edited by author, 2021). The structure is installed strategically on neglected or unused spaces that offer quiet spaces desirable for reading. The neglected spaces might not necessarily be the desired space. Therefore, the structure acts as a buffer, creating a desirable space within what could be considered undesirable. The Bubble library mutates and occupies its new chosen urban space, thus creating a hybrid environment.

3.8 The architect’s portable studio 3.8.1 Concept

The Meeting Place Meeting you where you are like the ancient african women who travelled to collect water at the nearest river.

Figure 34: Woman carrying pots (Author, 2021).

3.8.2

Figure 35: Mood board of the portable studio(Author, 2021).

3.8.3 Precedent A-Z Wagon Stations by Andrea Zittel Location: Year: 2004

Figure 36: A-z Wagon station (Edit by author, 2021).

Installed to accommodate one person at a time. It contains a bed, a door, and a shelf. Tests how a simple life can be intertwined with art.

Figure 37: A-Z Wagon stations (Edit by author, 2021).

3.8.4 Visualisation

The wearable shell structure contains equipment that an architect require to generate designs. The architect walks around looking for implied spaces that inspire her projects and then uses the shell structure as a workstation to design architecture. One shell is laid down to convert it into a chair, while another has a retracting board that converts into a work table.

Figure 38: Portable workstation (Author, 2021).

04 54

CHAPTER 4: THEORY 4.1 Spaces

4.1.1 About Spaces 4.1.2 Spatial arrangements 4.1.3 Enclosures 4.1.4 Architecture beyond enclosures

4.2 Scale

4.2.1 About Scale 4.2.2 Occupancy 4.2.3 Human body in architecture

4.3 Structural Principles

4.3.1 About Structural Principles 4.3.2 Similarities of structural principles 4.3.3 Connection between both disciplines

4.4 Material

4.4.1 About Materials 4.4.2 Similarities of Materials

4.1 Spaces This chapter presents the criteria used to evaluate theory and from which to extract theory. The information is divided into four criteria, namely space, scale, structure, and material. Space and place are among the fundamental concepts in architecture

semi-enclosed spaces

Figure 39: (Edit by Author 2021)

In architecture, planes define three-dimensional volumes of space and mass. Three generic planes can be manipulated in architectural design – overhead plane, wall plane, and base plane (Ching, 2015). The overhead plane is a vertical plane that shelters the interior space like the tiled roof of a house (Ching, 2015). A wall plane is a vertical plane that forms part of the vital elements of architecture to shape and enclose a space (Ching, 2015). The base plane supports the architectural form (Ching, 2015).

4.1.1 About spaces Architecture consists of a form and its space. The form of a building creates volumes in which to encompass space. Parameters that define space are space requirements, movement zones, furniture and fittings, and distances. Guide values for reference sizes for spaces derive from human body dimensions to make the spaces comfortable to use (Bielefeld, 2019). The ‘scale’ criteria further elaborates on the relationship between the body and architecture.

4.1.2 Spatial Arrangements Architecture consists of a space that is used for its intended users. This space has the intention of supporting or including a specific behaviour. This behaviour setting is created to promote its intended use, thus making the space successful and appropriate (Valle, 2021). A common architectural typology is an enclosure with four vertical planes to define a space (Valle, 2021).

Figure 40: Spatial arrangements (Author, 2020).

4.1.3 Enclosures An enclosure is any part of a building that physically separates the interior and exterior environment. Buildings, landscapes, furniture, and clothes define a space. The degree of enclosure creates a character from the space. When considering users’ sightline of a particular space, the vertical closure is important to define the space. The distance and height of that vertical plane from the view define the degree of enclosure.

A full degree of enclosure separates the human body from the external environment by having separating layers of material on the overhead plane, base plane, and the four vertical planes. The materialisation of this type of enclosure is a protective layer that provides comfort in what might be unfavourable environmental conditions for the body (principles of enclosure) (Figure 26).

Airtight Envelope

Figure 41: Airtight envelope (Author, 2020).

4.1.4 Architecture beyond enclosures Henri Lefebvre was a French Marxist philosopher who introduced the concept of social space in The Production of Space. He argues that the word ‘Space’ once had a strict geometrical meaning that the idea invoked by it was that of an area with a two- or three-dimensional space (Lefebvre & Nicholson-Smith, 1991).

4.2 Scale \ ‘skāl \

Proportion explains the relationship between a representation and what it represents (Tom, 2013).

4.2.1 About scale

Scale relies on the physical eye to make a relationship. Scale involves the connection that the eye makes between the size of something that is known and the size of what it sees.

Clothes are considered to create a private space that can only be occupied by one person at a time, while architecture has the ability to occupy multiple persons at a time. This conception is broken by this tent structure as it creates a private space that can be occupied by two persons at a time, thus breaking the boundary of wearable items being made for one person

4.2.2 Occupancy Dresses occuppied by one person at a time

Figure 42: Rainbow dress (Rainbow Winters, 2016).

Buildings occuppied by more one person at a time

Figure 43: Working women (Christin Hume, 2021).

Figure 44: Damian Foxe dress ( by Kevin Sinclair).

Figure 45: People doing yoga (Inspired Horizons Digital Marketing,n.d.)

Clothes than can be occupied by more than one person at a time

Figure 46: National Library of South Africa (ShowMe, 2008).

Figure 47: Sewn as a Site (Danica Pistekova).

4.2.3 Human body in architecture

Figure 48: Body in clothing (Author, 2021).

Figure 49: Body in building (Author, 2021).

a mediating layer between the environment, the body, and others. Clothes and buildings’ initial function is to protect people from external factors such as weathering (Louise, 2010, p.3). The disciplines create inventive forms and structures using shapes, lines, scales, and norms related to the human body to respond to human needs. The plethora of technologies in the surroundings opens a new space for physicality, gesture, and body-based interaction. This interaction includes interactive clothes, biosensors worn by the human body, and wearable computers. Architecture has always had a relationship with the human body, as the body is a key element in architectural practice. However, the documentation on the connection between the two is made by Vitruvius’ Vitruvian man, Le Corbusier’s modern man, and the rise of ergonomics. This section questions how the body is perceived (Figure 31).

“Fashion is Architecture, it’s a matter of proportion” Coco Chanel 62

Crewe argues that the two disciplines are united as they focus on wrapping the body, thus sheltering and revealing in space (Crewe, 2010). Although this is the initial function, both these disciplines have developed into entities that facilitate the desired use.

Figure 50: Person wearing socks (Author, 2021).

Chinwendu explains that one can compare modern architecture to a dress. This statement is explained further that architects relied on the similarity of a dress as it has been thought of as an art of dress. The initial function of the modernist architecture was to shelter the elaborate clothing that was worn in the nineteenth century in a simple covering (Chinwendu, 2014). Zaha Hadid once mentioned “Architecture is how the person places herself in the space. Fashion is about how you place the object on the person”.

Figure 51: Person walking into a building (Edit by Author 2021)

4.3 Structure struc•ture |

A thing that is constructed (Such as a building).

4.3.1 About Structure The role of a structure in architecture is to resist loads imposed on the building (Macdonald, 2018). Buildings are envelopes with various surfaces with loads that must be carried to create a protected envelope. The surfaces of the building include the walls, roofs, and floors that can be affected by external loads (such as rainfall and strong winds), as well as gravitational loads (such as human beings and furniture) (Macdonald, 2018). The function of a structure in a building is to prevent it from collapsing by providing an acceptable level of rigidity and strength (Macdonald, 2018).

Figure 52: Van Gogh Museum (Edit by Author, 2021). Designed by Gerrit Rietveld Located in Amsterdam

4.3.2 Similarities of structural principles

Fashion designers and architects tend to use similar creation techniques. A technique that uses geometry relative to the desired form to begin the process with a support structure then add or cover it with a membrane (Figure 32).

Figure 53: Drawings illustrating structural similarities (Author, 2021).

4.3.3 Connection between both disciplines

The structure of a building is a support system that minimises movement to prevent it from collapsing. A structure of a garment creates and maintains the form of the garment. The flexibility of clothing fabric allows the garment to move freely. Clothing and buildings are differentiated through mobility where clothing is completely mobile, and buildings seem to stay in the same position when examined with the naked eye. The researcher argues that both clothing and buildings move at various speeds over time. Buildings are constantly moving due to external factors such as temperature (Figures 33 and 34).

Examples of blurred boundaries: Viktor and Rolf- Wearable art art and fashion

Figure 54: Viktor and Rolf Art dress (Alessandro Garofalo, 2015)

Hussein Chalayan: Coffee table dress Fashion and furniture design

Figure 55: Hussein Chalayan’ Coffee able dress (Chalayan A/W00, 2019)

4.4 Material ma•te•ri•al |

The substances, elements, or constituents of which something can be made or is composed.

4.4.1 About material Materials in buildings include ceramics, metals, composites, polymers, and natural materials. (Fernandez, 2012). Every material has its own properties. Building materials play a significant role in the modern era of technology. The development of mechanical tools and plants is why there is a rapid improvement in construction methods and materials (Duggal, 2017). Building materials have properties measured to meet building requirements for use in buildings. These properties include and are not limited to resistance to water and strength (Duggal, 2017). In From bazzar to space architecture: Fabrics reshape material and spatial qualities of built environments, associate professor Filiz Klassen explores new possibilities for transforming existing personal boundaries created by recent material research.

technological innovation and cultural change (Klassen, 2019). Klassen characterises the architectural materiality of the nineteenth century as heavy and massive construction that is constructed using materials such as brick, stone, and wood (Klassen, 2006). The development of steel, concrete, and glass contributed to lighter buildings built in the twentieth century. Structures that are light and airy, and buildings clad in glass symbolise modern architecture and dominate today’s built environment (Klassen, 2006). While traditional construction methods and materials still dominate in the built environment, architects are increasingly taking advantage of the possibilities of new materials to create diverse and personalised spaces. Recent innovations in material technology include materials with strong, light, and flexible properties. Fabrics replace traditional heavy construction materials for lightweight architectural applications thanks to innovatively engineered textiles. These developments spark interest and encourage an increasing number of studies into larger product and architectural design applications that could further direct and reshape the spatial qualities and material of the architectural discipline (Klassen, 2006).

The language and form of architecture change continuously to reflect contemporary

4.4.2 Similarities in material Through intuition, people may imagine techniques, rhythms, temporalities, and spaces of the clothing and building industry as different from each other. Clothing is delicate, pliable, and embodied; buildings are solid, rigid, and permanent. However, this study argues that the two disciplines are engaged in creating urban environments that question the idea of space, time, fit, form, mobility, and interactivity (Crewe, 2010). Although terms regarding the construction techniques may vary between the clothing and built environment, the end product has similar geometries. Examples of this technique in clothing and built forms include box pleating, flouncing, and knife pleating (Figures 35 and 36).

Box Pleating

Flouncing

Knife Pleating

Figure 56: Airtight building envelope (Brian Dunbar, 2020).

Figure 57: Similar tecniques using different material (Robertson, 2009).

05 70

CHAPTER 5: Developments - Transitions between clothing and building (clothing-building) 5.1 Pocket dress

5.1.1 Developments

5.2 Portable studio for spaces 5.1.1 Developments

5.1 Pocket dress The study is taking this tradition a step further by considering a piece of clothing as architecture. Another function of architecture is to create a space that enables users to become productive. The pocket dress is a type of architecture that helps the user by storing the items, this can be described as a storage facility. The pocket dress takes away the dependency of the body on the additional provision of a storage facility as the dress itself provides room for storage. The pocket dress eliminates the amount of trips she needs to make to and from the primary workstation

5.1.1 Developments Initial concept of pocket dress

Human beings are only equipped to carry a limited amount of things with their hands. The trips to and from the workstations are increasingly infrequent for the jewellers. Bags are created to allow people to carry more things at once. The dress reduces the number of trips as jewellers can carry more items, decreasing the number of trips made (Figures 37 and 38).

Figure 59: Concept of pocket dress (Author, 2021)

Figure 58: Woman holding books (Author, 2021)

Components of pocket dress: under coat 1

The dress has a coat underneath which is designed in a way that is easy to wear and take off.

Fixing components: Development of the accessories:

Figure 60: Coat dress and fixture explorations (Author, 2021)

Detail of the accessories where the pockets will be clipped on. The coat is designed in a way that the user is able to wear it without the pockets Clipping accessories are simplified to dicrease overall weight of the garment.

Components of pocket dress: coat with pockets 3

The coat dress was developed by adding more details to it.

Overlay of pockets on the coat dress

Pockets used for the dress Figure 61: Pocket dress explorations (Author, 2021)

In Extreme Beauty: The Body Transformed, Harold Koda (2001) - who is an American fashion scholar and curator demonstrates the diverse and extraordinary transformations that the body endures in the clothing industry. Koda (2001) illustrates that beauty exists through radical and subtle manipulations. The physical body is strategically adjusted through subtle visual changes to meet beauty goals (Koda, 2001). The pocket dress is inspired by the Ndebele attire, where the women wear clothing that

visually transforms their bodies, hoping to gain favour from men. Typical Ndebele attire includes isigolwane (large rings of beads with a straw or iron core) worn on the neck, arms, hips, and legs. Single women wear these beaded rings to imitate fat rolls to attract Ndebele men who love large women. In addition, the dress changes the negative perceptions of waste by highlighting the positive outcomes of upcycling the waste through haute couture clothing that acts as an extension of the body (Figures 39, 40, and 41).

Figure 62: Ndebele woman wearing traditional Ndebele attire (South African tourism, n.d.)

Figure 63: Pocket dress design developments (Author, 2021) The bottom of the designed dress (Figure 42 top) gets in the way as users walk, and pockets in contact with the ground are damaged easily. A solution to this is having a resistant layer between the pockets and the ground that is more adapted to rough terrain. In addition, the material limits the movement of the dress, keeping it from the movement path of users’ legs.

Figure 64: Pocket dress design developments (Author, 2021) The dress evolved from a fully covered dress to a short dress with a detachable train which reduced the amount of weight the user would have to carry when wearing it.

5.2 Portable studio Architecture has always had a relationship with the human body as it is a key element in architectural practice, however, the documentation on the connection between the two is made by Vitruvius’ Vitruvian man, Le Corbusier’s Modern man and the rise of ergonomics. This section questions how the body is perceived today, and how this perception can be used to influence the way we design the architecture we intend to use.

Although Ergonomics may seem to be a discipline that separates the object and the body, they are connected as the object maximizes the user’s productivity. The library might seem to separate the user’s body from the spaces that are inhabited, however, this structure makes it possible for the user to inhabit the space without compromising comfort-which is a primary function of architecture.

The bubble library creates enclosed space. It maximizes the productivity of the user/s as it separates the user from the busy world. It creates a space within a space.

5.2.1 Developments

Figure 66: Cross section of portable stodio (Author, 2021) The structures had a lot of unused space. The unused space of both structures resorted in the elimination of one of the structures, thus resulting in a structure that is lighter to carry(figure 66).

Figure 65: Portable studio initial design (Author, 2021)

The portable studios’ skeleton maintains the form of the structure. The studios are clad with various materials to be closed off to maintain a neat look (Figure 42).

Figure 67: Portable studio design developments (Author, 2021) The structure disturbs the movement of the user when they are walking around. The structure needs to encourage the desired action. The shape of the portable studios is designed for users to manoeuvre easily without the structure hindering movement.

Figure 68: Portable studio design developments (Author, 2021)

Figure 69: Diagrams showing how the studio chair opens up (Author, 2021)

Figure 70: Portable studio supported by head (Author, 2021) The weight of the structure is distributed to the head and shoulders to make it easier to carry.

Artist Ronaldus Shamask hosted the photograph exhibition Intimate Architecture at the Massachusetts Institute of Technology. He successfully demonstrated how clothing design could be incorporated into other design fields. An example includes Lucy Orta’s artwork Habitant (1992). The raincoat attached to the human body can be transformed into a tent that forms a three-dimensional structure that stands independently. Orta believes that eliminating existing boundaries is through their similarities: shelter, mobility, dress, and social space. The portable studio can be considered intimate architecture as it is attached to the human body. The structure is transformed into a studio that two people can use simultaneously, for example the professional architect and a client (Figure 72).

Figure 71:Refuge wear habitent (Jorge Orta, Rita Orta, 1991)

Portable Studio Figure 72: Portable studio design developments (Author, 2021)

1,561

1,040

1,560

1,040

520

1,040

Figure 73: Exploration of configuration of spaces (Author, 2021)

Story (7)

1:50 1.

Story (8)

1:50

The structure transforms from an item carried on the head and shoulders to a working studio to two ergonomically designed chairs and a table between them (Figure 44). The use of subtractive form maximises the space created by the form of the structure.

1. The structure is carried by the owner as she walks to the chosen sight to meet the client 2. The structure contained within the outer structure is pulled out and fixed in-place

The placement of the elements create a negative space that functions as a studio.

3. The architect opens it vertically and places the individual items apart from each other to create space for the table to occupy.

An implied space is created through the verticality of the chairs and their placement thereof.

Figure 74: Portable studio design developments (Author, 2021)

06 84

CHAPTER 6:

Design Resolution and Conclusion 6.1. Design Resolution

6.1.1. The Jeweller’s pocket dress 6.1.1. The architect’s portable studio

6.2. Conclusion

6.1 Design resolution 6.1.1 Pocket dress Pattern

Front Side Figure 75: Pattern of dress (Author, 2021)

Back Side 86

Top view of train Scale 1:10

Figure 76: Top view of train of the dress (Author, 2021)

Details Not to scale Figure 77: Details of pockets (Author, 2021)

Top view Scale 1:10

Figure 78: Top view of dress (Author, 2021)

1 Size small recycled leather slit bodycon dress 2 Cover to conceal plastic zip to attatch detachable train 3 Detachable pockets made of recycled material

4 14mm thick detachable recycled leather train 2

5 75-150mm Polypropylene caster wheel 3

View of jeweller walking Scale 1:10 Figure 79: View of dress (Author, 2021)

6.1.2. ARCHITECT’S PORTABLE STUDIO

Transparent green acrylic sheets latered to mimiv feathers fixed to carbon fibre horizontal members Custom made curvy carbon fibre vertical member Custom made curvy carbon fibre horizontal member

Top view Scale 1:10 Figure 80: Top view of portable studio (Author, 2021)

Front view Scale 1:10 Figure 81: Front view with architect carrying portable studio (Author, 2021)

Transparent green acrylic sheets latered to mimiv feathers ﬁxed to carbon ﬁbre horizontal members

Custom made curvy carbon ﬁbre vertical member

Custom made curvy carbon ﬁbre horizontal member

Custom made carbon ﬁbre base frame

Elevation

Figure 82: View of portable studio (Author, 2021)

Scale 1:10

Side view Scale 1:10

Section Scale 1:10 Figure 83: Section of portable studio (Author, 2021)

6.2. CONCLUSION In summary, living in an era where economic and environmental changes are driving social transformation. Concepts such as concept creep has proven that broadening concepts has opened new opportunities. The thesis explored the possibility of accommodating the emerging nomadic lifestyle. This was achieved by an iterative design methodology through the design and analysis of clothing-building prototypes. The nomadic life has become a reality in the twenty-first century in South Africa. While most South Africans in-migrate involuntarily to better their lives, some in-migrate voluntarily. The thesis redefined fashion and architecture by expanding their meaning. Fashion is a cultural construction of the embodied identity, in other words, it is the making of something. Architecture is known as an art and technique of designing a building and the building itself. The study has broadened the definition of architecture as a thing that is designed to shelter the living. In chapter three, the study adopted and developed the ancient tradition of creating and describing a character in order to design a type of architecture that accommodates them. The author identified four emerging characters and designed a type of architecture intended for them to use. The characters were developed using societal trends that were observed in South African cities. The purpose of the explorations was to experiment and visualize the lives of the four peculiar individuals and their aspired architecture to explore the symbiosis between fashion and architecture. Similar to Le Corbusier’s journey in fashioning (making) architecture, the architecture for the identified characters developed and new questions arose in the process. The theory was then extracted from the questions that occurred during the process of designing the clothing-buildings. The theory is classified into four categories which is Structural Principles, Material, Scale, and Spaces. More design iteration occurred in chapter five.

The study also introduced a selection process where certain project chosen to develop further. The projects that were developed further are the Jeweler’s pocket dress and the architect’s portable studio. The early inquiries had a common thread which was general in scope. Through analysing the initial concepts of the four objects, one can conclude that the difference between clothing and building disciplines is scale. Human beings wear clothes as the form of the clothing depend on the body. The clothing create an intimate space where only one person can occupy it at a time. On the other hand, people walk into buildings. Buildings bear their own weight, therefore the form of the building does not depend on the user. The interspace between these disciplines is conflated when: • A person can walk into an object that can also be worn. • A wearable object (clothing) stands independantly without external support • A building can be worn by a person. • A form of a storage object depends on the human body This creates new boundaries of objects that are classified withinn the disciplines of fashion (clothing) and architecture (building) interchangeably. These inquiries also provided a beginning point that molded more interesting ideas and perspectives. Following the completion of chapters one, two, and three, a selection process occurred where two most interesting prototypes were developed further. The final two projects are the pocket dress and the portable studio. The pocket dress is a dress which functions as a temporary storeroom for the jeweller. This project demonstrates how architecture can be worn directly on the body.

The portable studio demonstrates two things in dialogue and this justifies why the study concluded with two projects instead of one. The projects can be classified as architecture or clothing-building whilst one project is more clothing while the other one is more building. This demonstrates that architecture is not a singular art-form. Clothing is a type of architecture where one wears them and buildings are a type of architecture where people walk into.

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CHAPTER 7: References

7.1. REFERENCES ACTON, T. Romani Mobilities in Europe. In: Multidisciplinary Perspectives International Conference. ARGITECT. 2010, 19 Jul 2021. Old in the New: The Innovation/Tradition Duality of Le Corbusier [Online]. Available from: https://thelyingtruthofarchitecture.wordpress.com/2010/08/06/old-in-the-new-the-innovationtradition-duality-of-le-corbusier/ [Accessed: 19 July 2021] Arias, J. 2019. Informal vendors in Johannesburg, South Africa. BOOYSEN, L. 2007. Societal Power Shifts and Changing Social Identities in South Africa: Workplace Implications. South African Journal of Economic and Management Sciences, 10(1)1-20. BRAIDOTTI, R. Nomadic Moves and Waves of Change. Transformation Marathon:20-25. BRITANNICA ENCYCLEOPEDIA. 2021. Architecture. [ONLINE] Available from: https://www.britannica. com/topic/architecture/Theatres [Accessed: 10 April 2021]. CHĘĆ-MAŁYSZEK, A. 2021. Architecture as the Art of Creating Human-friendly Places. Budownictwo I Architektura, 20(1):59-76. CHEN, R. 2018. The History of Hammocks [Online]. Available from: https://kammok.com/blogs/ the-outpost/the-history-of-hammocks [Accessed: 19 July 2021] CHING, F. 2015. Architecture Form, Space, & Order. New Jersey: John Wiley & Sons. CHINWENDU, A. 2014. Architecture + Fashion: A Study of the Connection between Both Worlds: March Dissertation. COLLINS, L., JOSEPH, D. & BIELACZYC, K. 2004. Design Research: Theoretical and Methodological Issues. The Journal of the Learning Sciences, 13(1):15-42. CREWE, L. 2010. Wear:Where? The Convergent Geographies of Architecture and Fashion. Environment and Planning A, 42(9):2093-2108. CREWE, L. 2015. Nomadic Moves and Waves of Change. Transformation Marathon:20-25. DUGGAL, S, K. 2017. Building Materials. Routledge. EGERER, M., HAASE, D., MCPHEARSON, T., FRANTZESKAKI, N., ANDERSSON, E., NAGENDRA, H. & OSSOLA, A. 2021. Urban Change as an Untapped Opportunity for Climate Adaptation. Npj Urban Sustainability, 1(1):1-9. FARAHAT, B.I. 2014. The Interrelationship between Fashion and Architecture. Al-Azhar University Engineering Journal, 9(6):1-17. FERNANDEZ, J. 2012. Material Architecture. Routledge. FLINT, A, 2014. Modern Man: The Life of Le Corbusier, Architect of Tomorrow. Houghton Mifflin Harcourt. GREEN, K.E. 2019. Strange Places: Loci of Design Inspiration. Proceedings of the Thirteenth InternaC tional Conference on Tangible, Embedded, and Embodied Interaction. 173-180.

HAMURCU, A.U. 2018. Urban Nomadism and Pop-up Residences: An Alternative for Living or Not? In: 2nd International Urban Environment Health Congress [Online] Available from: https://www.researchgate.net/publication/324758979_Urban_Nomadism_and_Pop-up_Residences_An_Alternative_ for_Living_or_Not [Accessed: 01 May 22021]. HASLAM, N. 2016. Concept Creep: Psychology’s Expanding Concepts of Harm and Pathology. Psychological Inquiry, 27(1):1-17. HASLAM, N., DAKIN, B.C., FABIANO, F., MCGRATH, M.J., RHEE, J., VYLOMOVA, E., WEAVING, M. & WHEELER, M.A. 2020. Harm Inflation: Making Sense of Concept Creep. European Review of Social Psychology, 31(1):254-286. HILLIER, J. 1999. Habitus- A Sense of Place. Taylor & Francis KAWAMURA, Y. 2020. Doing Research in Fashion and Dress. 2nd ed. New York: Bloomsbury Visual Artc. (An Introduction to Qualitative Methods). KLASSEN, F. 2006. From the Bazaar to Space Architecture: Fabrics Reshape Material and Spatial Qualities of Built Environments. Textile, 4(3):256-269. KRAUSS, R. 1979. Sculpture in the Expanded Field. October, 8:31-44. LEFEBVRE, H. & NICHOLSON-SMITH, D. 1991. The Production of Space. Oxford Blackwell. Lianto, F. 2020. Re-defining fashion architecture: an etymological investigation towards the hybrid of fashion architecture. International Journal of Civil Engineering and Technology, 10(10):259-268. MACDONALD, A, J. 2018. Structure and Architecture. Routledge. Moore, D. 2012. Haus-Rucker-Co. [Online] Available from: https://www.spatialagency.net/database/ haus-rucker-co [Accessed: 01 August 2021] Posel, D. 2004. Have Migration Patterns in Post-Apartheid South Africa Changed? Journal of Interdisciplinary Economics, 15(3-4):277-292. PRUSSIN, L. 1995. African Nomadic Architecture Smithsonian Institution Press. (Space Place and Gender). ROBERTSON, A. 2009. Skin and Bones: Parallel Practices in Fashion and Architecture. Textile, 7(1):106-112. RUDY, T. 2019. Re-defining Fashion Architecture: An Etymological Investigation Towards the Hybrid of Fashion Architecture. International Journal of Civil Engineering and Technology, 10(10):259-268. SARGISSON, L. 2007. Strange Places:Estrangement, Utopianism, and Intentional Communities. Utopian Studies, 18(3):393-424. STEELE, V. 2021. Definition of Fashion. [ONLINE] Available from: https://fashion-history.lovetoknow. com/alphabetical-index-fashion-clothing-history/definitionn-fashion [Accessed: 10 April 2021].

Valle, G. 2021. Form and Space in Architecture. [online] Available from: https://www.yourownarchitect.com/form-and-space-in-architecture/ [Accessed: 20 September 2021] ZHU, Q. 2015. Nomadic Product Furniture Design for the Modern Urban Nomad. Rochester Institute of Technology.

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CLASS OF 2021_Rakgalakane, TVR

Articles inside

CHAPTER 7: References

6.2 Conclusion

3.4.1 The thrill seeker

5.1.1 Developments

3.3 Architecture for the characters

4.2.3 Human body in architecture

3.4.2 The Jeweller

3.4 The characters

1.1 Introduction

2.3 Reconstructing disciplines

1.3 Objectives

1.4 Delimitations

2.4 Dissolving boundaries

2.5 Urban Nomads in South Africa Today

2.2.1 Architecture

1.2 Statement of the problem