undergraduate of architecture thesis
fashioning the body fabricating identity architecture identity
body
site
black
american
culture
technology
fashion
architecture
documented by:
jonathan ruiz university of tennessee knoxville college of architecture and design
undergraduate of architecture thesis
fashioning the body fabricating identity architecture identity
documented by
jonathan ruiz research advisor scott w. wall professor of architecture university of tennessee | knoxville, tn
fashioning the body 2
architecture in black “As a cultural practice, architecture must interpret and translate the historical, social, and political contexts of a place and how one comes to terms with that place. Such an architecture should reveal meanings, situations, and conditions (both apparent and subliminal) and allow for individual participatory meaning and knowledgethe confirmation of that life, liberty, and pursuit of happiness.�
dark space | mario gooden
contents concept 06
abstract
08 research diagram 10 made in america
parallels 14
body | site
18
fashion | architecture
22
manus | machina
26 culture | technology
identity 30 american architects 31
dualism
32
vanguard
36
textile
38
automotive
48
garment
industry
proposal 60 locating | nieuw haarlem 62 analysis | site development 64 program | identity assembly line
fashioning the body 4
virgine| nicholas cope • dustin arnold
identity architecture
abstract “The body is the site of these conditions being inscribed. The body is the surface of all cultural meaning... it is both a sign and so much more than a sign. It is, that is, the way in which history, pain and privilege get inscribed.” In what ways does the human body- its form, scale, and identity- begin to define and transform space? Fashion and architecture both shelter and interact with the body, but it is the harmony between the site and shelter that integrate the two. The spatial manipulation around the body transforms and creates an identity that becomes specific to the form. The body is not isolated from the mind, when constructing an identity. The duality of the body and mind, as they fabricate and inhabit the built environment, begins to emphasize the necessity for identity and representation within the world. People look to fashion as a social, cultural, and political method of transforming and inscribing one’s body with personal messages, memories, and allusions. Architecture seeks to embody a particular time and context informed by the similar messages, memories, and allusions that impact a society. In essence “fashion is architecture: it is a matter of proportion.” 2 The body’s site context seeks reflection and manifestation within built environment. How can the harmony between body and structure begin to develop an authentic American identity for the digital age in fashion? American industries were the backbone that braced the nation into becoming a world superpower. Our nation’s textile and garment industries were unique economies that to have not evolve into the fashion digital age. This thesis seeks to analyze the evolution of industrial production and fabrication of both fashion and architecture, as they relate to the body and envisions an American fashion identity. This analysis between body and the built environment questions our perception of what is a distinct American identity. 1
phenomenology and difference: the body, architecture and race | jeremy weate [1998] 2 coco chanel : her life, her secrets by marcel haedrich | coco chane [1971] l
fashioning the body 6
body context
fashion
fabrication
space
technology
identity
research diagram
architecture
research analysis The research diagram sets the parameters through which allow for a conceptual, cultural, and technological analysis regarding the relationship between the body and its constructed identity- fashion and architecture. It structured the a constructive examination of how and why the body became abstracted through both fashion and architecture as well as how these two fields impacted one another. The following descriptions elaborate on how these three components were articulated. body as site “The body is the site of these conditions being inscribed. The body is the surface of all cultural meaning. Culture, the practice of difference, is fundamentally embodied. The body therefore becomes what was required of it above: it is both a sign and so much more than a sign. It is, that is, the way in which history, pain and privilege get inscribed.� fashion as reflection The body became a malleable form for political and social transgressions post industrial revolution. Whether it was reclaiming femininity by removing obstructive corsets or the introduction of female trousers post world war, fashion became a tool to manifest the history and critiques of a particular time. Through these contentious times, the American fashion identity formation continued to evolve and manifest its own distinct conscious identity. architecture as manifestation Spatial fabrication in architecture innately garners political, socio-economical, and psychological implications just like fashion. Similarly, it as well is transformed as a result to the body’s physical aspirations, whether safety occupancy issues arise or whether culturally a new or large demographic are taken into consideration thus requiring accommodation of space. Architecture too seeks to document a cultural moment and encapsulate it through spatial abstraction memorializing the history and impact of that identity. 1
phenomenology and difference: the body, architecture and race | jeremy weate [1998]
fashioning the body 8
cultural impact
mass culture black culture
music 18th c. gospel 1890 blues 1920s country 1930 jazz 1940 rhythm n’ blues 1950 rock n’ roll 1960 soul 1970 funk | disco 1980 hip hop
movements 1760 1st industrial revolution 1870 2nd industrial revolution 1910 great migration 1920 harlem renaissance 1950 civil rights 1960 radical 60s 1992 race riots 2012 black lives matter
achievements 1776 independence 1807 abolishing the slave trade 1865 civil war amendments 1909 NAACP founded 1919 women’s right to vote 1948 integrated armed services 1954 brown vs board of education 1964 civil rights act 2008 president Barack Obama 2015 marriage equality 2016 first female candidate for presidency
1850
1840
1830
1820
1810
1800
1790
1780
1770
1760
1750
1740
1730
1720
1710
1700
1st industrial age
made in america post industrial cultural fabrication in america
digital age
politics 1775 american revolutionary war 1860 civil war 1865 reconstruction 1914 world war I 1941 world war II 1955 vietnam war 2001 war in iraq 2003 war in afghanistan 2014 war on isil
economics 1811 national bank 1920 roaring twenties 1930 great depression 1980 reganomics 2006 recession
transmission 1787 steamboat | john fitch 1817 national road [cumberland road] 1826 first american road 1837 telegraph | samuel morse 1876 telephone patent | alexander graham bell 1908 ford model t | henry ford 1920 broadcast radio 1921 commercial flights 1960 network television 1980 digital computer 2005 social media
fashioning the body 10
2020
2010
2000
1990
1980
1970
1960
space age
1950
19 40
1930
1920
1910
1900
atomic age
1890
1880
1 870
1860
2nd industrial age
information age
technologies 1764 spinning jenny | james hargreaves 1794 cotton gin | eli whitney 1798 interchangeable parts | eli whitney 1802 power loom | e. cartwright & w. horrocks 1846 sewing machine | elias howe 1855 processing steel | henry bessemer 1913 mass assembly 1940s mass production 1980 computer aided design 2000 fabrication 2010s 3d printing
embodied architecture “All artworks articulate the boundary between the self and the world both in the experience of the artist and the viewer/listener/occupant. In this sense, the artform of architecture does not only provide a shelter for the body, it also redefines the contour of our consciousness, and it is a true externalization of the human mind.�
the thinking hand | pallasmaa [8-9]
contents concept 06
abstract
08 research diagram 10 made in america
parallels 14
body | site
18
fashion | architecture
22
manus | machina
26 culture | technology
identity 30 american architects 31
dualism
32
vanguard
36
textile
38
automotive
48
garment
industry
proposal 60 locating | nieuw haarlem 62 analysis | site development 64 program | identity assembly line
fashioning the body 12
spacecraft | nicholas cope • dustin arnold 1000 poses | coco rocha
harmony
body | design The body’s fascinating relationship with its environment goes beyond the physical necessity for shelter against nature. It seeks self reflection and recognition within the environment resulting in the built environment as design, architecture and fashion. The body’s experiences the physical environment as well as the metaphysical qualities mold it into a distinct perspective and culture. Articulating the abstract experiences that inform and influence the body becomes essential to understanding one’s progress. As the site where personal narratives and memories transform and manifest into the built environment, the body serves as the vessel translating the metaphysical influences on a body into an abstract spatial composition. Transcribed within the built environment, the spatial composition becomes a reflection of one’s history, present, or aspirations as well as a representation for one’s dramatic and unique experiences. A person seeks to construct an environment symbolizing one’s progression throughout time. Constructing a space that documents and inscribes a society’s accomplishments and struggles molds it into a place where the identity crystallizes into a physical form as either fashion and architecture. “The body is the site of these conditions being inscribed. The body is the surface of all cultural meaning... it is both a sign and so much more than a sign. It is, that is, the way in which history, pain and privilege get inscribed.” An identity’s spatial manifestation serves as a symbol which represents an impact that has influenced progress. The lack of representation counteracts progress because the missing documentation is unable to serve as inspiration for future success. As a design, the built environment serves to narrate the inspiring lessons and trials of a history in order to perpetuate a stronger aspirations identity. In essence, the spatial construction of a history and/or narrative designs a harmony between body and the environment. This harmony transcribes the identity of the bodies which experienced these histories and inscribes it into the fabric of space. 1
phenomenology and difference: the body, architecture and race | jeremy weate [1998]
fashioning the body 14
vedas| nicholas cope • dustin arnold
morphology
morphology culture The methodology behind morphology culture analyzes how people modify and contort their bodies through fabricated structures. Primarily, this analysis focuses on the fashion evolution in relation to American industry and culture. Furthermore, the study breaks down the structural impact on particular body parts and interprets the reasoning behind each structure’s function and use. Specifying what increases, reduces, gets revealed, or profiled, begins to shed light to what are the metaphysical sources to inspire the manifested structures The analysis initiates at the beginning of the 20th century because America’s industrial identity kick-started its global influence. With an evolving American culture, achieving an ideal silhouette became elusive as the American identity evolved. As a result, a design legacy was produced which encompasses the lineage of garment design iterations that transformed the body making it traceable. While the American morphology primarily analyzes form, silhouette, and structure produced by garments, it also notes fabrication methods as well. The groundwork laid out within this analysis helps inform the architectural responses to the metaphysical sources in fashion. Connecting these architectural entities to an industrial typology emphasizes the production and fabrication of the built environment produced within these spaces. Analyzing the cultural narratives embodied within American fashion and architecture will help to inform a projected future for American fashion industry in the digital age.
fashioning the body 16
spacecraft | nicholas cope• dustin arnold
scale
architecture | fashion “Fashion is architecture: it is a matter of proportion.” 1 Architecture and fashion derive from the need to shelter one’s body from the environment. Construction techniques evolved into a language of expression as society and culture develop. The history, memories, triumphs, and aspirations of a collective society became embedded within the construction processes and final spatial manifestation. As a physical entity, architecture and fashion became inscribed emblems a distinct legacy for society. These symbols reconstruct the body into a symbol by surrounding it and reveal its identity. In the realm of fashion, the body has a transient morphologic relationship with its identity allowing the it to mold its form, while architectural maintains a longer life cycle allowing an identity to transcend the body into the constructed space. Deriving the body’s geometry, proportion, and scale, architecture and fashion have a fascinating interpretation of structure, form, and cladding. The skeletal frame as inspired how architects engineer structures to perform dynamic aspirations like the body naturally does. Architects like Santiago Calatrava, analyze the complexities of the skeleton in order to produce experiential wonders. Similarly, the body’s form and silhouette have the opportunity to become disfigured and accentuated through structures inspired by the human anatomy. Undergarments reshape the form by concealing and redefining and enclosures utilized the newly structured form to unify the silhouette. With both having potential for major impact in society, fashion maintains a diverse articulation and variation of construction, sometimes more so than architecture. With the scale difference between the two, fashion’s proportional scale to the body allows it to remain more accessible for revision and innovation while architecture may require more economy and power to accessible. The stark difference in accessibility makes architecture available for a small demographic thus producing a less diverse interpretations of identity and legacy. 1
coco chanel : her life, her secrets by marcel haedrich | coco chane [1971] l
fashioning the body 18
symbiosis commensalism The association between the constructed form and the human anatomy in this scenario emphasizes the body’s integrity and Authorware. This relationship showcases the natural state of the body by accentuating through a level of transparency from the exterior. The built form serves as a transition element that veils the body and relies on the existing nature of the context in order to create its identity.
commensalism
mutalism
mutalism This relationship relies on both structures being beneficial for one another. The body serves as the base structure of the form that begins to distort and contour the mesh that relies on the integrity of the anatomy like in commensalism. The difference lies in how the final form is derived from the equal effort supplied by each differing contributing piece: body’s skeletal frame + integrated mesh. The final identity produced becomes an ambiguous form that integrates the body within the built form depressing distinctions between the two entities. parasitism Distortion and alienation become integral to form in this relationship. The body hosts an alien attachment that doesn’t seek integration to the form but domination. The attached structure benefits form the existence of the body and aspires to impose a new geometry clashing with the integrity of the form. This comes in the form of suppression of some unwanted areas [corsetry] or enhancement of other features [hips, breast, shoulders] in order to achieve a specific experience and identification.
parasitism 2
fashioning the body 20
1 vedas | nicholas cope • dustin arnold athen’s olymics sports complex | santiago calatrava 3 vedas | nicholas cope • dustin arnold 4 seattle public library | rem koolhaaus 5 fashioning the body | barde graduate center 6 military history museum addition | studio libeskind
manus x machina | nicholas cope
innovation
manus | machina With computer aided design, clear advantages and disadvantages exist when craft and constructing. The dichotomy between the designer’s hand and computer software in relation to the production processes make an interesting relationship to diagram and analyze. As this relationship progresses within design, an argument has developed concerning whether hand crafted work or technology become the optimum design method. In the fashion world, battles between hand crafted, high skilled design and the machinery and industrial production arose post World War II. This manifested as societal guilds reacting against mass assembly of garments, and the premiere guild in Europe comprised of the haute couture culture of Paris. Each haus specialized in custom, high end tailoring and original originals. The branding and signature quality within each haus allowed for the hand crafted quality of tailoring and dressmaking to survive the industrialized world. In the architecture world, a different reaction developed in the form of the Bauhaus. As the master craft design guild, products, furnitures, and structures embraced utilized mass production. During this moment, architects took full advantage in designing at multiple scales and mass producing these catalogs of work. How can architecture reintroduce a thriving economy for designers in the digital age of design and production like during the industrial era? Intricate levels of production methods have been refined and integrated throughout design fields. Additive manufacturing,3-D printing, is a major material production possibility that has both design fields at the edge of a simultaneous revolution at the scale of the industrial revolution. Other high tech production methods make it possible for a lot of new possibilities for material experimentation, adaptation, and innovation applicable to not only architecture but fashion as well. With these new technologies, the possibilities of evolving current construction techniques into authentic and efficient iterations make for a beautiful balance.
fashioning the body 22
fabrication vernacular form The essential nature shape of a distinguished structure; expressing continuity. The form is a combination of enclosure and structure
enclosure The weaving of smaller components to produce a cover to which acts as cladding or closing for structure producing a form. The enclosure relies on the integrity of the structure for attachment.
form
enclosure structure A geometry assembly of parts to produce a rigid frame granting a base for construction. It is codependent on the human structure for attachment as well as codependent with enclosure to produce a homogeneous form.
proportion
structure
proportion
A harmonious relationship between parts and fragment to the whole; the ideal golden ratio 1:1.618 is the beautiful geometry proportion to achieve such harmony.
texture The visual perception of touch that plays with materiality as well as light manipulation of the enclosure, form, or structure. This detail often relies on the homogeneous of the form/ enclosure.
seam The process of joining two pieces, joinery; Acts as a line, groove, or ridge formed by the abutment of edges.
texture
seam
1 virgine | nicholas cope • dustin arnold harmonious geometry | student submission pinterest 3 innovative 3D surface design | anne sofie madsen 4 milwaukee art museum | santiago calatrava 5 fashioning the body | barde graduate center 6 regenerative architecutre | student submission pinterest 2
fabrication typologies printing an additive process, layering material on top of each previous layer, the building process allows from unique custom opportunities with materiality and design options
printing
folding
folding the bending of one segment covering another, often delineated by a flattening of a crease for a permanent hold and manipulation of material. A fold grants more structure integrity transforming a two dimensional object into a three dimensional experience. pleating the systematic folding and creasing of production, this grants my structure as well as texture as pleating plays with volume and light manipulation.
pleating
draping
draping as a method of applying enclosure, this technique relies on the integrity of the form and structure to grant form and shape, The method requires minimal cuts and emphasizes movement. wrapping a more form fitted application of enclosure, this relies on structure for form to be expressed. weaving an integration of parts into a stronger whole; segments are interlocked within a system of materials producing an enclosure for the form
wrapping
weaving
1
fashioning the body 24
mmoa, manus x machina fashion in the age of technology | nicholas cope 2 paper| nicholas cope 3 11:11 collection | winde rienstra 4 vedas | nicholas cope • dustin arnold 5 fashioning the body | barde graduate center 6 wallpaper residence | warren techentin • nicholas cope
dodge truck plant, warren michigan | albert kahn [1938]
vanguard
culture | technology Societal culture maintains a direct relationship with the development of technology and innovation. As a culture evolves and progresses its histories and traditions, it learns and experiments with innovation and creativity in order to refine and adapt traditions into a contemporary context. This evidence comes to light with the invention of most construction techniques and processes. When one analyzes the transformation of garment production, you must begin with sewing and how that later progressed to machinery in order to meet high demand levels. This then adapted into the mass assembly and production process which allowed for a high quality control level as well as efficiency. Now there exists the newest evolution iteration specializing in unconventional material and adapting industrial techniques into garment fabrication such as wet jet, laser cutting, and additive manufacturing. Through this analysis, an understanding of a society culture and the implications transforming these techniques better inform the core identity of a people. Interpreting the lineage between culture and technology establishes a trajectory to how an identity progressed. Throughout this trajectory lie key emblems that encapsulated the milestones of progression: architecture. The role architecture play with culture and technology is similar to the body as it is simultaneously a symbol and not simply a symbol. The role of the vanguard within a culture becomes crucial in this process. Their innovation and critique of the status quo initiates the transformation process of culture and technology. The catalyst energized by this vanguard ultimately produces a metamorphosis for the embedded identity, and the representation of this metamorphic reflection is integral to progression
fashioning the body 26
architectural genealogy “Images of blacks in artworks most often iterated limited or derogatory perceptions held by most whites and helped create a visual iconography for black representation... they exaggerated simplistic or stereotypical ideas about blacks to large audiences and often used demeaning humor. These images of blacks by whites affected black self-perceptions and must have contributed to the development of W.E.B. Du Bois’s theory of double consciousness at the beginning of the twentieth century.”
colored pictures: race and visual representation p.40 | michael d. harris | 1948
contents concept 06
abstract
08 research diagram 10 made in america
parallels 14
body | site
18
fashion | architecture
22
manus | machina
26 culture | technology
identity 30 american architects 31
dualism
32
vanguard
36
textile
38
automotive
48
garment
industry
proposal 60 locating | nieuw haarlem 62 analysis | site development 64 program | identity assembly line
fashioning the body 28
josephine baker
culture
american architects “Representation is a crucial location of struggle for any exploited and oppressed people asserting subjectivity and decolonization of the mind. Without a doubt, if all black children were daily growing up in environments where they learned the importance of art and saw artists that were black, our collective black experience of art would be transformed.� The cultural contributions granted by the black Americans are countless. All levels of art have been impacted by the innovation and touch of the black experience: music, visual arts, fashion, ect. But the presence of impact is missing in the architecture world. Architecture maintains the white filter of the early colonizer as black Americans continued to build the nation and influence the American fabric. The spatial recognition of the black experience has recently come to the for front of exploration with the honoring and development of historic sites attributing slavery and the civil rights movements, but with the duality of the black experience, does a black architecture language exists articulating the multifaceted impact of such a necessary demographic. Architecture becomes a tool to embody the perception and representation of a people, and with the black American experience, racial genealogy is integrated with one’s experience because to be an American in America is to be white. Any other demographic has a qualifier before American denoting the otherness in experience and public perception that is truly unique in America. Still with this qualifier, black Americans continue to celebrate their heritage and acquired legacy that is unique to America, and although molded by major periods such as slavery and civil rights, it simply does not adequately define the vibrant and diverse black experience in America. The multiplicity of this culture and experiences must manifest into a mature architectural language like other cultures, so to insure to re-appropriate the damaging stereotypes and narratives produced by apartheid America.
art on my mind: visual politics p.3 | bell hooks | 1952
fashioning the body 30
dualism “It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.” Dualism establishes the experiential concept that results in the separation between self perception and body’s experience in essence establishing a double consciousness. The double consciousness becomes self-depreciative and volatile as self-respect, worth, and aspirations shatter preventing progression. Without proper sensitivity to recognition and accurate representation, the misrepresentation of a people will ultimately destroy their progress and without progress comes decay. “I have a right to articulate how architecture feels, to me, and what makes it manifest; to be able to experience and relay architecture beyond the object of someone else’s examinations and beyond a traditional academic perspective; to simply place my experience at the center and use that location for seeing and understanding.”
conscious actress | amandla stenburg
identity
art on my mind | laverne well-bowie the race of architecture | tia blassingame
vanguard “An artist’s duty, as far as I’m concerned, is to reflect the times. I think that is true of painters, sculptors, poets, musicians. As far as I’m concerned, it’s their choice, but I choose to reflect the times and situations in which I find myself. That, to me, is my duty. And at this crucial time in our lives, when everything is so desperate, when everyday is a matter of survival, I don’t think you can help but be involved. Young people, black and white, know this. That’s why they’re so involved in politics. We will shape and mold this country or it will not be molded and shaped at all anymore. So I don’t think you have a choice. How can you be an artist and not reflect the times? That to me is the definition of an artist.” Landmarks and monuments contain powerful imagery in storytelling. The narrative embedded within a monument not only marks a moment but also echoes the story for others to honor and learn. Accomplishments warrant recognition in order to perpetuate the necessity ambition and drive. The appropriate time to compensate for lost time becomes evident when the trajectory of an oppressed society depends on as much visibility as possible. “Monuments detailing civic, historical or cultural identity in America have traditionally ignored nonwhite identity. Until recently, nonwhites have memorialized their existence and history in non-architectural ways— music, literature, poetry, storytelling, and memory. “
LaVerne Wells-Bowie, Art on My Mind the great nina simone | nina simone the race of architecture | tia blassingame
representation
fashioning the body 32
authentic architecture “The responsibility of a black artist is clear to [Jeff] Donaldson: to develop a rigorous black aesthetics emanating from the intensity of the black experience, and to articulate that distinctive experience in the form of spectacular images that extol the place of black people in the nexus of the emergent American culture.�
colored pictures: race and visual representation p.ix | michael d. harris | 1948
contents concept 06
abstract
08 research diagram 10 made in america
parallels 14
body | site
18
fashion | architecture
22
manus | machina
26 culture | technology
identity 30 american architects 31
dualism
32
vanguard
36
textile
38
automotive
48
garment
industry
proposal 60 locating | nieuw haarlem 62 analysis | site development 64 program | identity assembly line
fashioning the body 34
arhcitecture collection | nicholas alan cope
production
industry The textile industry is the American foundation to the industrial age. As a rural economy, America depended on the life of cotton and other textile productions. The drive for cotton determined the necessity for field labor thus drove up the slave trade. As the original industry worker, African Americans developed the American industrial identity. With the combination of transportation and communication innovations, textile production grew its influence into an international scale. Thrusting America into a global superpower with the turn of the century. This allowed the nation to develop other demanding industries such as the automotive and garment industry. These two became the distinctly American identities with the evolution of the interchangeable parts by Henry Ford and his model t. The introduction of the mass assembly line totally transformed how textiles, garments, and other industries produced their products. With the influence of Wars, the industries were ingrained with particular work force demographics : African Americans as immigrants became inconsistent sources for labor. The rail industry further expanded the nation’s development and interconnectivity. The industrial legacy transformed the American life and culture in many ways as the black workers within the factories molded it. The interdependent relationship between industry and its workers fabricated the country’s culture, however the country has never had a unified experience and culture. It is essential to demonstrate the power, influence, and impactful societies as a form of recognition for their service and contributions as industrial veterans.
fashioning the body 36
automotive industrial assembly line
industry
1900 1905
1908 henry ford model t 1910 great migration
1913 mass assembly 1914 world war I context: Mass utilization of the assembly line and interchangeable parts, as master with Henry Ford’s 1908 Model T production, heavily impacted how American society cladded our bodies during the first World War. The war saw an increase of industrialization thus requiring a call for employment, but with the international war, many industries like Ford became weary of employing immigrants especially since they were beginning to unionize. Industries then took advantage of hiring new demographics African Americans and women. During the Great Migration from the South following Reconstruction as African Americans were seeking economic motivations coupled with the desire to escape oppressive economic conditions in the south. Women were also heavy contributors in the work force requiring clothing to reflect the strength of women as they began to fight for rights. Men took more a militant appeal while women began to show more practical wear with the loosening of the corset. body morphology Pre- World War, dress fabrication thrived within the mass production world of industrialization birthing the age of undergarments which further transformed people’s bodies to allude to a particular social status and hierarchy. Undergarments most prevalent during this era such as corsets, bustles, and crinoline were mass produced and sold within department stores for mass consumption and altered the female silhouette to augment “womanly” curves and exaggerate the silhouette as a concealed structure. Heavier fabrics and more formal uniforms dominated the early 1900s as the end of the Victorian era ended at the start of the first world war. Industrialization during the war so a dramatic shift into less formal wear for both genders: women tossed aside long and heavy gowns along with the obstructing corset, donned a brassiere and pants and went off to work into the industries men left behind for the war. With such an influx of women laborers, slim, elongated silhouettes with flat chests and concealed hips produced a more androgynous silhouette. The transformation of the undergarments utilized began to allow clothing to hang off the shoulders of women a reveal more of the natural body form. Men too toss aside their formal wear in order to carry a more utilitarian and militant form with notable trench coats and slim, linear silhouettes spatial abstraction Mass assembly produced an architectural consequence in a couple of ways. The first being the necessity for larger areas, spans, and occupancy loads for facilities to begin to mass produce not only military equipment but also everything mass produced. American’s were experience a grand shift culturally, economically, and politically as a result of technological innovation as a result the spatial response in order to keep up with such a transformation came in the form of the development of construction techniques. Cities like Manhattan and Detroit experienced a culmination of the same things during this time thus needed to further develop there respective industries architectural potentials in order to capitalize off the influx of labor and product demands. fashioning the body 38
2010 census block data 1 dot = 1 person white black asian hispanic other race |native american | multi-racial racial dot map @ one dot per person
american culture
10.0 or more 2.0 to 9.9 2.5 to 4.9 0.0 to 2.4 -2.4 to -0.1 -5.0 to -2.5 -10.0 to -5.1 less than -10.0
the first great migration 1910-1940 The change in share of Blacks in cities is based on the percentage point difference in the percent of the population that was Black in the later time period compared to the earlier. For example, 18.3 percent of the population in Gary, IN was Black in 1940 but was just 2.3 in 1910, which represented a 16.0 percentage-point change in the share of Blacks in the city. It was the largest change in share during the First Great Migration. By the end of the Second Great Migration, Newark, NJ had realized the largest increase in Black population share, with the Black proportion of the city rising from 10.6 in 1940 to 54.2 in 19770.
1910 great migration As technological advancements are made within our American society our culture also sees an evolution. This came out to be in the form of a saving grace and alternative for many African American’s living in the Reconstructed south to uproot and head up north. With mass assembly and production under way with the Ford Model T as a tool, the northern industrial boom enticed an incredible audience of black Americans to migrate up north into cities such as Chicago,IL, Manhattan, New York, NY, and Detroit, Michigan making these cities see a dramatic 3 to 10 times population explosion because of the combination of good paying industry jobs and a less overtly racially divided culture. The opportunity was ultimately convenient for industry owners tired of European immigrant unionization because there was a large mass of people migrating into these industrialized areas ready to work and dedicate loyalty to the owner. Owners like Henry Ford benefited greatly for the world war skyrocketed his market of industry and with this economic boom introduced an interest in vain purchases. By the late 1910s, the car was becoming a staple in America’s culture making the African American community prosper up in cities like Detroit, Michigan. This initial mass migration is what ultimately began to solidify African American narrative and culture as integral to American culture for the segregation of blacks allowed them to produce new edgy artistic reflections of their American narrative. This introduced movements such as the Harlem Renaissance, the flapper, and jazz music all of which centers around the automobile and mass production assembly of the automobile for these urbanized northern cities. The integration of automobiles into popular culture not only allowed for people to transport easier and quicker but also transform mass communication and mass culture. Mass assembly accentually evolved ways of dressing for the new working class, being androgynous, slim, and practical for work as well as it evolved how people shared interests and ideas through radio or just quicker transportation by car. African American culture in interlaced with the facilitation of the dress and culture of the Roaring Twenties and beyond because of the dedication and advancement opportunity of fleeing the racial, tensed south and migrating into industrial capitals for a better life.
the great migration | post reconstruction early 20th century african american couple early 20th century migration family
great migration family fashioning portraitthe body 40
women began to show more leg
working women
women on the ford assembly line
1896
1906
1917
1914
1913 body morphology
concealed structures: Concealed elements under the outfit to help create the desired silhouette and volume. the corset A rigid structure that compresses and models the torso, sometimes to the point of deforming it. Made of silk, cotton or linen, with stays of cane, olive wood, palm, whalebone, iron or steel, the corset both the contains the bust and the waist an dapples traction, pushing the breasts up an the hips down the crinoline A bell-shaped structure formed of a series of hoops of red, iron or steel parallel to the ground. The crinoline is tied at the waist, over the drawers and chemise, and comes down almost to the ground. It supports and gives a rounded shape to the skirt, creating a large space between the legs and the fabric of the dress. the bustle The bustle, a development of the crinoline, accentuates the rump. Its structure is a series of arc-shaped metal struts, tied to one another and suspended from the waist, working in compression. It can also take the form of padded cushions attached at the waist. the brassiere The widespread use of the brassiere coincides with the disappearance of the corset in the early twentieth century. The brassiere’s function is to support, separate and shape the breasts. Different forms serve to flatten, reduce or expand the torso.
body cladding: The early 1900s Victorian woman dressed and deformed her figure into a severe “s-bend” tight corset- inspired by the nature forms of Art Nouveau. The straight-fronted corset created an hourglass silhouette that coupled with the bustle for one’s rear and typically crinoline for the bottle skirt. That was all traded for a looser, draping silhouette accentuating straighter form lines, and tube- like dressing exemplified by Parisian designer Paul Poiret- once the working woman was born at the start the World War. Deemed the “king of fashion” in America, Poiret called this silhouette the evolution of the waist in the movement identified as the “Edwardian fashion.” This dress making concept borrows the loose form from Asian cultures where he derives the earliest form of women’s pants, harem pants. The dress code seeks to convey a combination of Orientalism and active wear for the working women reclaiming her femininity post war as her natural form is revealed through the clothing. Industrialization needed a practical way of dress so relieving the mid section and focusing on hanging the garment from the shoulders gave emphasis to clean, easy lines to the silhouette and simplified fabrication. abstractions: reducing The corset compresses the waist and bust. By 1908 corsets are so long as to impede all movement. Women’s corsets displace their internal organs and could cause serious disorders. increasing Ruffles, bows and pleats swell sleeves, skirts and chest in a single volume. revealing The body is shown or insinuated. In the nineteen twenties, for the first time in history, women show their legs. profiling With the demise of the corset, the body breaks out of the mold. Straight simple lines: tunic dresses are not armor by comfortable and functional clothes. women’s waist evolution | undergarment accentuation evolution of the modern bra | suzi salvi
1863
the first patent breast supporter
1900
peddling wears push-bra
1920
girls will be boys bandeau
1930
foundations underwire bra
1940
bras for a cause belle poitrine bra
fashioning the body 42
1950
bombshell whirlpool stitch bra
1960
ladies, let it burn mesh, mo-bra
1970
discos & CEOs seamless halter bra
african american men serving in WWI
militant men
middle class day suits
sedgwick front 2 1/4 ” back 1 1/8 ” sizes 14 to 19 1/2
wexford front 2 ” back 1 1/2 ” sizes 14 to 20
ashford front 2 ” back 1 1/2 ” sizes 14 to 18 1/2
nordeck front 2 1/4” back 1 1/4” sizes 14 to 20
pagosa front 2 1/2” back 1 1/2” sizes 14 to 18 1/2
carlow front 2 1/4” back 1 1/8” sizes 14 to 20
1914 body morphology
hook and eye epaulets
deep back yoke gun flap
switched eyelets
body cladding: Wartime culture produced a streamlined American culture while in the midst of international conflict. Military pride coupled with a growing working class culminated into an androgynous, utilitarian dress code for both genders. Women began to loosen their corsetry and drop the waist line in order to properly accommodate their more working class lifestyle and better reclaim their femininity with their newly acclaimed self sufficiency and independence from men. Genderdictated dress codes were ultimately relaxes allowing for hemlines to rise up and become shorter for women and for pants to be acceptable for both genders.
D rings belt with 5 rows of stitching storm pockets
sleeve straps
pure cotton club check lining
Men saw a more acute change in fabrication of dress with a modification of their Victorian suit. The typical middle class men’s suit dictated propriety and formality until the the introduction of mass assembly for the World War. Similar to the women’s wear ideology, men’s shifted into a more slim, linear, practical form of clean cuts and line. While the essential 3 piece components - jacket, trousers, and vest along with boater hats- remained two additions were introduced. The first being detachable collars for the working man to be able to save time and money maintaining his dress shirt if the collar were to be unkempt. This is where the industrialization of clothing began to focus on flexibility and benefits of separates and parts of dress. Military influence introduced the trench coat to the middle class fashion culture giving men an homage to the strength of our nation’s military. abstractions: reducing The slim pants and tailored suits, produce a linear form and silhouette out of a number of layered pieces of clothing from shoulder to toe. profiling The militant inspired addition of the trench coat creates a sleek, uniform cover and clean cut active, outwear flexibility. essential trench coat components men’s detachable collar | the “silver” brand
fashioning the body 44
detriot historical development with racial segregation
racial industry
1915 ford river rouge spatial abstraction: Ford River Rouge became the biggest industry for the country at the turn of the century. The auto industry was booming and the mass assembly mastered by Henry Ford made it oh so simple to capitalize on production and efficiency. As the compound continued to grow so did the architectural spaces to accommodate the many different programs associated with the compound. As the city of Detroit began to grow from the cities main river towards the north as African American workers moved into the area for the new job opportunities, the compound began to expand along the River Rouge to the west. This allowed Ford to be able to function as a facility with ample land to construct a test track, engineering lab, production assembly, and product wheel out yards. To do so, some engineering had to be completed in order for some grand spaces to maintain such openness and light but also address fire safety issues and durability for a production facility. With that in mind, Ford had Albert Khan, a German immigrant architect based in Detroit who is heavily responsible for a lot of Detroit’s industrial architecture. “kahn-crete”: In order to satisfactorily address all the major production spatial issues regarding safety and health for workers, Kahn teamed up with his engineer brother and developed the “kahn system” in which they developed a version of reinforced concrete. This would then be durable and strong enough for work loads in the facilities while remaining fire proof in case of any accidents. His reinforced concrete allowed for some lighting and ventilation to take place in such open spans in such buildings like the Ford Engineering Laboratory. This structural system essentially employs a 3.5” by 2” tall trussed bar into concrete at an angle to relieve some tension stress when in deflection. Kahn’s material innovation with concrete which essentially takes advantage of mass production of material members for construction assembly, sees a direct link to how revolutionary mass assembly and mass production of parts is to not only architecture and construction but also culture. ford engineering laboratory | albert kahn 1917 production assembly ford river rouge complex | albert kahn | 1915
fashioning the body 46
renaissance couple | harlem | 1920s
radiant
1900 1905 1908 henry ford model t 1910 great migration 1920 radio broadcasting
1921 electric sewing machine 1925 harlem renaissance 1930 great depression context: cultural civil war America’s post war culture saw a tremendous booming economy as a result of the booming industries which thrived during and post war. American prosperity was expressed and enjoyed through radio as most Americans indulged on mass consumerism with their new wealth. Multiple aspects of the American culture saw a beneficial and optimistic progression and even evolution of a newer American identity. Radio broadcasting not only facilitated mass consumerism but it also gave exposure to mass culture in the way of sharing the electrifying jazz music and the artistic expression of the new black cultural identity that is the Harlem Renaissance. Along with this movement came evolution of “the new woman” also referred to as “the flapper.” Women were developing a stronger sense of independence as a result of the diversified labor force, thus their fashion were expressing an emboldened, sexually freed, and “unladylike” identity. The newly established cultures for these marginalized groups created a contentious time between blacks and whites within cities and the “new women and advocates of old-fashioned family values. As the Great Depression hit the economy, many had to conserve in their lifestyle endeavors, but radio allowed Americans to enjoy popular broadcasts and entertainment while in this tough time. Mass consumerism not only saw a die down quantity but also a cut back in quality. Many families sought to keep up their lifestyles but reducing the quality of material or name brands. body morphology: For the “new woman”, femininity and sexuality were reclaimed as women found more independence from men. This manifested in women’s wardrobes becoming more tubular in form because of a relaxed undergarment. Hem lines also began to raise revealing more legs and even the acceptance in female trousers. The androgyny of the body became an emphasis as the economic roles became a little more relaxed. Ready to wear and separates became more accessible a they were practical for the working household., and fashion became for of an event and statement for heritage and politics. spatial abstraction: The Guilded Age inspired many of the possibilities and aspirations for life and the future. The architecture began to manifest this aspiration of hope and technology in the form of metropolis. Structures were projected high off the ground at horrific scales showcasing the power and magnificence of America. Factories were grand and packed with machines and specified for production purposes to maximize cost efficiencies. The formation of districts saw micro networks producing distinct products for regions.
fashioning the body 48
Harlem 1920s residences group photo
black consciousness
1925 harlem renaissance The Great Migration of 1910 not only exposed northern, white America to the alternate American narrative but also exposed a housing crisis and racial tension as a result of a black cultural presence. Black and brown Americans were forced into segregated communities in which to they cultivate and formulate cities within cities. The subversive culture that grew out of those black communities emerged as the Harlem Renaissance which embodied racial pride and artistic expression of the new black cultural identity since being freed from slavery. This movement nurtured black intellectual expression in the form of art: literature, dance, music, and fashion. The new era of black consciousness flourished as African American blues evolved into an upbeat and colorful jazz and socially ambiguous clothing was explored. The era saw men and women emulate the opulence and decadence of Broadway and Hollywood as dance and music were spread nationally through radio. One of the most prominently successful and known performers was Josephine Baker. The Minnesota native became an international superstar performer during this era and inspired women of both races with her style and expressive sexuality. Baker became a icon of black greatness as she used her platform to also further black consciousness with her fashion. Although this movement was rather more aesthetically focused rather than politically driven, notable manifestation of black identity came through the articulation of leopard or any other fierce African, animal. This was an intentional badge of honor to represent the heritage of the black American.
josephine baker with her pet cheetah
The epitome and capital of this vibrant movement radiated out of Harlem, Manhattan, New York. This neighborhood was a result of the Great Migration and a booming garment industry, and with a mix of Latin and African cultures, birth a prideful and creative culture centered around intellect, expression, and identity. The racial pride, consciousness, and confidence centered around this movement contributed to the dapper, tailored look of the everyday uniform. With the combination of opulent detailing and industrial streamlining form, the result produced a sophisticated ready to wear look for men and women.
fashioning the body 50
women began to show more leg
flapper
women on the ford assembly line
1896
1906
1917
1914
1920 body morphology body cladding: The new woman sought political equality to men. She used her voice to first verbalize her passion for work, family, and culture. She fought for the right to vote. Analysis through politics and culture, the body morphed as a fashion political statement through her new form. Her form takes shape as a cylinder.. She pushed away from the corset and began to be braced by not her waist but her shoulders. This tubular form is more of a cultural statement about reclaiming femininity separate from men. Women also saw the introduction of a way to politicize their heritage. Adorning one’s mass with cheetah fur serves as like a badge of honor and community. Black women and fashion reinforce identity ten fold due to its association with hair politics and biological features. With the black experience and identity, perception can not be seperated from politics.
abstractions: reducing The corset compresses the waist and bust. By 1908 corsets are so long as to impede all movement. Women’s corsets displace their internal organs and could cause serious disorders. increasing Ruffles, bows and pleats swell sleeves, skirts and chest in a single volume. revealing The body is shown or insinuated. In the nineteen twenties, for the first time in history, women show their legs. profiling With the demise of the corset, the body breaks out of the mold. Straight simple lines: tunic dresses are not armor by comfortable and functional clothes.
1863
the first patent breast supporter
1900
peddling wears push-bra
1920
girls will be boys bandeau
1930
foundations underwire bra
1940
bras for a cause belle poitrine bra
fashioning the body 52
1950
bombshell whirlpool stitch bra
1960
ladies, let it burn mesh, mo-bra
1970
discos & CEOs seamless halter bra
african american men serving in WWI
dapper
middle class day suits
sedgwick
wexford
ashford
front 2 1/4 ” back 1 1/8 ” sizes 14 to 19 1/2
front 2 ” back 1 1/2 ” sizes 14 to 20
front 2 ” back 1 1/2 ” sizes 14 to 18 1/2
nordeck
pagosa
carlow
front 2 1/4” back 1 1/4” sizes 14 to 20
front 2 1/2” back 1 1/2” sizes 14 to 18 1/2
front 2 1/4” back 1 1/8” sizes 14 to 20 men’s detachable collar | the “silver” brand
1921 body morphology body cladding: Post war excitement energized the culture thus reflected in clothing expression. Men saw suits becoming more vibrant to reflect the jazzy influence and colorful lives. These suits were slim and colorful and yet remained ready to ware. As the economic prosperity hauled at the start of the Great Depression, the suits so a more austere look and transformed into the superman silhouette for chests. Other common trends were both bow ties and hats: fedoras and panama hats. These granted a more adorable and likable traits as the men maintained their work preparedness and professionalism. The opulence prior to the Great Depression manifested in the for of material selection such as cheetah print, panther print to honor heritage. This moment introduced the human interest from what inspires and creates all forms of art. The diversity of self expression through many levels of are manifested in differing looks during the 30s which ultimately would reunify once more into an androgynous and militant look before the rise of civil rights creates the epitome of political fashion: the black panthers. abstractions: reducing The slim pants and tailored suits, produce a linear form and silhouette out of a number of layered pieces of clothing from shoulder to toe. profiling The militant inspired addition of the trench coat creates a sleek, uniform cover and clean cut active, outwear flexibility.
men’s detachable collar | the “silver” brand
fashioning the body 54
manhattan locals vs tourists photo tagging | eric fischer
urban fabric
1930 garment district spatial abstraction: The lively energy within the streets of the Garment District acted as thriving networks that bustled from location to location as the production, packaging , and selling of garments energized the lower side of Manhattan. The sewing machine’s integration into the assembly line had all the workers, mostly women, lined in a lone row of tables sewing away and constructing patterns for assembly. The Manhattan Triangle Shirt factory fire introduced mega safety innovations and heavily damaged the industry. By the 1960s, the once loyal African Americans banned together for racial struggles causing an effect on the working class Shortly after, most industries began to show signs of decay as political tensions grew both culturally and internationally. Ever since then the Garment District has experience a sharp decline in density and has leased to primarily non-fashion related practices. The zoning of the district came to adapt as the influence shrunk down. Where once supplied by Harlem, the roles became reversed with the borough revenging cultural preservation as well as a slight since of gentrification . Its association to Fashion Week and fashion status was well known internationality despite the homage to the workers behind the products. With the collapsing edges of a once grand district, proposing a new one that acts as a counter point ot serve as visual juxtaposition accross central park .
between broadway and 8th ave | ap photo| 1943 hats in the garment district | margaret bourke white sewing, 10th ave and 36th str. | andrew herman | 1937
fashioning the body 56
ideology architecture “Art represents and sanctifies what is valued in a society... Definitions of art are therefore highly political. They are major battlegrounds on which the struggle for human and social recognition is waged.�
black art, folk art, and social control | eugene w. metcalf | 1983
contents concept 06
abstract
08 research diagram 10 made in america
parallels 14
body | site
18
fashion | architecture
22
manus | machina
26 culture | technology
identity 30 american architects 31
dualism
32
vanguard
36
textile
38
automotive
48
garment
industry
proposal 60 locating | nieuw haarlem 62 analysis | site development 64 program | identity assembly line
fashioning the body 58
2010 census block data 1 dot = 1 person white black racial dot map at a person scale | dustin cable | 2013
nieuw harlem
asian hispanic other race |native american | multi-racial
locating | nieuw haarlem Harlem’s blurred edges have shifted as the city has developed. When first inhabited by the Dutch in the 17th century, the name - Nieuw Haarlem- after the nations capital. At the early onset of settling, African Americans have had a legacy within this land as their ancestors were transplanted here as slaves. The first patent line established in 1658 began to define the area of today’s north Manhattan area. This territory began to morph as racial demographics altered throughout time with more and more immigrants settling in certain parts of Harlem. With the rise of American industry, newly freed slaves journeyed out of the South as a result of the Great Migration and helped further develop Harlem’s black community. As a result of the major labor demands brought by World Wars, the black community began to thrive in the economy especially during the Roaring Twenties producing the birth of the Harlem Renaissance. This became the celebration of Afrocentric life, art, and heritage and embodied the vibrant life of the black culture. A consequence for the economically active African American came white flight and district housing separation and ultimately segregation. Harlem’s Lenox Avenue became the physical manifestation of both cultural exuberance and racial apartheid. As the thirties continued and introduced the Great Depression, Lenox Avenue [Malcolm X Ave] remained the heartbeat of the renaissance incorporating the East Harlem Latin community as they both carried New York’s industrial working class. Today, Lenox Ave preserves the legacy of the thriving Harlem legacy as a grand avenue. Envisioning it as a identity monument for its contributions to fashion and culture as a lifestyle assembly line would intend to pay homage to the history and give new life to a once prominent industry, an industry indebted to the Harlem community.
fashioning the body 60
lenox ave | proposed site
harlem
east harlem 1658 patented line garment district
harlem river
counter culture
analysis | site development The garment district continues to decay as the remnants of its once bustling industry either house non-fashion entities such as architecture firm, offices, ect. or illuminate as annual events emerge. The district’s historical and contemporary locational juxtaposition within Harlem creates an interesting dialogue between served and serviced. With today’s district facing rezoning , a proposal for a counter fashion culture within Harlem would intend to establish a dualistic relationship within time, race, and location. Upper Manhattan served the lower industrial districts but remained separated from its popularity and success. Inverting this relationship within the proposal so that Harlem becomes the fashion capital of the future sets a new dichotomy between the two areas as they reflect across Central Park. The racial divide distinctly remains from Upper and Lower Manhattan, thus a counter culture of fashion rivaling the perception and image of the past fashion empire becomes manifested. As the main preservation of the black energy during the prime of black prosperity, Lenox Ave serves as an ideal catalyst to foster this rivaling fashion district.
fashioning the body 62
program | identity assembly line muse | photographer documenter | digital scribe fashion library - the muse and photographer document inspiration for innovation. As a transcending catalog, the library inscribes the production processes and final fashion product and serves as a reflection for the past, present, and future fashion vanguards.
seamstress patterning | fabricator workshop - the adaptable seamstresse’s tools define the daily program: patterning, sampling, cutting, assembly, ect... so the space must reflect and ambiguous dexterity.
tailor fitting edits reflection space - a master critic for form, the tailor must maintain omniscient perception and perspective. Reflections differing in angles grant the editor optimum accuracy.
stylist hair | makeup | accessories salon library - the polish delivered by the stylist completes the look. The communal ritual embedded within the salon integrates fashion into a lifestyle. The final touches provided by the salon elevate the perception into its complete form.
model presentation fashion week | runway - the model becomes the frame showcasing the produced garment. This showcase ultimately transcends into an atmosphere of celebration and vibrant life as a new identity enters the world on this runway.
program | identity assembly line
muse | photographer
seamstress
tailor
stylist
model
documenter | digital scribe fashion library - the muse and photographer document inspiration for innovation. As a transcending catalog, the library inscribes the production processes and final fashion product and serves as a reflection for the past, present, and future fashion vanguards. Constructing a structure that facilitates the digital documentation and inspirations with the handy iphone or camera.
patterning | fabricator workshop - the adaptable seamstresse’s tools define the daily program: patterning, sampling, cutting, assembly, ect... so the space must reflect and ambiguous dexterity. As the back of house source, the seamstress finds solace in stretching the urban fabric as a community cornerstone.
fitting edits reflection space - a master critic for form, the tailor must maintain omniscient perception and perspective. Reflections differing in angles grant the editor optimum accuracy.
hair | makeup | accessories salon library - the polish delivered by the stylist completes the look. The communal ritual embedded within the salon integrates fashion into a lifestyle. The final touches provided by the salon elevate the perception into its complete form.
presentation fashion week | runway - the model becomes the frame showcasing the produced garment. This showcase ultimately transcends into an atmosphere of celebration and vibrant life as a new identity enters the world on this runway.
sourcing Bhasin, Kim. The Glory Days of New York City’s Garment District. 13 February 2015. 30 August 2016 <http://www.bloomberg.com/news/ features/2015-02-13/new-york-city-s-garment-district-photos>. Blassingame, Tia. The Race of Architecture. 1 March 2002. 8 November 2016 <http://www.brooklynrail.org/2002/03/books/ the-race-of-architecture>. Bolton, Harold Koda and Andrew. “Paul Poiret (1879–1944)”. September 2008. 2000– New York: The Metropolitan Museum of Art. 7 October 2016 <http://www.metmuseum.org/toah/hd/poir/ hd_poir.htm>. Brunner, Borgna. Timeline: Key Moments in Black History A chronology of black history from the early slave trade through Affirmative Action. 3 November 2016 <http://www.infoplease.com/ spot/bhmtimeline.html>. Davis, Charles. Framing the Facts: Moving Beyond a Multicultural Survey of Architectural History. 7 March 2013. 14 November 2016 <https://raceandarchitecture.wordpress.com/2013/03/07/framing-the-facts-moving-beyond-a-multicultural-survey-of-architectural-history/>. Eskridge, Sara K. “The Making of Black Detriot in the Age of Henry Ford” by Beth Tompkins Bates. 2012. 8 October 2016 <http://www. essaysinhistory.com/review/2013/195>. Fields, Darrell Wayne. Architecture in Black. New Brunswick: Transaction Publishers, 2000. Firchau, RJ. 100 Years of Men’s Fashion. 4th September 2015. 27 September 2016 <http://www.ties.com/blog/100-years-of-mensfashion>. Foster, Helen Bradley. African American Dress. 4 September 2016 <http://fashion-history.lovetoknow.com/clothing-around-world/african-american-dress>. Gooden, Mario. Dark Space. Ed. Caitlyn Blanchingfield. New York City: Columbia Books on Architecture and the City, 2016.
Harris, Michale D. Colored Pictures: Race and Visual Representation. Raliegh: The University of North Carolina Press, 2003. History.com/staff. Great Migration. 2010. A+E Networks. 11 October 2016 <http://www.history.com/topics/black-history/great-migration>. Hooks, Bell. Art on My Mind: Visual Politics. New York: New York Press, 2015. James, Danielle. An Illustrative Identity of Fashion and Style throughout African-American History and Movements. 12 April 2015. 14 October 2016 <http://www.huffingtonpost.com/danielle-james/ the-illustrative-identity_b_6519244.html>. Lokko, Lesley Naa Norle. White Papers, Black Marks. Ed. Lesley Naa Norle Looko. London: The Athlone Press, 2000. Maloney, Thomas N. African Americans in the Twentieth Century. 1 October 2016 <https://eh.net/encyclopedia/african-americans-in-the-twentieth-century/>. MoMA. “Manus x Machina / OMA” 08 May 2016. ArchDaily. Accessed 7 Dec 2016. <http://www.archdaily.com/787037/manus-x-machinaoma/> Soongi. Black the Color We Wear: The Temporality of Blackness in Fashion. 12 January 2015. 17 October 2016 <http://adht.parsons.edu/ blog/notices-black-the-color-we-wear/>. Staff, History.com. Great Migration. 2010. 8 October 2016 <http:// www.history.com/topics/black-history/great-migration>. Weate, Jeremy (1998) Phenomenology and difference: the body, architecture and race. PhD thesis, University of Warwick. Williams, Keith. Tracing 350 Years of Harlem’s Ever-Shifting Boudaries. 20 August 2015. 20 November 2016 <http://ny.curbed. com/2015/8/20/9933196/tracing-350-years-of-harlems-ever-shifting-boundaries>.
fashioning the body 70
|fashioning the body| barde graduate center
preliminary work
fashioning the body 72
harmony
symbiosis
seam
couture
tectonic
vogue
scale
vanguard
silhouette
3x3
fashioning the body 74
|vitruvian man| Leonardo da Vinci
harmony â&#x20AC;&#x153;Fashion is architecture: it is a matter of proportions.â&#x20AC;?
[Coco Chanel]
subversion
“VEDAS” | Nicholas Cope & Dustin Arnold
“All artworks articulate the boundary between the self and the world both in the experience of the artist and the viewer/listener/occupant. In this sense, the artform of architecture does not only provide a shelter for the body, it also redefines the contour of our consciousness, and it is a true externalization of the human mind.”
Pallasmaa [8-9]
fashioning the body 76
radioactive STAMEN | Nicholas Cope & Dustin Arnold
â&#x20AC;&#x153;Junkspace thrives on design, but design dies in junkspace. There is no form, but proliferation... Regurgitation is the new creativity; instead of creation, we honor, cherish and embrace manipulation...â&#x20AC;?
Koolhaaus [2]
|VIRGINE| by Nicholas Copeâ&#x20AC;˘ Dustin Arnold
Stephane Rolland 2016/2017 haute couture
vanguard
silhouette
Encapsiling the fashion zeitgeist - while in the midst of its technolgical revolution - with architecture, allows for architecture to begin recording the new history of our mind, body, and spirit of our time, as a form of a developing artifact of our vanguard.
The fine line between form and function in space creation.
fashioning the body 78
|VEDAS| by Nicholas Copeâ&#x20AC;˘ Dustin Arnold
|fashion sketch| by Gianfranco FerrĂŠ
couture
seam
Hand crafted, unique implications of design in conjuncation to the latest techniques of construction.
Conjunction of two ends in order to unify, define, and formulate a line.
|VEDAS| by Nicholas Copeâ&#x20AC;˘ Dustin Arnold
|Study of Pose| by Coco Rocha
symbiosis
vogue
Balancing between the body and the mind in creating the ideal form.
Understanding the body and its movements as a language to convey the mind.
fashioning the body 80