T E X T I L E
C O - O P
Dia:Beacon Artist Residency arch 302 | spring 2020 | Prof. Peter P. GochĂŠ
Mae Murphy & Samarth Vachhrajani
HUDSON RIVER HOUSING
Artist Residency Instructor Peter P. Goché Spring, 2020 Project Brief
This investigation will delve into material culture and integrative design practices in the production of artists residency housing to be conceived in the context of the Hudson River and as an addition to the Dia: Beacon museum. Students will engage in a highly experimental procedure of making 2d and 3d assemblies. Following the site visit, we will select project teams and embark on our integrative design process. Each 2-person team inquiry will include 24-36 work-live residential units along with a series of communal and meditative spaces. This relationship forms the basis for our integrative studies in architecture with emphasis on conceptual agendas for temporary domesticity and design as a full undertaking of issues surrounding the production of space. You will need to incorporate the full spectrum of technical, environmental, and aesthetic design issues into your projects to be successful in accomplishing the goals of the studio, as well as receive potential competition recognition. Dia:Beacon is the museum for the Dia Art Foundation’s collection of art from the 1960s to the present. The museum, which opened in 2003, is situated on the banks of the Hudson River in Beacon, New York. Dia:Beacon occupies a former Nabisco box printing facility that was renovated by Dia with artist Robert Irwin and architects Alan Koch, Lyn Rice, Galia Solomonoff, and Linda Taalman, then of OpenOffice. With 160,000 square feet (15,000 m2),[2] it is one of the largest exhibition spaces in the country for modern and contemporary art. The museum
is sited on thirty-one acres near the banks of the Hudson River, and is adjacent to ninety acres of riverfront parkland. It is a five-minute walk from the Metro-North train station in Beacon, 60 miles (80 minutes by train) north of New York City. Taking inspiration from John Dewey’s “Art as Experience,” (Perigee Books, 1934) we will consider the otherwise invisible presence of an underlying cultural engagement with a work of art/architecture. In this analysis, Dewey encourages experimental intelligence through a study of the individual work of art/spatial construct as embedded in (and inextricable from) the experiences of a local culture. Correspondingly, we will cite Georges Perec’s “Species of Spaces” (Penguin Books, 1997) - a non-fiction work whereby Perec affirms his focus on the “infra-ordinary” – the banal habits, settings and events of which our lives almost entirely consist. This intersection of self and the world may well be the fundamental objective – shifting our focus to include the crafting of a composite entity as well as mastering its various material components of domestication. The premise of this project is to position questions about latent desires within contemporary art, curation and design practices as it relates to developing temporary housing for resident artist. Correspondingly, we will cite Gaston Bachelard’s “The Poetics of Space” (Beacon Press Books, 1994) - a nonfiction work whereby Bachelard affirms his focus on phenomenology in architecture basing his analysis on the lived experience of architecture.
What does it mean to live in a room? When you remove your boots? When you heat water in the tea kettle? When you make the first cup of coffee? When you put the trash bag in the bin? When do you start saying that you live in a room? The drawing investigates the spaces that objects creates in between them and around them. Which is USELESS. The idea is not to look at the objects as they are but to focus on the space that they create around each other. We are defined by the objects we accumulate. These Objects have a cultural value. They become an extension of ourselves and define our domestic spaces. We tend to think of these objects working in the background and we hardly realize their significance. We keep progressing, developing, building/unbuilding and densifying our urban fabric. SAMARTH VACHHRAJANI -- individual “useless room� exploration When Do You Start Living In A Room
REDUNDANCY : reconnection unraveled, unrestrained, unlearned Sewing, printing, stamping, and hand drawing techniques were investigated to observe redundancy in a critical lens of domesticity and textile labor within the city of Beacon, NY. The series of drawings expose redundancy through the juxtaposition of tool and product in the form of fabric printing. Needlework was then applied thereafter creating a bound work highlighting the imperfections and anomalies created. Felt was ripped and then sew back together to explore the act of tearing and re-binding in the form of redundancy connecting back to the ever-so-popular Beacon Hat Factories present within the city in the industrial revolution. MAE MURPHY -- individual “useless room� exploration REDUNDANCY : a reconnection
Collaborative Drawing -- Objectivity & Redundancy
TEXTILE CO-OP
Dia:Beacon Artist Residency Project Narrative
Textiles are objects which carry stories and memories in them. They signify the conditions that once existed. Even in times such as now, where we find ourselves trapped in our houses, textiles are meant to ground oneself to remember the stories attached on the fabric with each stitch and stain. The building is located in Beacon, NY, a place where multiple hat factories existed. The city was once known as the “hat factory making the capital of New York State.� These hats were made out of felt and were quite popular during the time of the industrial period. It has a contribution in making New York the fashion industry hub. These factories that once existed practiced unfair labor and wage gaps. Within the textile industry, the human body operating the loom or the sewing machine was considered an extension of that machine. Textiles as the containers of oral histories, are produced in some of the most precarious and exploited labor conditions. Our project seeks to recognize this past of Beacon through art residency within Dia:Beacon. Dia, the existing art museum and renovated factory features several large site specific sculptures including work from Richard Serra, Sam Gilliam, Andy Warhol and Dan Flavin. The proposed residency located to the west of the museum is where artists who work with textiles have the opportunity to participate in discussions of oral histories. The artists create tapestries and other such pieces which not only respect the oral histories connected to the pieces but also act as a speculative form of generating new and just forms of textile labor production.
Our drawings within this project are used as textile objects. These drawings are meant to be speculative pieces which use the fabric as a conceptual medium by staining the fabric and embedding our project within it. It is almost fabric as a container of our concept. The building provides spaces for sharing skills and stories through working collectively with other artists and the public coming to Dia Beacon. In the discourse space tapestries are hanging from the atrium where people can work on and access from multiple levels to connect the building vertically. As architecture students we are both passionate about this work. We have our own personal stories that are embedded within textiles. Mae inherited fabrics and pieces from her great grandmother whom she never met in person. These pieces she holds dear to her heart because they are visual documentation of the labor and physical work that went into sewing. Samarth has always felt grounded through the fabric which has a culture significance and reminds him of home. It keeps him connected to his family. The collaborative tapestry is a final piece which we will keep as a textile object that testifies for the memory and labor that has been contributed to the project. The project intends to encourage and respect the importance of stories within design disciplines.
Dia:Beacon on the Hudson River Beacon, NY Map of Textile Factories
The Roundhouse Lofts
Richard Serra’s Torqued Ellipse
Tioronda Hat Works Factory
Tioronda Hat Factory
Site analysis collages
Hudson River
acon
Dia:Be
Site Plan -- acetone transfer with sewn paper
Preliminary light study model
Preliminary site analysis in relation to Dia:Beacon
Oral Histories
SEWING MACHINES LOOMS
STORAGE
Fourth Level
ry
nt
tE
en
Third Level
Second Level
First Level
sid
Re
Ground Level
Materializing Oral Histories
Vi ew to e
th t ou sid e.
Dia Beacon Old Nabisco Factory
Khaki Cloth, part of Indian Freedom Struggle
Recognizing the Past Tironda Hat Factory, Beacon
Personal Value
Wall tapestry made by grandma
Residential Units
Sewing Supplies. Yarn Thread Measuring Tape Needle Bobbin Spool
Ground Floor | acetone and sewn paper drawing
Ground Floor | technical drawing
First Floor | acetone and sewn paper drawing
First Floor | technical drawing
Second Floor | acetone and sewn paper drawing
Second Floor | technical drawing
Third Floor | acetone and sewn paper drawing
Third Floor | technical drawing
Fourth Floor | acetone and sewn paper drawing
Fourth Floor | technical drawing
Type A (ADA) Unit
Type B Unit
Window facing atrium
Window facing atrium
Type B Unit with Patio
Window facing atrium
West Section Textile Print
North Section Textile Print
West Section
The first level provides a space for discourses which resonate throughout the studio spaces. The work produced in the studios on each level is based on the discussions and intellectual exchange that happens on the first floor. There are windows in the residential units, which look down into the atrium and studio. It connects the residence spaces to the studio work and provides an atmosphere where artistic exchanges are more fluid and have the potential to be witnessed. The artists are continuously present in the work, either by listening to the sounds or seeing people work in the studio. This can facilitate exchange of ideas more fluidly. The building provides spaces for sharing skills and stories through working collectively with other artists and the public coming to Dia Beacon. The perspectives showing how studio spaces function, the central stairwell, and people working in the studio. In the discourse space tapestries are hanging from the atrium where people can work on and access from multiple levels to connect the building vertically.
North Section
West Elevation Textile Print
West and North Elevations
Sunlight diagram portraying sun penetration through east and west windows with shading devices. Operable windows allow for natural ventilation.
Sunlight diagram portraying sun penetration through north/south corridors and roof light monitors.
Lighting and Ceiling Plans
Evacuation Code Plans
2 hr. Fire Rating.
1 hr Fire Rating
Evacuation Points
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
Structure Plans
Dropped Ceiling for MEP
Fixed Lighting
Track Lighting
Occupancy Schedule Level
Name
Room Occupancy
Level
Name
Ground level
Storage Ground Level
Ground Level
North Ground Level Stairs
Ground Level
GroundElevator Level South Stairs North
Ground Level
GroundStairs Level South
Ground Level
GroundElevator Level Central Stairs South
Ground Level
Central Stairs
Ground level
Room Occupancy Storage North Stairs
Area
Storage
Storage
Area
Sq. Ft. Per
Sq. Ft. Perperson Perperson 677.15 sq ft. 300sons gross
677.15 sq ft. 300 gross
3
Code Summary: 2015 International Building Code (IBC) PerCode Summary: 2015 International Building Code (IBC) sons Use and Classification (Chapter 3) : Storgae, Education (group E), Residential 3 R3) Use and(group Classification (Chapter 3) : Storgae, Education (group E), Residential
(group R3)
Type of construction (Section 602,601): type III – A
Type of Automatic construction (Section 602,601): –A sprinkler system (sectiontype 903) III Fire
North Elevator
sprinklers to be provided.
Automatic sprinkler system (section 903) Fire sprinklers to beLevel: provided. Ground 8428 sq. ft.
South Elevator
Level 1: 8909 sq. ft.
Ground Level
Residential Units
Residential (group R2)
600 sq ft
200 gross
Level 1
Studio
Educational (grouo E)
2640 sq. ft.
20 net
Level 1
200 gross
8909 sq. ft. Ground Level Level:2:8428 ft. 8909 89093:sq. ft. sq. ft. 3Level 1: Level Level 4: 8909 sq. ft. Level 2: 8909 sq. ft. 132 Level 3: 8909 sq. ft. Occupant Load (table 1004.1.2) see occupant 4Level 4: 8909 sq. ft.
Ground Level
Residential Units
Level 1
Studio
Residential Units wirh Residential (group R2) 750 sq ft Educational (grouo E) 2640 sq. ft. 20 net Patio
Level 1
Level 1
Residential units (ADA)
Residential Units wirh Patio Level 2 Studio
Residential (group R2)
600 sq ft
200 gross
3
132
618 sq. ft.
200 gross
4
Educational (group E)
1667 sq. ft.
20 net
84
Residential (group R2)
750 sq ft
200 gross
4
Level 1
Residential unitsResidential (ADA) Residential R2) (group 618 sq. Level 2 Units wirh (group Residential R2)ft. 750200 sq. gross ft. 2004gross
Level 2
Studio
Level 2
Residential Units wirh Level 3 Studio Patio
Level 2
Level 3 Units wirh (group Residential R2)ft. 750200 sq ft. Residential unitsResidential Residential R2) (group 600 sq. gross 2003gross
Level 3
Studio Level 3
Level 3
Residential UnitsStudio wirh Level 4 Patio
Level 2
Patio
Educational (group E)
1667 sq. ft.
20 net
Residential (group R2)
750 sq. ft.
200 gross
Residential units
schedule.
Occupant Load (table 1004.1.2) see facilities occupant Basement Minimum plumbing schedule. (section 2902, Table 2902.1)
Residential (group R2)
84
Residential (group R2)
600 sq. ft.
200 gross
Educational (group E)
1561 sq. ft.
20 net
Patio (group E) (group 1561 R2) sq. ft.60020 net Residential Educational Untis Residential
4
20079 gross
Residential (group R2) (group 750 sqE)ft. 2034 200 4 Educational sq.gross ft. 20 net
Level 1 residential units + Level1 studio
1 per 125 [(3 +plumbing 132)/2]/125 Basement Minimum facilities 1 Water Closets for Male (section =2902, Table 2902.1) Level 1 residential units + Level1 studio 3 Level1 units + Level 1 Studio 1 per 125 [(3 +residential 132)/2]/125 1 per 65 [(3 + 132)/2]/65 = 1 Water Closets for Male 79 4
=2 Water Closets for Female.
4Level1 residential units + Level 1 Studio Level 1 Residential Units + Level 1 Studio 1 per 651[(3 132)/2]/65 per+200 [(3+132)/2]/200 3=2 Water Closets for Female. = 1 Lavatory for each gender. 102
Level 1 Residential Units + Level 1 Studio
Level 3
Level $
Residential Units wirh Residential (group R2) Residential UntisPatio Residential (group R2) 600
750 sq. ft.
200 gross
41 per 200 [(3+132)/2]/200
Level 4
Studio
Residential Educational Units Residential sq.net ft (group E) (group 2034 R2) sq. ft.60020
200102 gross
3
Level $
Residential Units wirh Patio
Residential (group R2)
750 sq. ft.
200 gross
4
Residential Units
Residential (group R2)
600 sq. ft
200 gross
3
200 gross
3
= 1 Lavatory for each gender.
Two Hour Fire Rating Floors and Walls
Exterior Perspective Textile Print
Exterior Perspective Textile Print
Interior Perspective Textile Print
Interior Perspective Textile Print
Interior Perspective Textile Print
Interior Perspective Textile Print
The collaborative tapestry is a final piece which we will keep as a textile object that testifies for the memory and labor that has been contributed to the project.
Even in times such as now, where we find ourselves trapped in our houses, textiles are meant to ground oneself to remember the stories attached on the fabric with each stitch and stain.