Jai Mehra - Portfolio 2022 by Jai Mehra

Portfolio. Selected works by Jai Mehra

Hi, my name is Jai.

Originally from Perth, I made the decision to re-locate to Sydney at the start of 2021 to start my career as an Architectural Graduate. I am extremely passionate about design and find myself drawn to the notion of creating sustainable, poetic and atmospheric spaces within the built environment. The following portfolio showcases selected work from my professional and academic career thus far.

CV. Professional

Skills

Mirvac Design, 2021- Present

Photoshop

Curtin University, WA

InDesign

Education Bachelors of Applied Science (Architectural Science), 2016-2018 Curtin University, WA

Illustrator Revit

Proficient in

Knowledge of

AutoCAD SketchUp Rhino

Masters of Architecture, 2019-2020 Curtin University, WA

Awards Stirling Choice Award Winner, 2018 Curtin University, WA Gold Prize Winner, 2018 Beijing Institute of Technology, China

Contact Mobile +61 452 395 450 Email jaimehra1998@gmail.com Address 703/32-34 Regent Street, Chippendale, NSW 2008

References Khoa Do, Curtin University +61 8 9266 7262 Katrina Torresan, Mirvac Design +61 415 884 550

Contents. Curtin University, WA, B.Arch 2016

Curtin University, WA, M.Arch 2017

2018

Family Home, Bibra Lake WA

2019

Mirvac Design, NSW 2020

2021 -

Professional 01 Mirvac - Urban Design

02 Mirvac - Architectural

Academic 03 Re-constructing Fashion Retail

06 The Men’s Shed

04 A Sense of Overlap

07 Granny Flat Addition

05 Restoring Naples

08 Japan Study Tour

09 Helping the Sunrise

Mirvac - Urban. Working at Mirvac as part of the design team I had the opportunity to work alongside a wide range of professionals ranging from urban designers to development managers and consultants. For the initial period of my contract I spent my time working under the Urban Design Team. Here I helped assist with multiple urban design reports and schematic designs for projects ranging from New South Wales to Queensland. Reguarly working on multiple projects at a large scale allowed me to develop my understanding on how architecture and development not only impacts the occupants of the design but the wider community as well. The following pages showcase a handful of these projects.

Brisbane, QLD / Sydney, NSW

Coonara Avenue Masterplan - AutoCAD / Photoshop

Coonara Avenue was a unique project for Mirvac. The site consists of roughly 10 hectares of natural forest and neighbours the Cumberland State Forest. Working under the urban design team my role consisted of assisting with the production of multiple large reports which were relayed to panels such as the Design Excellence Panel for review. These reports included multiple diagrams, renders and imagery that justified the design decisions made by the team and the impacts of the development on the surrounding context. 9

Newstead Masterplan - AutoCAD / Photoshop / Illustrator

Situated in Newstead, Queensland, I was involved in the production of urban design presentations for the Sky and Liv Anura developments. The overall masterplan consisted of multiple sites spread out within the precinct. My role was to help develop the ground floor activation across all sites, aiming to achieve a level of consistency and connectivity between each development

Newstead Ground Floor Activation Sections - AutoCAD / Photoshop / Illustrator

Working on numerous sites, I produced multiple iterative sections that tested how ground floor activation could be achieved both individually and within the greater context of the precinct.

Toombul Shopping Centre - Photoshop / Enscape

My final project while working under the Urban Design Team was sited in Toombul, Queensland. Here I was involved in the schematic design process of the re-development of the existing Toombul Shopping Centre. A typical shopping centre, our team developed a scheme that utilised the existing roof to help bring communal, retail and residential program to the wider community. Creating a site that engages the surrounding context and improving the longevity of the shopping centre. 12

Toombul Shopping Centre - Photoshop / Enscape

Our vision looked at ways to transform a once ordinary development into a design that encourages the community to linger and view the destination as more than just a place to visit for your local groceries.

Mirvac - Architectural With a desire to learn more about how the architectural design and development process worked within the company I started working under the architectural project team on the Green Square Stage 3 and 4 projects. These projects exposed me to the level of detail and thought needed to produce such large-scale designs and allowed me to further develop my relationships with a wide range of professionals such as service engineers, retail managers, interior designers and development managers.

Green Square, Zetland NSW

Green Square Stage 4 - Revit / Photoshop / Illustrator

My first task was to further develop an existing scheme on a site that was deemed problematic given the planning controls. The controls of the site restricted us to having large scale apartments on the northern end of the site, as a result heavily overshadowing the buildings located on the south. Working on this scheme I greatly developed my understanding of the ADG (Apartment Design Guideline) and the various ways an apartment can be designed to hit solar and cross ventilation compliance. 15

Green Square Stage 4 - Revit

Having the opportunity to work on a site that consisted of unique controls allowed me to experiment with internal layouts to eventually reach a scheme that was compliant with the ADG. This scheme was then sent to council as a pre lodgment to illustrate that despite the restrictive controls on site, a compliant design was achievable, helping to greenlight the site for a future competition.

Green Square Stage 4 - Revit

Working in conjunction with the planning proposal scheme, a burrow pit had to be designed and located under the basement levels of the scheme to help dispose of contaminated soil that existed under the footprint of the site. As a result, I developed an architectural civil package for the burrow pit that was used to define the volumes necessary to re-locate the contaminated fill. This exercise exposed me to the work of civil and structural engineers and allowed me to learn about a completely different side to the industry. 17

Re-constructing Fashion Retail. Originally a means of visual communication and social representation, the identity of the fashion industry has shifted to one of mass production and overconsumption fuelled by the exploitation of humans and the natural environment (Fraser-Mines 1, 2017). In order to compete and capitalise on the growing demands of the industry, brands have shifted their focus to the development of trendy yet affordable garments, resulting in a notion that can be called ‘Fast Fashion’ (Bhardwaj and Fairhurst 2009). This has led to environmental issues such as excess waste from factory offcuts and overconsumption, as well as ethical issues from outsourcing manufacturing to third world countries where unsafe working conditions and cheap labour run rampant (Thomas 2019). King Street, Perth WA

Exterior Renders - Revit / Photoshop

With this in mind, my thesis project utilised salvaged materials and fashion inspired techniques to address these issues of textile waste and unethical manufacturing through the creation of a slow fashion retail hub.

Overlaying of Fashion Garments - AutoCAD / Photoshop

Calling back to the notion of deconstruction, the design of the structure was inspired by the patterns of world renown fashion designer Maison Margiela. These patterns were placed around the centre of the site before being overlayed over one another and traced to further distort the base form of the floor plan and to generate new spaces.

Overlaying of Fashion Garments - Trace Sketch / Photoshop

Ground Floor Plan - Revit / Photoshop

Overhead copper beams, shown in blue, allow for clothing to be displayed whilst also freeing up floor space for the primary store. Extruded brick displays work to bring a level of craftsmanship within the design while 12m tall fitting rooms are given priority over the site to challenge the traditional characteristics of functional / service spaces in fashion retail, embracing these spaces instead of simply hiding them away.

First Floor Plan - Revit / Photoshop

Site Axonometric - Revit / SketchUp / Photoshop

Wrapping the slow fashion retail hub is an aluminium façade inspired by the fashion constructive techniques of pleating and draping. Each individual pleat is unique and drapes from the first-floor level to the ground floor where they work to frame the entryways of the structures within. The pleats are also used within the interior of the first floor to create the illusion of the aluminium pleating the spaces within. This façade works in conjunction with the tin sheeting metal roof to create the illusion of the roof draping itself upon the structure. 24

Interior Renders - Revit / Photoshop

A Sense of Overlap. How can form, geometry and materiality allow themselves to be manipulated by the natural surroundings to construct a structure that overlaps physically through geometric shapes yet also manages to overlap abstractly through the targeting of multiple and varying social, ethnic and age-based demographics? This Burns Beach cafe project utilises natural elements from the site such as timber and limestone to bridge the gap between natural and unnatural, creating a synthetic atmospheric space for all members of the local community. The space also engages itself within the local businesses that surround the site to further develop upon the social life of the City of Joondalup.

Burns Beach, Joondalup WA

Interior Render - Revit / Lumion / Photoshop

Limestone skylights allow for natural light to enter the cafe during afternoon and evening times of the day. The skylights are orientated in a manner as to highlight the internal limestone bar that acts as the focal point for the design.

Sections - Revit / Photoshop

Brass is used to accent the overwhelming amount of limestone and provide a distinct character to the space. This is paired with recycled timber table tops in the sub-level that are sourced directly from the site.

Ground Floor Plan - Revit / Photoshop

Exterior Render - Revit / Photoshop / D5 Render

Renders - Revit / Photoshop / D5 Render / Lumion

Restoring Naples. A research-based, theoretical proposal, this project looked at restoring an aspect of Naples, Italy, through the exisiting cave / tunnel system that sprawls beneath the city. Upon analysis of the city it was determined that the retail and services spaces were often scattered in their own clusters, away from one another. This presented the opportunity to generate a market type hub underground, where all these different types of stores could conjugate in one communal area with the hopes to provide a level of social and economic regeneration.

Naples, Italy

Abstract Collage - Photoshop

In Henri Lefebvre’s ‘Social Space’ chapter of his book Production of Space he also argues that rather than simply being a container that needs to be filled, space itself is an active designer of our social relations. With this in mind I decided to design a amphitheatre type space at the main entrance of the markets to immediately attract the attention of visitors and provide them with a level of entertainment as soon as they enter the tunnels whilst also generating an opportunity for economic growth for local artists and musicians. 33

Site Section - AutoCAD / Photoshop

Abstract Mapping - AutoCAD / Photoshop

I decided to analyse and map the retail and market aspects of Naples. To do this I split the markets into three categories: 1. Fashion / Clothing 2. Supermarkets / Produce 3. Misc. (Art stores, bookstores etc.) 36

Abstract Section - AutoCAD / SketchUp / Photoshop

I believe by proposing an underground bazaar or marketplace it directly links back to the rich culture of trading among the city’s ports and can offer a level of social and economic sustainability for the surrounding community.

The Men’s Shed. In conjunction with the City of Stirling, Curtin University presented us with the opportunity to propose a design for a new community centre that would co-exist with an existing men’s shed on site. Working as a hypothetical ‘firm’ our group designed a functional communal centre that focused on developing the skills of the local community through a series of workshop spaces that would then in turn allow visitors to attain a certain level of skills that could be taken home and used within the City of Stirling. *Winner of City of Stirling ‘Most likely to be built’ Award 2018

Men’s Shed, Stirling WA

Exterior Render - Revit / Photoshop / Twinmotion

Our final proposal was a humble design that catered to the needs of not only the council, but the existing men’s shed as well. Our project involved numerous spaces, labelled below, that allowed members of the City of Stirling to better advance their skills and leave the facility with a skillset that can be taken and used within their local community.

Axonometric - SketchUp / Photoshop

The design of the men’s shed focused on the idea of transparency, this was achieved through the placement of a steel structure that contains a mass void through the centre, allowing complete vision through the site.

Granny Flat Addition. For this unit, I was tasked with dealing with a hypothetical client that was looking to add an additional unit to their property. The brief involved a set budget of $80 000, full documentation of the final design and filling out of all necessary forms that would be needed to complete a realistic project like this (Client Architect Agreement, Fee Proposal, Emails, Building Permit Applications, Development Approval Applications etc.)

Granny Flat, Riverton WA

Exterior Render - Revit / Photoshop / D5 Render

1498

1424

1510

2209

392

4000 003 10

2150

4206

100

1204

800

915

2480

1420

1494

500

2035

800

BEDROOM FFL 9.115

LIVING / DINING FFL 9.121

8144

009 08

2436

02 1

800

785

1285

6640

1800

3325 800

004 11

2065

1 BEDROOM FFL 9.115

07 930

1600

1 007 06

1516

006 13

BATHROOM FFL 9.108

KITCHEN FFL 9.121

2327

2965

Ground Floor

900

892

1009

2040 6497

1 : 50 1m

3335

800

11557

008 07

010 09

SITE

PROJECT

LOT 46 #98 Modillion Avenue, Riverton, WA 6148

ANCILLARY DWELLING

925

5060

1 005 12

1666

FLOOR PLAN Date

30/05/2020

02 Scale

Ground Floor Plan - Revit

The design utilised the reverse brick veneer method of construction in conjunction with timber roofing and colorbond matte sheeting to create a humble yet charming flat for the client.

1 : 50

Section 1

1 : 50

010 09

008 07

TIMBER BEAM 114 x 114 mm

CUSTOM TIMBER CASEWORK

RL 12.672 CH 12.475

1076

RL 16.647

RL 12.286

06 CONCRETE FOUNDATION SLAB 150 mm

CONCRETE FOOTING 400 x 300 mm

4362 3286

3475

3872

1 14

RL 9.000

SITE

PROJECT

LOT 46 #98 Modillion Avenue, Riverton, WA 6148

ANCILLARY DWELLING

SECTION Date

30/05/2020

06 Scale

1 : 50

Section - Revit

Japan Study Tour. Selected alongside 14 other students, I visited Tokyo, Japan and conducted research on the possible connections between fashion and architecture. A precursor to my thesis project and more of a personal project, my time in Japan allowed me to further develop my understanding of how fashion could influence architectural built-form. The following are a series of spreads from a magazine I developed during the trip.

Taito City, Tokyo Japan

Magazine Mockup - Photoshop

URE

There is an evident relationship between fashion and architecture. This report explores this relationship and the role architecture plays in the formation of fashion identities and how fashion can be used to inspire architecture.

REFLECTION How Tokyo, Japan shaped and altered my research and original brief.

Using my intended thesis topic, I decided to dedicate this unit towards my interest in the relationship between fashion and architecture. When discussing this idea with friends and family I was often met with scepticism on how the two industries related to one another. However, whenever I mentioned my intent to showcase the relationship between the two fields to individuals who were studying either fashion or architecture, there was little to no doubt shown, clearly indicating that there is an evident relationship between the two. At this stage however, the topic was still very broad. Having numerous connections with students studying fashion at Curtin University I was surprised at how many utilise architecture as a means of inspiration for their garment designs. Often showcasing common connections to brutalism, self-expression and form these similarities gave me the confidence to fully delve into my topic without a shred of self-doubt. Upon starting my research for assignment one and two prior to the tour, I found that the relationship between fashion and architecture was almost always documented and analysed with architecture acting as the main source of inspiration for fashion. This commonality encouraged me to look at this relationship from a different perspective, where fashion instead could be viewed as a source of inspiration for built-form. Assignment one and two saw me undertaking extensive background research on how the two fields related to one another, drawing upon famous architects and fashion designers such as Zaha Hadid and Issey Miyake who both have acknowledged the relationship between their two fields. With every second spent researching my confidence grew and I set myself the challenge of designing a structure inspired by the various techniques used during the manufacturing process of garments. When on the tour the scale of my proposed brief started to dawn on me. Walking amongst the high-rising skyscrapers of Tokyo I was ignorant to the amount of architectural thought put into nearly every design decision. Each skyscraper felt justified due to the design decisions made in regard to their façades or detailing which helped to provide a sense of architectural value to what could have easily been another boring thirty story mass. Amongst these large structures however were numerous small pockets of architecture which served as a contrast between their high rising counterparts. Here I observed the finer details of Japanese design and architecture. It was amazing to see how despite the large population many of these cafes and stores were smaller and more intricate than that of ones you would find in Perth. What particularly struck me was the amount of greenery and foliage that engulfed nearly every building. I managed to stumble across a Japanese architecture tutor during my stay at the hostel and she informed me that government offers a monetary incentive for designers and businesses that utilise a certain amount of natural fauna. A smart and forward-thinking idea, it was hard to walk along the local streets without noticing that areas that would have ultimately been disregarded (alleyways, service areas etc.) still held a level of beauty and undeniable charm. Returning from this experience I realised that my original brief was far too extensive to be undertaken over the course of the next two weeks. If I wanted my design to be well-thought out and challenging, I would need more time and thus should leave the task of developing a design based on the relationship between fashion and architecture for my final thesis project. In the meantime, I could instead focus on smaller details such as roof form, facades and materiality to start my documentation into ways fashion can be used to inspire architecture. For this I chose three main fashion techniques, these techniques being draping, fluidity and weaving. With these in mind I developed numerous iterations that saw the realisation of my concept.

JAI MEHRA

This unit has allowed me to tackle the important questions regarding my topic prior to thesis, providing me with somewhat of a head start in regard to research and design. For my next step I am interested into looking into more parametric software such as Rhino and Grasshopper. Given that fashion is seemingly much more fluid than that of architecture, these programs would allow me to develop numerous more intricate iterations at a more efficient rate, resulting in a final design that takes into consideration all opportunities presented by the relationship between fashion and architecture.

Japanese Design

The Givenchy store situated in Seoul, South Korea is another strong example of the close relationship shared between fashion and architecture. Being such a recognisable brand, it becomes important that when designing a new flagship store, that the identity and work of the brand is clearly portrayed to the consumers experiencing the space.

Givenchy

Acne

Designed by Piuarch Architects the building features an abstract graphic façade, with a hyper-minimalist interior that when paired reflects the themes and allure of Givenchy (“New Givenchy Flagship Store In Seoul” 2019). The façade in particularly was designed with the intent to evoke the distinctive tailoring ‘T-cut’ that characterises the style of the French brand. The skinning of this façade is inspired by the characteristic use of fabrics that Givenchy created in their latest collections resulting in an ashlar surface consisting of electro-polished steel plates that create reflections that change depending on the lighting (“New Givenchy Flagship Store In Seoul” 2019).

Prior to the tour, the originally proposed brief saw the realisation of a complete structure, influenced by fashion, that would be the product of the following design steps:

Magazine Layout - InDesign / Photoshop

01 Theory

02 Context

03 Site

Research and analyse the possibilities in which fashion can be used to inspire architecture.

Analyse the surrounding context of the site (environmental, social etc.).

The environmental and topographical elements of the built area that impact the design of the structure.

04 Function

05 Form

06 Material

Following function, the structure will consider areas such as program, circulation and connection first.

The aesthetics, geometry and scale of the design. These factors must work in unison with the function and context of the project.

The materials chosen must visually link back to the theory of the design and Japanese visual culture.

07 Performance

08 Review

09 Final

The structure must encompass sustainable and energy efficient technologies given the current social and environmental climate.

An overall critical review of the proposed project. Has the original theory been met? Is the structure sustainable and eco-friendly? Does the structure function highly?

The resolved design must pass the final review and hold elements of aesthetic value with a clear intent and function.

Japanese design, particularly regarding fashion, has become world renowned for its understated elegance (English 1, 2011). However, what many fail to realise is the importance samurai origins play in historically underpinning these designs. Traditionally custom-made kimonos, consisting of expensive fabrics that anchored the appearance of these samurais have been replaced by a more stripped back style of everyday clothing (English 2, 2011). The notion of self-discipline symbolised by these traditional garments are still represented through darker clothing, particularly black clothing that has become accepted as a more sophisticated means of urban attire (English 2, 2011). This minimalistic approach on traditional Japanese fashion accurately depicts the love of restraint and refinement based on simplicity that, throughout history, have been defining characteristics of Japanese visual aesthetics (English 2, 2011).

Acne is a brand known for attention to detail, experimental use of materials and professional tailoring (Kwok 2015). Their Korean flagship store designed by British architect Sophie Hicks aims to celebrate the refined aesthetic of the brand whilst also reflecting the contrast between the modesty and discretion prized by Swedish culture and the forceful attitude exuded by Acne (Hicks 2018). To demonstrate this contrast, the store features two juxtaposing visual aesthetics. When viewed from the exterior, the structure is simple and restrained with a translucent lightbox sheltering the brooding interior. This calming aura of the exterior is used to represent the characteristics of traditional Swedish culture (Hicks 2018). However, appearances can be deceptive. Upon entering the store, you realise the seemingly calm and simple box is used to hide the monstrous and imposing concrete interior (Hicks 2018).

Simplicity, irregularity, perishability and suggestion of meaning are also defining characteristics instilled in the history of Japanese art. Fashion designers Yohji Yamamoto and Rei Kawakubo both opened their design career with garments that focused on the beauty found within age, time and use (English 3, 2011). In Japan these designs reflected a sense of individuality and perishability and directly linked back to the sensitivity and subtleness that are considered culturally important components in contemporary Japanese art and design (English 3, 2011).

Hicks purposefully left the interior spaces undecorated and physically unfinished to emphasise the rough concrete that represents the intimidating attitude of the brand. The store is also pristine; all ducts, pipes and services are located on the roof to ensure the atmosphere within remains undisturbed and clean much like the designs by Acne (Hicks 2018).

To visually represent this aesthetic, designers have embodied features such as asymmetry, imperfection, and the minutely detailed, all of which are facets of a continental civilisation. When designing under a Japanese influence it is also important to note the willingness Japan has in embracing the avant-garde, all of which is evident in its fine art, architecture and fashion design (English 6, 2011).

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The following examples showcase the close and ever-growing relationship between architecture and fashion, drawing upon famous Japanese fashion designers and their crucial connections with architectural design.

THREE

Proposed brief for the final assignment including changes and alterations made after the study tour.

A collection of images that act as a source of inspiration for my project.

I was drawn to this study tour for two main reasons, the first being the chance to experience Tokyo. I have always been eager to escape Perth and enter an environment that seemingly never slept and exuded life. Atmospherically the city is constantly moving, there is always an event or activity going on. I was taken aback by the opportunity to experience countless surrounding neighbourhoods with their own individual culture, all of which were made easily accessible due to the extensive public transport network. Secondly, I saw this unit as an opportunity to kick-start my thesis preparation for my final year. The unit outline allowed for us to choose our own topic and create our own brief. I found this level of independence and freedom enticing as it is very rare to be in full creative control over your own topic and final output.

I have always been intrigued by the manufacturing process of physical garments. Although overlooked by many, the process and techniques used to create durable, yet effortless looking clothing are quite extensive. I personally view these techniques as an opportunity to expand upon general architectural form. By looking at the three main fashion techniques of draping, fluidity and weaving, I experimented and created numerous iterations inspired by their linking technique.

Concepts showcasing how fashion can shape form.

As mentioned in my reflection, after completion of the trip it became evident that a project of this scale would require more time and thus should be post-poned for thesis. The newly proposed brief instead focused on iteritative work and concepts, inspired by fashion, that could be used to showcase the relationship between fashion and architecture.

ONE

Fashion and Architecture Architectural space plays an important role in creating a particular atmosphere that can be experienced by consumers. This atmosphere directly links back to the identity and image of which the brand encompassing the store embraces. By utilising architectural elements such as materiality, lighting, form and space; the identities of these fashion brands are not only articulated but embraced as well. By designing with the intent to represent the identity of a brand, the design process is then inherently influenced and inspired by said brand.

Background research and analysis on the relationship between fashion and architecture

Drape

Juun.j

In their simplest form, both fashion and architecture act as a means of shelter for people in varying social backgrounds (Farahat 1, 2014). Both fields were exposed to similar eras of design where past means of complexity found themselves transitioning to modernity and simplicity, resulting in a close bond between the two. This close bond can be seen by architects who are inspired by the free-flowing and physical nature of garment design and the fashion designers who utilise architecture as a means to communicate their designs to the public (Farahat 1, 2014). The following architectural examples clearly showcase the symbiotic relationship between architecture and fashion, highlighting the physical elements that can be manipulated and controlled to create and portray particular atmospheres.

Issey Miyake is a Japanese fashion designer renown for his acceptance of modern technology, fragrances and exhibitions (Lowe 2017). For over forty years he has reinvented form, redefined the boundaries of clothing in both functional and aesthetic contexts, and rejuvenated new modern methods of clothing production (English 10, 2011). What Miyake specialises in however, is his experimental means of pleating fabrics which in turn results in flexibility of movement for the wearer. To produce these garments, Miyake insisted that they were cut and sewn first, before being sandwiched between two sheets of paper and fed into an industrial heat press where they gain their signature pleats (Lowe 2017).

Issey

Juun.j identifies closely with elements of darkness and how the colour black can be used to draw attention to silhouettes in design whilst acting as a uniform link between fashion pieces (Angelopoulou 2019). Architecture company WGNB recently designed the flagship store for Juun.j in Seoul, South Korea and utilised elements such as light and shadow to express the darkness represented by the brand. “Black is a colour symbolic of Juun.j and the most beautiful shadow out of shapeless existences,” (WGNB 2019).

Although seemingly disconnected at a glance, there is a clear connection between Miyake’s famous pleat designs and the work of architect Kengo Kuma. Analysing Kuma’s Hongkou Soho project there is an evident Miyake influence, whether intentional or not, reflected by the use of aluminium mesh on the exterior facades to visually represent the pleats of a women’s dress. “For the facade, we created pleats, made of aluminium mesh like woven lace, which forms a soft dress for women.” (Kengo Kuma and Associates). The pleated design continues throughout the interior to visually link with the exterior of the structure and create the illusion of a pleated, flexible design (Lowe 2017).

Rei

The overall form of the store is quite obscure with sharp geometry used to demonstrate the unique silhouettes designed by Juun.j and the curiosity of which these silhouettes evoke. Almost entirely consumed by darkness, the store allows for pockets of light to enter the interior showroom spaces to provide a level of contrast between light and dark, thus emphasising the rich black colour that finishes the walls of the store (Angelopoulou 2019). The admission of natural light when paired with the obscure protruding forms of the store creates unique shadows that sprawl within to further represent the darkness of the brand without the need for entirely dark finishes (Aneglopoulou 2019).

Weave

Perhaps the most recognised amongst the aforementioned techniques, weaving is defined as the act of forming fabric by interlacing threads (Oxford Dictionary 2019). With this in mind I started to imagine an outdoor patio setting where the technique of weaving could be used to provide a sense of privacy and protection whilst also allowing for natural light and ventilation to encompass the space.

The importance of architecture in translating vision into space is undeniable. Rei Kawakubo, the founder of the fashion brand Comme des Garcons, recognises this importance in her numerous exhibitions, particularly that of her exhibition titled ‘Art of the In-Between” (Betsky 2017). To represent her collection, Kawakubo drew upon the architectural leitmotif of the circle, which in Buddhism symbolises the void and the space evoked through the connection of structural forms (Betsky 2017). To emphasise this void, the gallery utilises a stark whiteness through concrete to visually represent both absence and presence, linking back to the simplicity and refined characteristics of traditional Japanese art. Kawakubo also recognises the importance of architecture when representing her designs referring to the relationship between fashion and architecture as a “total work of art” (Betsky 2017). This relationship is reflected in the exhibition, intending to be a holistic, immersive experience that encourages personal engagement with the fashion pieces on display (Betsky 2017). Architecturally, the circulation of the exhibition is entirely influenced by the forms of which find themselves residing in the building. The concrete curves guide the consumer throughout the instalment whilst the top-heavy masses draw them in resulting in a sense of enclosure which engulfs the surrounding context (Betsky 2017). Kawakubo utilised architectural built-form to show off her clothes in a manner that required effort to touch yet could be framed in a way that that demanded the viewers’ attention often incorporating the intrusion of shapes and forms to echo the silhouettes of her designs (Betsky 2017).

Draping

Fluidity

A drape can be defined as the act of arranging a cloth loosely or casually on or round something (Oxford Dictionary 2019). Relating this back to architecture, I played with the idea of how a structure of a building would look if it were to appear draped over an unknown form.

When thinking about fashion I immediately think about the free-flowing and almost liquid nature of the garments. This lead to me pondering about how this sense of fluidity would be visualised or perceived when acting as an exterior façade for a building. The following concepts try to encapsulate this sense of fluidity through the use of a wooden façade exterior.

Fluid

Weaving

yekbaydimerYipEsSnSII

obukawaK IER

ENCA

amuk OGNEK

DIDAH ahaz

Helping the Sunrise. Selected alongside 20 other students, I took part in the annual Beijing Design Week Marathon which looked at utilising technology to help the elderly community. Our group looked at designing a solution to ‘Sundowning’, a state of confusion occurring in the late afternoon that derives from alzheimer’s disease or dementia and can lead to a variety of behaviours such as confusion, anxiety and / or aggression. *Winner of Gold Medal Beijing Design Week

Beijing Fashion Insitute, Beijing China

Cover Page - Photoshop

We proposed a technological memory box that would act as an intervention, utilising sensory input to intervene at two simultaneous levels: In the moment to eleviate levels of stress, and to reconnect to the present moment.

Presentation Layout - Powerpoint

As a result, we envisioned a design that would provide the optimal happy path, by reducing both the intensity and duration of a stressful memory loss experience - helping the sun rise again in the lives of the elderly.

Thank You.