STUDY OF A FASHION

HUB.

NAME: AAYUSHI JINGAR

ID.NO: 14-ARN-04
TOPIC: STUDY OF A FASHION HUB

WHAT IS A FASHION HUB?

Fashion hub is a meeting point for all the major activities related to fashion.
It is an amalgamation of retail spaces, exhibition area, museum, library, conference
room, seminar rooms, office, production units, ramp show areas, food court ,
boarding facilities etc.

AIM: to create interactive, creative and inspiring platforms for various professionals pertaining to
fashion industry and linking architecture and fashion.

OBJECTIVE
• To develop a fashion hub that has mix of fashion, buisness, entertain, culture and leisure and
powerful identity .
• To develop a space that is synonymous to fashion,a statement of time.
• To provide high end for indian fashion and to intregrate its various aspects.
• To incoporate spaces that will help that will nuture and help the upcoming fashion designers
providing them with marketing support

SCOPE

• India started emerging as a major manufacturer of textile till 2000’s and later took other dual role
of consumer and manufacturer. therefore the fashion hub will play a pivotal role in the years
to come and also enhance the current developments in the industry.
• the Indian fashion industry is an important vein connecting India with other countries.
• India produces very rare and authentic fashion that is unique to the land, owing to this.
• Indian fashion industry is very easily bought and sold in other countries in the name of popular
fashion also , it is very important to make people aware about the process that is involved in
the production of the garments or the accessories we wear.
 METHODOLOGY:

• To achieve study of research with books and journals which talk about deployed structures.
• To find case studies and analysis on the structures through internet.
• The study will also have discussions with faculties, architects, structure and engineers.

WHY A FASHION HUB?

• Due to globalisation India has become one of the fastest growing countries in all aspects.
• The Indian film industry and the fashion industry are the most important veins connecting India
with the other countries.
• India provides very rare and authentic fashion that is unique to the land, owing to this, it is
important that the Indian designers are paid for their work in an equivalent manner.
• Indian fashion is very easily bought and old in the other countries in the name of popular
fashion, without actually showing the origin of the stuff.
• also, it is very important to make the people aware about the process that involves in the
production of the garments they put or the accessories they wear.
• hence, the project is an attempt to make people aware about the Indian fashion and the
process, and produce respect for the same. And to make India emerge as a major hub for
international fashion events.

ARCHITECTURAL CHALLENGE:

A number of shopping malls, garment industries, research and development centers

for the textile industries somehow fail to provide an architectural Icon, which the
fashion industry can relate to and Identify with as a symbol of their profession. The
challenge would be to create a space and buildings with which would keep the
glamorous image of the fashion would. “But at no cost would ignore the functional
aspect of it. The idea would be to explore the kind of setup a place like a fashion
hub deserves. The building has to be symbolic of the professional stream they are
catering to Which is the very forward and forever beaming with new ideas.
 CASE STUDY

PEARL ACADEMY OF FASHION ,JAIPUR

• Architects -Morphogenesis
• Location -Jaipur, Rajasthan, India
• AreA -11745.0 m2
• Project Year- 2008

• The Pearl Academy of Fashion, Jaipur is a campus which by virtue of its design is geared
toward creating an environmentally responsive passive habitat. The institute creates
interactive spaces for a highly creative student body to work in multifunctional zones which
blend the indoors with the outdoors seamlessly. The radical architecture of the institute
emerges from a fusion of the rich traditional building knowledge bank and cutting edge
Contemporary architecture.
 The institute is located in a typical hot, dry, desert type climate on the
outskirts of Jaipur in the soulless Kukas industrial area, about 20 kilometers from the famous
walled city. It ranks third in the top 10 fashion design institutes in India, and its design needed to
represent the seriousness of its academic orientation through its formal geometry. Given the
nature of an institution, budgetary constraints on the project necessitated the use of cost effective
design solutions to keep within the price points set by the client and yet be able to achieve the
desired functionality and effect. The adverse climate makes it a challenge to control the micro
climate within the project thus incorporating various passive climate control methods becomes a
necessity and also reduces the dependence on mechanical environmental control measures which
are resource hungry. The architecture of the academy needed to be a confluence of modern
adaptations of traditional Indo-Islamic architectural elements and passive cooling strategies
prevalent in the hot-dry desert climate of Rajasthan such as open courtyards, water body, a step-
well or baoli and jaalis (perforated stone screen). All these elements have been derived from their
historic usages, but will manifest themselves through the built form and become an intrinsic part of
the daily life of the design student.
The building is protected from the environment by a double skin which is derived from a traditional
building element called the ‘Jaali’ which is prevalent in Rajasthani architecture. The double skin
acts as a thermal buffer between the building and the surroundings. The density of the perforated
outer skin has been derived using computational shadow analysis based on orientation of the
façades. The outer skin sits 4 feet away from the building and reduces the direct heat gain through
fenestrations. Drip channels running along the inner face of the Jaali allow for passive downdraft
evaporative cooling, thus reducing the incident wind temperature.

The scheme relies on self shading sliver courts to control the temperatures of internal spaces and
open stepped wells while allowing for sufficient day lighting inside studios and class rooms. The
entire building is raised above the ground and a scooped out under belly forms a natural thermal
sink which is cooled by water bodies through evaporative cooling. This under belly which is
thermally banked on all sides serves as a large student recreation and exhibition zone and forms
the anchor for the entire project. During the night when the desert temperature drops this floor
slowly dissipates the heat to the surroundings keeping the area thermally comfortable. This time
lag suits the staggered functioning of the institute.
 The materials for construction are a mix of local stone, steel, glass
and concrete chosen keeping in mind the climatic needs of the region while retaining the
progressive design intent. Energy efficiency is a prime concern and the institute is 100% self
sufficient in terms of captive power and water supply and promotes rain water harvesting and
waste water re-cycling through the use of a sewage treatment plant. Besides having become a
very successful model for cost effective passive architecture in desert regions the design and
facilities of the campus complement the ideology of the Pearl Academy of Fashion – a cutting
edge design institute with a sustainable approach. The Pearl Academy of Fashion is an exemplar
of an inclusive architecture which intends to accommodate all the heritage values while positioning
it within the contemporary cultural and architectural paradigm.
 KEY FEATURES

 The pearl academy of fashion, Jaipur is designed as a low cost, environmentally sensitive
campus, first of its kind in India.
 The design reinterprets two traditional Rajasthani architectural mofiys: the stone screen
known as the “jaali” and the open-to-sky courtyard.
 A double skin acts as a thermal buffer between the building and the surrounding.The entire
building is raised above the ground, creating sunken courtyards reminiscent
ofmedievalstepped wells.
 CASE STUDY

Skin + Bones: Parallel Practices In Fashion And Architecture

Skin + Bones explores the parallels between the “skin” – or exterior surface – and the “bones” – or
structural framework – of both clothing and buildings of the past 25 years.

A dramatic tensile canopy, beginning at the low wall by the sidewalk, stretches up to attach to the
permanent awning covering ARCO Court, then swoops down to highlight the museum’s entrance.

Since the 1980s, a growing number of avant-garde designers have come to approach garments as
architectonic constructions, while many in the field of architecture have boldly embraced new
forms and materials. These developments are due in part to numerous technological advances
that have revolutionized both the design and construction of buildings and made techniques like
pleating, seaming, folding, and draping part of the architectural vocabulary.

I consider clothing not only as a metaphor for shelter and social space, but mainly as a case study
for architectural cladding systems.
/Elena Manferdini
High-fashion brands that commision architects expand the possibliliies for new architecture. Are
these not the new roles to be expected from combining business, contemporary art, and
architecture?
/Toyo Ito

Forty-five of today’s most creative fashion designers and architects are represented by a wide
range of more than 300 objects: from one-of-a-kind haute couture gowns to intricate architectural
models and special full-scale installations.
“Creative Process” highlights the parallels in the working methods of architect Frank Gehry and
fashion designer Narciso Rodriguez.

Architecture has been a constant source of inspiration for my work throughout my career. An
architect’s thought process, his choice of materials, the combination of these materials to create a
structure, and the practicality and function of a structure are all things that I try to incorporate in my
own work.
/Narciso Rodriguez

“Structural Skin” shows buildings and clothing in which the surface and structure become one.
“Constructing Volume” highlights garments and building projects that use ingenious methods and
construction techniques to create unusual, sculptural volumes.
With the recent A-POC lines, Miyake and Fujiwara explored the application of A-POC to furniture
design. Trampoline, a knit, and Gemini, a woven, work both as clothing and as chair covers for
Arad Ripple Chair (2005).

Like Junya Watanabe’s Soiré (or techno Couture) collection, autumn-winter 2000-2001, designer
Tokujin Yoshioka’s ingenious paper Honeypop Chair (2001) makes use of cellular honeycomb
construction, that enables it to be shipped flat and expanded into it’s shapely chair form when
unfolded.

The enormous “Tectonic Strategies” gallery, which addresses seven cross-disciplinary

methodologies: “Wrapping,” “Folding,” “Draping,” Pleating,” “Printing,” “Suspension,” and
“Cantilever,” reveals how fashion designers and architects employ one or more of these cross-
disciplinary methods.
The exhibition is curated by MOCA Architecture and Design Curator Brooke Hodge. The
installation is designed by architects Calvin Tsao and Zack McKown.

A full-color catalog with written entries on each of the individual architects and fashion designers in
the exhibition, as well as over 500 illustrations is co-published by the Museum of Contemporary
Art, Los Angeles, and Thames & Hudson.