YEGANEH RAHBARI
FARM TO TABLE FASHION HOUSE
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Table of Contents
01 03 29 31 35
Introdoction The Research Conclusion Concept Proposal
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[1] Guy Debord, Society of Spectacle, (Bread and Circuses Publishing, 2012.)
“In the modern western society dominated by production everything that was once lived has become a mere of presentation. Life is presented as an immense accumulation of spectacles� [1]
Guy Debord
1
This thesis has been built on the notion of consumption; conceptualizing how it has been impacted by mass production.
The research started with the interest in three main categories that consumerism was seen through their cycle and modernism was the fuel for the system. The categories are Fashion, Architecture and Food. Based on how their application has changes over the years, new words were picked to describe their meaning in a broader manner. Fashion as Sartorial, Architecture as Dictorial and Food as Feed.
2
“fr:”Le péché originel https://upload.wikimedia.org/ wikipedia/commons/6/68/B_ Escorial_18.jpg [2] https://www.mechon-mamre.org/p/pt/pt0103.htm#14
Garments
SARTORIAL
S01
3
When God gave Adam and Eve life, he offered them food from every tree in the garden except for the forbidden fruit. However, they chose to eat the forbidden fruit. After eating it, they suddenly became aware of their nakedness. The result of this act was in fact awareness. In response, Lord created garments of skin for them to cover their bodies.He said: ‘I heard The voice in the garden, and I was afraid, because I was naked; and I hid myself.’ Genesis 3:10 The LORD God made for Adam and for his wife garments of skins, and clothed them. Genesis 3:20
And the LORD God said: ‘Behold, the man is become as one of us, to know good and evil; and now, lest he put forth his hand, and take also of the tree of life, and eat, and live for ever.’ Genesis 3:20 [2]
Garments
SARTORIAL
[Fashion]
https://upload.wikimedia.org/ wikipedia/commons/6/68/B_ Escorial_18.jpg
4
The last Supper by leonardo da Vinci https://www.getyourguide. com/milan-l139/skip-theline-ticket-guide-to-da-vincis-last-supper-t50443/
Flesh/Garments/Atmosphere
FEED
[Dine]
F01
5
The Last Supper, also known as the last meal, depicts the day when Jesus shared food with his apostles. This event takes place in an architectural space with the purpose of gathering and sharing food with one another. Last Supper is one of the first pieces of evidence that shows the importance of having food as a social event with the main goal of enjoying each other’s company not treating food as a necessity. Even the first experience of feeding as an infant is, in fact, a shared experience. A mother shares her body with her children. Last Supper shows how important the role of dining is to shape other events around it. For example, in this case, Jesus used this dinner party to announce one of his apostle’s betrayals. Additionally, it reveals how social behavior at the dinner party can lead to various assumptions. That is why there are several speculations to this event. Many historians are trying to decipher the behavior of the apostles at the table. A dinner party can be used as a primary event to show off wealth, celebrate an achievement, announce an important message, etc. Therefore, it can have various themes hidden in it.
Madonna surrounded by seraphim and cherubim by Jean Fouquet
Flesh/Garments
FEED
[Dine]
https://en.wikipedia.org/ wiki/File:Fouquet_Madonna. jpgcourt%20painter,the%20 exalted%20mother%20 of%20God.
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Jules Alexandre Grun, The End of Dinner http://rkavvy13 .blogspot . com/2014/03/aftermath-of-dinner-party.html
F02
Flesh
FEED
[Dine]
The Victorian dinner table is a symbol of perfection. There is a certain formality associated with the way the table, people and the room are dressed. The table should be meticulously set based on the occasion. The audiences are picked because of their social status to be part of this event. This dinner party is an emphasis on wealth and power that separates the present company from the rest of society by creating an invisible barrier between the higher class and the lower class.
7
Aftermath of a Dinner Party
Flesh
FEED
[Dine]
http://rkavvy13.blogspot. com/2014/03/aftermath-of-dinner-party.html
8
Nicole Eisenman
http://rkavvy13.blogspot . com/2014/03/aftermath-of-dinner-party.html
F03
Flesh
FEED
[Dine]
As for a contemporary dinner party, it is striving to push those boundaries between people. Breaking the rules that are keeping people apart based on social class. The dining engagement has changed dramatically table is not properly dressed or set and people are free to behave in any way they pleasing compare to a Victorian dinner party this is considered a dis-topic, yet perfect in its way.
9
Nicole Eisenman
Flesh
FEED
[Dine]
http://rkavvy13.blogspot . com/2014/03/aftermath-of-dinner-party.html
10
The Dinner is a painting by Claude Monet https://fineartamerica.com/ featured/the-dinner-claudemonet.html
F04
Flesh/Atmosphere
FEED
[Dine]
How can objects define a space through materials? What is the role of materials in terms of shaping an event? As much as objects can give identity to space, materials are as powerful to reform that identity and shape a new experience. a table without a table cloth can give us the impression that it is not being used currently. However, as soon as it gets dressed, it implies that it is being used for different purposes as well as shaping various experiences in that environment. Therefore, the function will change based on the material used to dress up the table. For example, a white satin cloth can shape a dinner party while a red velvet cloth can give a different impression.
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The Dinner is a painting by Claude Monet
Flesh/Garments
FEED
[Dine]
https://fineartamerica.com/ featured/the-dinner-claudemonet.html
12
Dinner Party by Jody Chicago https://hyperallergic . c o m / 4 5 5 5 7 2 / ju d y- c h i c ago -r e s p o nds-to - cri ticisms-about-the-dinner-party/ [3] https://www.brooklynmuseum.org/exhibitions/ dinner_party
F05
FEED
[Dine] Flesh/Atmosphere
Judy Chicago is a feminist artist who used the dinner party as a mean of celebrating femininity. She wanted to criticize gender discrimination with her work. She designed a unique individual plate setting for 39 women. the main goal was to show the great artwork that women have been doing for decades but never being given enough credit. This installation can translate into a message that she wanted to give out to the word.[3]
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Dinner Party by Marina Abramović https://www.bizbash.com/ style-decor/event-design/ media-gallery/13336602/ event-themes [3] https://www. bizbash.com/style-decor/event-design/ media-gallery/13478416/ at-moca-gala-artist-marina-abramovic-has-livecenterpieces-stare-downdinner-guests
Flesh
FEED
[Dine]
F06
Marina Abramovich is an Avant-Garde artist. Her pieces have a close relationship with the body, and she intends to explore art with the human body. In this project, she designed a dinner party with human heads as centerpieces that were allowed to interact with people which is a concept of panopticon (observer becomes observed). in her work, she wanted to convey some messages through this event however, she was not blunt with her criticism. she was gently trying to give out various messages importantly about social class. “Abramović wanted the evening to feel like an experiment,” Cappelletti she asked everyone to wear a lab coat over their clothes and although everyone was dressed in expensive clothing they participated in this experience. Her main goal was to break the hierarchy that is seen through the materiality of our outfits. She wanted to create an intimated experience that everyone to feel like themselves.[3]
14
S/H/O/O/K: The Edible Earthquake by Tony Banuelos Ban-Jo,Peter Culley, and Jason Keller
https://losangeleseatsitself. com/event/northridge-edible-earthquake/ [5] https://losangeleseatsitself.com/
Flesh/Atmosphere
FEED
[Dine]
F07
“As food has become the aesthetic experience of choice, cities are increasingly seen through the lens of edible itineraries” S/H/O/O/K: The Edible Earthquake is one of the themes of Los Angeles eats itself. Every year they create a new experience of sharing food in various situations and they treat this social experience as a dinner theatre. In this project, they used food as a great reason to bring people together in a natural disaster. This theme was base on the North-ridge earthquake and how people would react to eating food after a natural disaster. of course, it becomes all about survival however in this project they aim to make this experience more than just a survival instinct and more about helping and comforting each other. “temple as extraneous site of worship”. [5]
15
Flesh/Atmosphere
FEED
[Dine]
https://losangeleseatsitself. com/event/northridge-edible-earthquake/
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Indigestion by Diller Scofidio + Renfro
https://dsrny.com/project/ indigestion [6] https://dsrny.com/project/ indigestion
F08
Flesh
FEED
[Dine]
Indigestion is an interactive video and virtual environment. the dining scene is projected on the table which is actually the screen and it is only showing the hand of two people. They created the scene of a dinner party virtually and use this environment to pull out other issues from it. Therefore, the main goal is not bout serving or having actual food it is just the idea of a dinner party to talk about gender, class, and technology. They emphasized that even by looking at the hands, sleeves and nails of the virtual people many assumptions about their personalities will be made which shows how appearance can convey different messages. [6]
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Flesh
FEED
[Dine]
https://dsrny.com/project/ indigestion
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Hussein Chalayan
h tt p s : / / w w w.cu r b e d . com/2018/11/26/18113290/ design-architecture-archigram-book-interview
Garments/Atmosphere
SARTORIAL
[Fashion]
S02
19
Each object gives an identity to space. For example, a table in all spaces conveys a certain message, which is there will be a seated experience happening in this environment. However, even without any chairs around it, the table itself is powerful enough to give us that impression. Hussein Chalayan’s project is a great example showing a strong connection between a spatial experience, clothing system and objects. This project shows how transformative and mobile objects have a direct relationship with the function of a space. when the objects are taken away from the living room, its identity is taken away. Therefore, it is not a living room anymore it is just an empty space.
Meat Dress by Diller Scofidio + Renfro
https://dsrny.com/project/ meat-dress
Garments/Flesh
SARTORIAL
[Fashion]
S03
The Meat Dress is a project done by Diller Scofidio. Various assumptions have been made about the meat dress. Using raw animal flesh as clothing is wild however, it is utterly what we are doing. We kill animals to use their flesh as food and clothing. The meat dress was unbelievably controversial when it was released because the statement that it was trying to make was not clear and it was left open-ended to public assumption. This dress can be translated as garments of flesh. Although the dress itself is simple, the material has completely given it a new identity.
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Upstairs, Downstairs https://www.updown.org.uk/ thehouse/house2.htm
Atmosphere/Garments
DICTORIAL
D01
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A precepted meal can be served in a Victorian house. In this house, two floors are dedicated to hosting a dinner party. Servants would dress up the table in advance and put on special outfits to serve the meal upstairs. After they are done with the party, they were allowed to have their own meal downstairs, which shows how class-differentiation was dominating. Therefore, an interesting comparison can be identified between a Victorian house and THE CUSHICLE AND SUITALOON in terms of the space dedicated to a dining room. It simply refers to the idea of the minimum required space vs a spacious environment. But do we want the future architecture to dictate our lifestyle? The Victorian house dictated how we should gather around to have a meal.
Archigram by Micheal Webb https://www.curbed. com/2018/11/26/18113290/ design-architecture-archigram-book-interview
Atmosphere/Garments
DICTORIAL
[Architecture]
D02
Human beings are addicted to change. We are interested in evolving and progress rather than a quotidian life. Also, humans by nature are social species. However, our living situation has changed. Cities are getting condensed every day; therefore, the dedicated space to each individual is shrinking. Consequently, our future way of dwellings might become just a personal space that is designed in a way to meet our needs but one that can offer the occupants mobility and transformation. CUSHICLE AND SUITALOON is a backpack that can turn into a movable dwelling that can fit all the space necessary for daily life. This backpack is similar to an Haute Couture outfit that is basically tailored to the body of each occupant. Even the bone structure is inspired by the human spine. So, in the near future, we can easily sew our houses.
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Dine in the Sky
://www.orangesmile.com/extreme/en/exotic-restaraunts/ dinner-in-the-sky.htm
D03
Atmosphere/Flesh
DICTORIAL
[Architecture]
Dinner in the sky creates an aerial-based dinner suspended experience that shows how elevation can play a role in creating this environment. But what are the implications of a suspended dinner party? what is the role of the floor, wall, and ceiling? This is literally the next level of the upstairs dining room. The experience will be more private and intimate. occupying the air can give us more space on the ground therefore it is all about spatial economies which is the best efficient way to occupy the space while creating novel environments.
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Withdrawing Room by Diller + Scofidio
Atmosphere/Flesh
DICTORIAL
[Architecture]
https://vault.cca.edu/items/ e0e83301-cb2b-4013-b5b613dc906f747c/1/
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Economy of Space in the Lounge Hall http://poulwebb.blogspot. com/2015/12/w-heath-robinson-part-19.htm-
D04 Atmosphere/Garments
DICTORIAL
Spatial economies: occupying the space as efficiently as possible. designing a space with multiple layers and transforming the environment by adding a new layer. This could be considered a dual space where the function changes based on the need of the occupants. not only it is about fitting multiple environments into one space but also it is about the role of applying different levels and mobility. exploring circulation in a vertical direction and create more untouchable spaces.
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Space Economy at a Wedding. From the work by William Heath Robinson
Atmosphere/Garmenst
DICTORIAL
[Architecture]
http://www.merlinprints.com. au/an-ideal-home-spaceeconomy-at-a-wedding.from-the
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Tailoring Factory
https://www.updown.org.uk/ thehouse/house2.htm
D05 Atmosphere/Garments
DICTORIAL
[Architecture]
A dinner party in a tailoring factory. this dinner party could have a special theme which is breaking the social norms and pushing the limits. This is a pace where people have to work intensively which can be considered as a live-work situation. Since they are in the factory for most of the day and it could feel like a home for them. This dinner party is a short term experience where people are not being separated based on their class and gender.
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Badpress by Diller+Scofidio
Atmosphere/Garmenst
DICTORIAL
[Architecture]
https://dsrny.com/project/ bad-press
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[7] Guy Debord, Society of Spectacle, (Bread and Circuses Publishing, 2012.)
This research has concluded that consumerism has extensively impacted the architecture, food and fashion industry. In other words, modern society creates cycle that has changed the initial porous of shelter, food and clothing from necessity to luxury. As Guy Debord says: in this cycle people develop need which superficially develop more needs. [7] The needs will grow up to a point where it becomes a hunger that we have to feed. This hunger is an image not the reality.
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This thesis questions the way modernism produces the final product and reintroduces transparency as a mean to create image that is more than just a DISPLAY.
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THE VITRINE 31
C01
The vitrine demonstrates the distance that exists between the production process and consumption. The process that is hidden and not exposed which supports the display. The drawing attempts to create visibility and increase transparency and bring the process into the display.
THE SKINNING
C02
The Skinning focuses on how sanitizing causes the process of production to be invisible. The standard codes which have to be followed in the buildings creates boundaries and separates the spaces.
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THE LABOR 33
C03
The labor shows the working class that are heavily involved in the process of production. Production is extensively dependent on child labor and women labor.
THE FEED
C04
The Feed is a hypothetical scene where shows all the boundaries being broken. This is the final scene when the process of production has come to display.
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PROPOSAL PROJECT
FARM TO TABLE FASHION HOUSE
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D01
The fashion house challenges the autonomy of our most primitive acts while calling out the human’s brutal consumption habits. Humans being god’s masterpieces, have always taken other species for granted and the most innocent form of this action is using animals for food and clothing since it is believed that our survival is dependent on them. The [farm to table] fashion House engages acts of architectural applications to dictate a new narrative for a dinner party. This house holds various architectural programs that might not seem relevant in a traditional way. Ones that cater to production such as a farm, a slaughterhouse and a tailoring factory are placed within proximity, focusing on “display”. These acts culminate in the vitrine; a space that hosts the dinner spectacle. The vitrine reimagines the act of dining in a novel spatial and programmatic stack., the vitrine and its basic function are pushed within its glass box to host the final product, the culmination of our various consumptive habits.
PROGRAM Analysis
Farm
Slaughterhouse
Standing Stock
Tailoring Factory
Transfer
DICTORIAL
Cooling Storage
Grain Storage
Mechanical Equipment
The Vitrine
Kitchen
Program Analysis FEED
SARTORIAL
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1
1
39
PLAN
40
1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
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Axonometric Section
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1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
MENU
1
FEED SALMON
Fresh Salmon served with asparagus and mashed wheat $50
BEEF
1 Pound of Ground Beef cooked with wheat creme $80
TURKEY
Oven-Roasted Turkey breast with wheatgrass dressing $60
COOPERHEAD SNAKE
Fresh Beef served in Cooperhead skin plate $120
LAMB
Grilled lamb served with wheat milk sauce $50
BACON
Fresh bacon soup served in wholemeal bread $30 1
1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
D02
VITRINE
The central event that this building hosts is a dinner party which will take place in the Vitrine. The Vitrine sticks in the opposition to the machinic quality of the building. It is about luxury, it is about extravagance, it is about spectacle. The three main occupants of this building are Guests, workers and the goods. the Guests are attending the dinner spectacle. The workers are working in the building who are attending the dinner party as audiences which focuses on the idea of being watched in the modern society. The food which provides the feed.
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The table slides out for the guests to take their seat
EXPLODED AXON
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13 guests who are attending the dinner party
EXPLODED AXON OF THE VITRINE
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1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
61
Based on a Gothic pattern and formal place setting
TABLE’S TOPOGRAPHY
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EXPLODED AXON OF THE COMPONENTS ON TABLE
D03
TABLE
The table itself is associates with the luxuriousness of the vitrine. The materials such as the glittery tablecloth the golden utensils are meticulously designed for this event. The topography of the table is based on a gothic pattern that has been defined based on a formal place setting. Although this is the ultimate place setting for a single guest, there are optional objects that could substitute the currents components. Those can be changed according to the guest’s taste and the event.
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OPTIONAL OBJECTS
Last Supper Social distancing version
https://www.wsj.com/articles/a-holy-week-amid-a-national-tribulation-11586474599
How wine becomes modern by Diller+Scofidio https://dsrny.com/project/ how-wine-became-modern
D04
The main precedent for this dinner party is Last Supper based on that 13 guests are attending the dinner party and sitting on one side of the table. the workers who are sitting on the other side of the table are referring to who is looking at the painting. Many artists have used last supper as a reference since it is indicating a strong atmosphere with various qualities. Projects like Last Supper Social distancing version and When wine becomes modern. in some projects only the concept is used while others use the space and atmosphere that exists in the painting. It is demonstrating the three categories that this thesis was built around therefore choreograph the final scene-based o last supper allowed an interchange bond between the categories. 65
[8] Guy Debord, Society of Spectacle, (Bread and Circuses Publishing, 2012.)
THE SPECTACLE
in the final scene not only, the guests are consuming the food but also, they are being consumed by the space and workers. Their image is being consumed by the world. The guests depend on the feed whether it is food or in addition to the literal meaning of the feed which is the digital feed since some of the have become famous because of the way the presented their image through social media. “The spectacle is not a collection of images it is a social relation mediated between people by image. Without social envy and glamour modern society will not exist.� Guy Debord [8] The scene emphasizes on the flatness of the image and the boundaries being broken. Therefore, it is raising awareness to break the distance between the producer and consumer.
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1
Atmosphere/Garments
DICTORIAL
1
Atmosphere/Garments
DICTORIAL
[Architecture]
Bibliography Craik, Jennifer. Fashion: the key concepts. Bloomsbury Academic, 2009. Crane, Diana. Fashion and its social agendas: Class, gender, and identity in clothing. University of Chicago Press, 2012. Crewe, Louise. “Wear: where? The convergent geographies of architecture and fashion.” Environment and Planning A 42, no. 9 2010. Davis, Fred. Fashion, culture, and identity. University of Chicago Press, 2013. Debord, Guy. Society of the Spectacle. Bread and Circuses Publishing, 2012. De Monchaux, Nicholas. Spacesuit: Fashioning Apollo. MIT press, 2011. Diller, Elizabeth, Ricardo Scofidio, and Georges Teyssot. “Flesh Architectural Probes.” (1994). Gill, Alison. “Deconstruction fashion: The making of unfinished, decomposing and re-assembled clothes.” In Fashion Theory. Routledge, 2017. Loschek, Ingrid. When clothes become fashion: Design and innovation systems. (Berg, 2009). Patton, Phil, Virginia Postrel, and Valerie Steele. Glamour: Fashion, Industrial Design, Architecture. Yale University Press, 2004. Quinn, Bradley. “The fashion of architecture.” (2003). Robertson, Andie, “Skin and bones: parallel practices in fashion and architecture.” Textile 7, no. 1, 2009. Sembach, Klaus-Jürgen. Style 1930; elegance and sophistication in architecture, design, fashion, graphics, and photography. Universe Books, 1972. Simmel, Georg. “Fashion.” American journal of sociology 62, no. 6 (1957): 541-558. Urbach, Henry. “Closets, clothes, disclosure.” Assemblage 30 1996. Watt, Gary. Dress, law and naked truth: A cultural study of fashion and form. A&C Black, 2013. Wigley, Mark. White walls, designer dresses: the fashioning of modern architecture. Massachusetts: MIT Press, 2001.
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