Moore Portfolio

RE M RE M E M RE M RE M M RE M RE M RE M M RE M RE M RE M M RE M RE M M RE M RE M R RE M R M RE M RE E M RE M M RE M RE M RE R RE M M RE M RE M E M RE M RE M M RE M RE M RE M RE M M RE M RE M RE M RE M M RE M RE M R RE M RE M M RE M RE M R RE M RE M M RE M E RE M R RE M M RE M M RE M E RE RE RE M RE M M RE M RE M R R M R M RE M E M RE E M E M RE M RE M RE M M RE M RE M RE M RE M RE M M RE M RE M R M R R RE M M RE M E M RE E M RE M RE M RE RE M M RE M RE M RE M RE M RE RE M M RE M RE M R RE RE M RE M M RE M E M RE M RE M RE M RE M RE M M RE M RE M R M R RE M RE M M E RE M RE E M R M R R M RE M E RE M E M E M R M R R E M RE M RE E M E M R R M R RE M E M RE E M R R M R E M RE E E M M RE M RE RE M RE M RE M RE M RE M RE M RE M M RE M RE M RE M M R M RE M R E RE M M RE M M RE M RE M RE M RE M RE M R M RE M E M RE M RE M M RE M RE M RE R R M RE M RE M E M E M R R M RE M M RE M E M RE E M RE M RE M RE M RE M M RE M RE M RE M RE RE M RE M RE M M RE M RE M R RE M RE M RE M RE M M RE M E M RE M RE M RE M RE M RE M RE M RE M M RE M RE M RE M RE M RE M RE M RE M RE M M RE M RE M RE RE M R R M R M R R M R T

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

J

E

E

A

E

A

N

A

N

E

M

J

J

J

J

J

J

J

J

J

J

J

J

J

J

E

A

E

A

N

E

E

A

N

A

N

E

E

T

E

A

N

E

T

A

N

E

T

T

E

E

A

N

E

T

E

T

A

N

E

T

E

N

T

T

A

N

E

T

N

N

T

E

N

E

T

T

N

E

T

E

T

T

T

N

T

T

A

E

E

A

A

N

A

N

T

E

E

T

T

T

N

J

E

E

A

N

E

T

T

J

J

E

E

A

N

E

T

T

A

E

T

T

E

N

T

T

A

A

A

N

E

T

T

E

T

T

E

T

T

E

T

T

E

T

T

T

E

A

E

E

N

T

N

T

T

N

T

T

E

T

T

T

T

T

E

A

T

E

E

A

E

E

E

N

T

T

T

E

A

E

E

E

A

N

E

N

T

N

T

E

N

E

T

T

E

A

E

T

T

E

A

N

E

E

A

T

A

E

T

E

A

E

A

N

N

N

T

E

T

E

T

E

T

E

A

E

E

A

E

E

A

E

E

A

N

E

A

E

A

E

J

N

E

E

N

E

T

E

A

E

E

N

E

T

N

E

T

T

E

E

A

E

A

E

J

T

J

T

J

T

J

T

J

T

J

T

J

T

J

E

E

N

N

E

T

T

J

J

N

E

T

E

T

T

N

N

E

T

T

T

T

J

E

A

T

T

T

A

N

E

J

J

E

A

N

E

E

J

J

E

T

E

E

J

J

E

T

E

E

E

N

E

A

N

E

E

T

E

A

N

E

T

N

T

E

E

A

E

T

N

E

T

N

T

T

A

E

T

E

E

T

A

N

E

T

T

T

E

T

T

T

T

E

A

E

A

E

A

N

E

A

N

E

A

A

A

N

E

T

E

T

T

A

E

T

T

E

T

T

E

T

T

A

J

E

E

T

A

T

A

N

E

E

T

T

A

T

A

N

E

T

E

T

A

N

E

T

E

T

T

E

J

J

E

E

J

E

J

A

J

E

E

E

A

N

A

N

E

E

A

N

E

E

T

E

A

N

E

T

A

N

E

T

E

E

T

T

N

E

T

T

T

T

T

J

J

E

A

T

T

E

E

A

T

T

A

N

E

A

N

E

T

T

T

T

T

J

E

A

N

E

E

A

N

A

N

E

T

N

E

T

E

T

E

T

T

T

J

E

J

E

J

E

A

E

E

T

A

A

N

E

T

E

T

T

T

E

E

T

E

T

E

A

T

T

E

J

E

A

N

E

N

E

T

J

A

A

E

J

E

E

A

N

E

J

J

E

T

E

N

J

N

E

E

E

E

A

E

T

J

E

T

T

T

E

A

E

E

T

J

N

E

N

E

A

N

J

N

E

E

A

E

A

T

E

E

T

T

E

T

J

A

E

J

E

T

T

N

T

T

J

A

N

E

E

J

E

N

N

E

E

E

E

T

A

E

E

E

J

T

T

A

A

E

E

N

J

E

T

T

A

E

E

J

J

E

J

E

E

N

E

E

N

T

E

E

T

E

A

E

J

A

T

T

E

N

E

J

E

T

T

E

E

N

T

E

N

J

A

E

T

E

E

A

E

J

E

T

E

E

A

E

T

J

E

N

T

T

E

N

E

J

J

T

N

E

A

E

T

E

E

J

E

N

T

T

T

E

A

N

E

J

T

E

A

J

T

J

E

T

T

E

A

E

E

E

N

N

J

T

E

N

T

E

J

A

E

A

E

T

T

E

A

A

E

E

E

N

T

E

E

N

T

T

T

J

E

E

T

E

E

E

N

E

T

J

A

N

E

T

J

E

A

N

E

E

N

N

E

E

E

A

J

J

A

E

E

A

E

N

T

T

E

E

N

T

E

J

E

N

T

E

E

J

N

N

N

N

E

T

T

E

E

E

J

E

J

A

J

T

E

E

E

T

E

E

J

E

J

J

A

N

T

E

E

E

N

T

T

J

A

T

E

E

E

N

J

T

T

T

T

J

A

E

T

E

E

E

T

T

E

E

E

J

T

J

T

T

J

T

E

A

E

T

E

E

N

N

N

T

A

J

T

E

E

T

J

T

E

E

T

T

E

E

T

J

E

E

J

J

A

E

T

N

T

E

E

E

N

T

J

A

T

E

T

E

E

E

A

E

T

J

N

N

J

T

E

E

T

T

E

J

T

E

E

A

E

T

T

E

A

N

N

N

E

E

A

A

A

E

E

RE N

E

E

A

T

E

N

T

E

J

N

N

E

E

E

A

N

J

J

E

A

E

T

E

E

E

A

E

T

J

E

J

N

T

E

J

J

T

E

J

T

E

A

T

T

J

N

T

T

E

J

E

E

A

E

T

J

N

N

E

T

J

E

E

T

E

A

E

J

T

J

T

A

N

N

T

J

T

A

E

E

T

J

T

J

N

E

T

E

A

E

T

J

E

E

T

E

T

E

A

E

T

J

T

E

T

J

N

T

E

E

N

N

T

J

A

E

T

A

E

T

J

N

T

E

E

E

E

E

E

N

N

T

E

A

E

T

J

A

E

T

T

A

E

T

J

N

N

E

T

J

E

A

E

E

A

E

J

A

A

E

E

E

T

T

E

E

E

J

E

N

T

E

J

A

T

E

J

A

T

E

J

E

E

E

E

N

T

E

T

E

E

N

N

T

J

N

E

T

J

A

E

N

T

T

J

A

E

T

J

A

A

E

E

E

E

E

A

A

E

E

E

E

J

J

T

T

T

J

N

E

T

J

J

E

E

E

N

N

E

E

A

E

T

J

N

T

E

E

E

T

T

J

N

T

E

T

T

T

E

A

A

E

J

J

E

N

N

E

E

A

E

T

T

J

N

E

E

J

A

E

J

E

E

J

A

E

T

E

J

E

N

T

E

E

E

N

T

T

T

T

T

J

A

E

E

A

E

T

T

E

A

E

T

T

E

T

J

N

T

E

T

E

T

E

E

N

E

J

A

N

T

E

E

N

T

J

N

T

A

T

E

A

E

T

J

N

E

T

J

A

N

E

T

E

E

N

E

J

A

E

E

E

A

N

E

T

J

J

E

T

J

J

N

T

T

A

A

N

T

E

E

N

E

J

A

A

N

T

E

E

A

E

E

E

J

N

E

E

E

E

N

A

T

T

J

E

E

J

J

A

E

T

E

E

E

T

E

E

E

T

T

T

J

A

N

T

T

E

E

E

T

J

A

E

T

E

E

E

T

J

A

E

T

E

E

E

T

J

A

E

T

T

J

A

T

E

E

N

T

E

T

J

A

E

E

N

N

N

N

T

E

E

N

E

T

J

A

N

T

E

E

N

E

T

J

J

J

N

T

E

E

E

E

T

E

E

N

N

N

N

J

N

T

E

J

E

A

E

T

E

J

E

N

E

N

E

J

E

E

A

E

T

E

J

J

E

E

A

E

T

E

E

E

N

T

T

J

A

E

E

T

T

J

A

N

E

T

E

E

N

E

E

E

E

T

T

A

N

J

E

E

A

E

T

T

E

N

J

E

J

A

E

T

T

E

N

J

E

J

A

E

J

E

E

N

T

T

J

J

E

E

A

N

A

A

A

A

A

A

A

A

A

E

A

N

N

N

N

A

A

A

A

E

E

E

E

E

N

T

J

A

E

T

T

J

A

E

T

T

T

E

E

N

E

T

E

E

N

E

J

A

E

T

T

T

E

E

N

N

J

A

A

E

T

J

A

N

E

T

E

E

N

E

E

E

A

E

T

J

A

A

N

T

E

J

A

A

E

T

E

E

A

J

E

J

E

N

T

J

E

A

E

T

E

J

A

E

T

E

E

E

E

E

A

N

T

J

J

E

E

E

E

E

E

E

E

E

E

E

E

E

E

E

E

E

E

A

N

E

E

T

A

N

E

T

T

About Me

541.914.2065

gmoore.net@gmail.com

http://issuu.com/jeanettemoore/ docs/thesis

114 Rockridge Loop Eugene, OR 97405

2014 Filipino - American (US Citizen)

Graduated with a Master’s Degree in Architecture at Portland State University

“I always look for ways to expand the skills that I have, and seek professional groups who will drive me to work hard in obtaining the skills that I lack.”

Passed the Philippine Architect Licensure Exam

2010

2010 2008

Worked at DATEM, Inc. (General Contractor) as part of the On-Site Technical Support Team providing Shopdrawings and Asbuilt plans.

2009-2010: On-Site Technical Support Project: Discovery Primea (68-storey residential condo. & apts.)

Location: Makati, Philippines Architect: Kenzo Tange and Associates Autodesk AutoCAD Autodesk Vasari Rhinoceros SketchUp Pro Kerkythea

2008-2009: On-Site Technical Support Project: Joy-Nostalg Center (41-storey mixed-use office and hotel) Location: Ortigas, Philippines Architect: C.Y. Lee & Partners

2008 Specific interests of mine are: Travels Public-Interest Design Sustainable Architecture Diverse Cultures Photograhy Project Management Fashion Design

Graduated with a Bachelor of Science Degree in Architecture at the University of Santo Tomas

Adobe Photoshop Adobe InDesign Adobe Illustrator Microsoft Office

EAST PORTLAND CULTURAL CENTER Culture Sustainability Through Food & Sports

PROGRAMMING

PROJECT GOALS INTER-GENERATION PROGRAM

A multi-cultural center should hold a program that will impart to the youth the identity, culture and arts of their own ethnic group in order to support continuity in tradition and values. The facility will mold the youth to become outstanding leaders of their communities.

ECONOMIC VITALITY

In order to sustain the activities that will take place in the cultural center, economic opportunities should be a big part of the project planning. Commercial/Retail spaces can subsidize the maintenance cost of the facility. Rental businesses is one potential funding resource of the community.

COMMUNICATION

The center should provide a space not only for big annual celebrations but also a venue for sports and family celebrations like weddings, birthdays, etc. People of Portland having their own space for cultural festivities is a big goal for this project. The center should be a headquarter for all ethnic groups that would serve as the core for operations. Not only will it save money and avoid duplication of facilities, but will also promote interaction and connection amongst different groups.

CULTURE SUSTAINABILITY

The center should address the levels of understanding and appreciation of cultural differences and similarities.

It will embrace all the different groups in Portland as well as visitors of the area. Programs that would encourage the youth to be a part of the community can be a way to sustain a culture.

SCHEME

3 SCHEME

2 SCHEME

1

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

A

B

C

D

E

F

G

152'

8" THK. SHEAR WALL SW-3

G-3(W21x44)

B-5(W16x26)

SOUVENIR SHOP AREA:802.03 sq.ft.

OCCUPANT LOAD: 22

C-2

B-3(W16x26)

B-3(W16x26)

G-3(W21x44)

B-3(W16x26)

B-5(W16x26) B-5(W16x26)

RCB-5(12"x12")

ELEVATOR SHAFT RCB-9(12"x12")

G-1(W21x44)

G-3(W21x44)

G-3(W21x44)

RCB-4(12"x12")

SW-2

B-3(W16x26)

12" & 24" THK. SHEAR WALL

B-3(W16x26)

B-1(W18x35)

24'

19'

RCB-9(12"x12")

RCB-8(12"x12")

RCB-8(12"x12")

19'

RCB-9(12"x12")

B-1(W18x35)

B-1(W18x35)

B-1(W18x35)

B-1(W18x35)

B-1(W18x35)

B-1(W18x35)

RCB-3(12"x12")

BAKESHOP AREA:728.24 sq.ft.

OCCUPANT LOAD: 26

C-2

G-1(W21x44)

19'

RCB-1(24"x24")

C-1

RESTAURANT AREA:840.45 sq.ft.

OCCUPANT LOAD: 26

2

RCB-3(12"x12")

RCB-8(12"x12")

RCB-8(12"x12")

RCB-8(12"x12")

RCB-3(12"x12")

RCB-1(24"x24")

25'-6"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1

RCB-3(12"x12")

35'-6"

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

RCB-8(12"x12")

35'-6"

C-2

MECH. SHAFT AREA:61.05 sq.ft.

B-6(W16x26)

B-4(W16x26)

B-4(W16x26)

B-4(W16x26)

B-6(W16x26)

B-4(W16x26)

RCB-2(24"x24")

RCB-6(12"x12")

B-2(W18x35)

B-2(W18x35)

COLUMN & BEAM LAYOUT

C-2

B-6(W16x26)

B-4(W16x26)

B-8(W16x26)

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

C

D

DESCRIPTION

C-1 C-2

24" x 24" W8 x 40

AR

G-3(W21x44)

8" THK. SHEAR WALL

B

COLUMN SCHEDULE MARK

C-2

G-6(W21x44)

G-5(W21x44)

C-2

B-7(W16x26)

B-4(W16x26)

B-4(W16x26)

B-6(W16x26)

B-4(W16x26)

ELEVATOR MECH. SHAFT SHAFT AREA:87.13 sq.ft.

12" & 24" THK. SHEAR WALL

A

B-7(W16x26)

G-3(W21x44)

C-2

B-7(W16x26)

B-8(W16x26)

COFFEE SHOP AREA:581.80 sq.ft.

OCCUPANT LOAD: 16

B-7(W16x26)

B-8(W16x26)

B-7(W16x26)

B-8(W16x26)

RCB-2(24"x24")

MECH. SHAFT AREA:57.06 sq.ft.

G-4(W21x44) SW-1

G-6(W21x44)

G-5(W21x44)

ELEC. RM. AREA:88.04 sq.ft.

SPA AREA:849.57 sq.ft.

OCCUPANT LOAD: 20

B-7(W16x26)

G-4(W21x44)

B-9(W16x26)

B-9(W16x26)

CONFERENCE ROOM AREA:308.60 sq.ft.

OCCUPANT LOAD: 14

C-1

B-1(W18x35)

G-5(W21x44) B-9(W16x26)

G-4(W21x44)

B-9(W16x26)

RCB-2(24"x24")

B-2(W18x35)

B-2(W18x35)

FEMALE AREA:205.65 sq.ft.

OCCUPANT LOAD: 4

B-1(W18x35)

G-1(W21x44)

B-1(W18x35)

MALE AREA:186.97 sq.ft.

OCCUPANT LOAD: 4

B-1(W18x35)

B-1(W18x35)

B-1(W18x35)

B-1(W18x35)

24'-6"

G-3(W21x44)

C-2

RCB-9(12"x12") C-1

LOBBY & HALLWAYS AREA:1680.92 sq.ft.

OCCUPANT LOAD: 25

B-2(W18x35)

B-2(W18x35)

B-2(W18x35)

B-2(W18x35)

SW-1

B-2(W18x35)

C-2

G-1(W21x44)

1ST FLOOR

G-1(W21x44)

CULINARY WORKSHOP AREA:2301.81 sq.ft.

OCCUPANT LOAD: 36

4

5

B-2(W18x35)

B-2(W18x35)

B-2(W18x35)

B-2(W18x35)

97'

3a

C-2

G-1(W21x44)

23'-6"

3

B-2(W18x35)

23'-6"

RCB-9(12"x12")

E

F

G

152'

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT 19'

19'

8" THK. SHEAR WALL SW-3

LECTURE ROOM AREA:935.70 sq.ft.

OCCUPANT LOAD: 16-20 G-3(W18x40)

C-2

2B-5(W14x22)

G-3(W18x40)

2B-3(W14x22)

2B-3(W14x22)

RCB-5(12"x12")

2B-3(W14x22)

2B-5(W14x22)

RCB-4(12"x12")

25'-6"

ELEVATOR SHAFT RCB-9(12"x12")

2

2G-3(W18x40)

G-3(W18x40)

2B-3(W14x22)

12" & 24" THK. SHEAR WALL

2B-3(W14x22)

2B-5(W14x22)

RCB-8(12"x12")

RCB-9(12"x12")

RCB-9(12"x12")

LOCKERS

24'

19'

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

12 x OPEN-WEB STEEL JOISTS @ 8' O.C.

1

C-2

2ND FLOOR

MECH. SHAFT AREA:61.05 sq.ft.

2G-5(W18x40)

2B-4(W14x22)

2B-6(W14x22) 2B-6(W14x22)

2B-4(W14x22)

C-2

ELEVATOR MECH. SHAFT SHAFT AREA:87.13 sq.ft.

2G-6(W18x40)

2B-7(W14x22)

COMPUTER RM. AREA:1154.95 sq.ft.

OCCUPANT LOAD: 5 2B-8(W14x22)

2B-4(W14x22)

2B-4(W14x22) 2B-4(W14x22)

2B-4(W14x22)

G-3(W18x40)

C-2

2B-7(W14x22)

REGISTRATION & HALLWAYS AREA:1365.10 sq.ft.

OCCUPANT LOAD: 16-20

C-2

LECTURE ROOM AREA:1154.95 sq.ft.

OCCUPANT LOAD: 16-20

2B-7(W14x22)

2B-8(W14x22)

2B-7(W14x22)

2B-8(W14x22)

FEMALE AREA:205.65 sq.ft.

OCCUPANT LOAD: 25

2B-7(W14x22)

RCB-2(24"x24")

24'-6"

5

MECH. SHAFT AREA:57.06 sq.ft.

MALE AREA:186.97 sq.ft.

OCCUPANT LOAD: 25

2B-4(W14x22)

RCB-2(24"x24")

2B-6(W14x22) 2B-6(W14x22) 2G-6(W18x40)

C-1

2B-4(W14x22)

SW-1

2G-5(W18x40)

4

2B-7(W14x22)

97'

RCB-2(24"x24")

3a

G-3(W18x40)

C-2

RCB-9(12"x12") C-1

23'-6"

3

RCB-6(12"x12")

23'-6"

RCB-9(12"x12")

LOUNGE

GYMNASIUM AREA:6309.66 sq.ft.

OCCUPANT LOAD: 200-250

COLUMN SCHEDULE

C-2

SW-1 8" THK. SHEAR WALL

12" & 24" THK. SHEAR WALL

COLUMN & BEAM LAYOUT PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

35'-6"

RCB-8(12"x12")

35'-6"

G-3(W18x40)

MARK

DESCRIPTION

C-1 C-2

24" x 24" W8 x 40

1

BUILDING ASSEMBLIES

STRUCTURAL SYSTEMS

1 Cast-In-Place Concrete Foundation 2 Shear Walls, Concrete Beams and Columns Manufacturer: EcoSmart Concrete, Hoffman Construction Company, Portland OR

2

Benefits: Using EcoSmart concrete saves natural resources because fewer raw materials are extracted for cement production, reducing energy use and greenhouse gas emissions.

Using industrial by-products such as fly ash and slag reduces the demand for landfilling and the associated costs.

3 Steel Beams and Columns Manufacturer: Columbia Steel Casting Co., Inc., Portland OR Benefits: Steel delivers a number of unique environmental benefits such as product longevity, recyclability, easy transportation and less raw material wastage.

3

EXTERIOR PERSPECTIVE

EAST PORTLAND CULTURAL CENTER

INTEGRATED SYSTEMS

PARTIAL SCALE MODEL

OUTSIDE IN: THE FARM CAMP Synthesis of Production & Retreat for Homeless Youth

THE FARM 1 PRODUCE PROCESSING 2 GREENHOUSE VILLAGE 3 TREES & CROPS

OUTSIDE IN

OUTSIDE IN PIXELATED

THE COMMONS For this project, as a class we started identifying and understanding what the Outside In Organization does for the community of Portland.

We talked to the members of the group and the people they serve which is the homeless youth., in order to learn more about the identity of these people and how the process works.

The goal of the studio is to extend the facilities and program of Outside In to help and give food and shelter to the homeless youth. In order to find the site and accomodate this extension/ expansion, we studied the possibilities of adding accessory units in house lots and studied the potentials of split lots and rural lots.

Day Program

PACSAC

PROPERTY OWNERS

Portland Area Community Supported Agriculture Coalition

Tax Breaks

RETREAT & PRODUCTION PORTLAND COMMUNITY

PSU ARCH. Student Design Sevices

Students and Advocates

FARMERS MARKET Local Partners

PROGRAMMING

SUPPORT SYSTEM

M CAMP RETHINKING SHELTER

GREENHOUSE VILLAGE The Greenhouse Village is basically creating a farm community. It is a greenhouse innovation with visually striking and engaging spaces bringing the youth together. Dwelling units and the common areas are united with the green spaces like trees, plants growing in the green house for a more natural feel. The existence of these green spaces is not just beautiful but is also good for the physical and mental health.

h

n e e r

g

se u o

e g a l vil

VS3 VS4 VS1

VS2

VS1 VIEW SPOT_1

VS2 VIEW SPOT_2

VS3 VIEW SPOT_3

VS4 VIEW SPOT_4

THE FARM CAMP

PRODUCE PROCESSING

OCULUS: BAMBOO INSTALLATION Design-Build Project for Pickathon Music Festival 2013

PRE-DESIGN

O

T H

E R

W

O

R

K S

DESIGN SKETCHES

TRAVEL SKETCHES

FASHION DESIGN

T H

E S I S : W

E A

R

H

O

U

S E

The Sartorial Project:

WEAR

HOUSE A person’s persistence in window shopping is greatly astonishing. Many people’s yearning for shopping including the desire of voyeurism has been a weighty part in the clothing world. People buy clothes not only to shelter themselves from their everyday routine but also to express who and what they are. Crowds flood shopping malls and stores and look for the perfect outfit that would best describe their personality as well as their social status. The garments are also artistically showcased in those display windows to attract clients and consumers. What mostly is missing is the interaction with the makers. Clothes most of the time, if not all the time, act like mysterious pieces that come from somewhere unknown, almost like a phantasmagoria. This scene is revolving around the realm of shopping and undoubtedly masks the process of creating the garments. What can be a new building typology for fashion and clothing that can be a way to not only bring together local designers and makers but also provide a space where they will be found and acknowledged? What can help to open up the back rooms and allow the contents of garment production to roll down the street pavements?

This thesis carry out investigations about the culture of fashion in Portland and explore how an architecture strategy can benefit entrepreneurs in extending their network interface. This proposal tries to create a solution using different sewing techniques that showcase the relationship between architecture and fashion. The close integration between fashion designers and makers is envisioned to extend the intervention of the consumers to a new non-homogenous shopping experience that can responsibly react to the urban framework. These combined factors can transform the existing pattern of shopping, production and presentation of garments.

Tracking Garment Production in Portland The Portland fashion business is considerably growing but not without challenging encounters. I was able to meet and chat with nine (9) fashion designers of Portland. I got to see their work spaces and the impressive garments they design and sew. The interview revolved around the idea of how garments are produced – from initial research and brainstorming to production and promotion. One of the most interesting conversations that came up was about where the materials for making garments come from. The city of Portland has but only a few fabric and supply stores – most of them carry expensive products. This is one of the challenges the designers have. They would travel to other states and even purchase fabric from outside the country to be able to create pieces that would best communicate the intent of their design.

Based on the interviews and research about the local clothing production and marketing here in Portland, I generated a map that highlights the nine fashion designers I have interviewed. I mapped the understand the current state of clothing production in the city. The map shows the tracks of mainly where designers get their materials, where they make the garments and where they sell the final pieces.

fabric/ supplies fashion/ sewing schools larger scale production site fashion designers stores/ boutiques

home studio/small prod. space

The Sartorial Project:

WEAR

HOUSE

designer to fabric/supplies

designer to stores

designer to manufacturers

RESEARCH Research Studio Conference/Video Room Magazine/News Stand

Spatial Link Analysis Legend primary secondary tertiary

MATERIAL SOURCING Fabric Warehouse Hardware Store Sewing Supply Store Textile Printing House Presentation/Meeting Rooms Material Research Studio Finance/Accounting Office

DESIGN Consultation Rooms Design Studios Conference Rooms

PRODUCTION Pattern-Making Tables Cutting Tables Sewing Space Dye Room Outdoor & Indoor Drying Area Textile Printing Lab Pressing Area Embelishment & Detailing Labeling Area Hanger & Display Custom/ Couture Work room Private Fitting Rooms Collection Fitting Rooms

MARKETING Inspection/Review Rooms Meeting Rooms Presentation Rooms Photography Studio Packaging Gallery Runway Post Office

Dressing the body: SEWING TECHNIQUES

DARTS.DRAPES.PLEATS

WEAR

HOUSE

PROGRAM

RESEARCH

MATERIAL SOURCING

DESIGN

PRODUCTION

MARKETING

WEAR

HOUSE

The Sartorial Project:

WEAR

HOUSE

The Sartorial Project:

WEAR

HOUSE

J

E

M

A

N E T T E

RE

View my Thesis Book at: http://issuu.com/jeanettemoore/docs/thesis