SYNOPSIS FOR

ARCHITECTURAL THESIS

In

FASHIONARIUM

Submitted by

SHAHIN SHEHIR KV (730611251041)

Of

BACHELOR OF ARCHITECTURE
In

EXCEL COLLEGE OF ARCHITECTURE AND PLANNING

ANNA UNIVERSITY

CHENNAI 600 025

OCTOBER 2015
FASHIONARIUM

-ARCHITECTURE MEETS FASHION-

INTRODUCTION:
The intersections between architecture and fashion are numerous. The two share a
common vocabulary, often referencing the other in descriptive language, as in the terms
“curtain wall” and “structural jacket.” This shared vocabulary stems from the equal
importance that both, as designed three-dimensional objects, place on proportion,
geometry, and mathematics, as well as an understanding of mass and space. Since
structures and clothing must be fabricated, there is also a shared interest in construction
and materials. As the producers of the constructions in which we conduct our daily
lives, architecture and fashion define and give form to the spaces of our environments.

Architecture and Fashion has been constant in nothing but change. They both work on
the same principle as one of the basic necessity for mankind simply called as shelter and
clothing. They can be designed to be most creative, extra vacant, or can be made simple
change in material and design. The intersection of both to house one another is the
space designed to complement both architecture and fashion

Centre of all fashion activities, which are zooming in all sense where fashion speaks a
different language. It makes an identity for itself, bringing out various fashion houses,
designers, making room for other international brands, giving way to gallery spaces,
hosting fashion shows

JUSTIFICATION:

Beyond organizing space, architecture and fashion provide it with visual interest,
drawing upon the same inspirations and each other to establish their aesthetic
characteristics. The two fields are influenced by the same “aesthetic tendencies,
ideological and theoretical foundations, and technological innovations,” often resulting
in stylistic overlap. The extent to which this overlap occurs, while at times contested, is
vastly underappreciated.

Their similarities lie with the fact that they both “create space and volume” from
materials. Clothing provides the body with a wearable shelter immediately to the body
similarly to architecture providing a framework of shelter to support one within an
environment using “panels of fabric that become roofs and walls.”

AIM:
To develop a Fashionarium which merge Fashion & Architecture that has a mix of
business, entertainment, culture and leisure with a unique and powerful identity that
ought to be internationally recognized.

OBJECTIVES:
 To develop a space that is synonymous to fashion, a statement of time.
 To promote brands in India to gain global recognition.
 To successfully provide a permanent high end hub for Indian fashion and to
integrate its various aspects.
 Provide a platform to host fashion shows, photo shoots and other related events.
 To experience fashion from the beginning of time to infinity.
 To also provide properly zoned spaces for showcasing Delhi Street fashion.
 To provide recreational spaces to attract tourists & public, this will in turn act as
a revenue generator.
 To understand the importance of architecture in creating a space to express,
explore , experience and enjoy fashion.

SCOPE:
 India started emerging as a major manufacturer of textiles till 2000’s and later
on took up the role of consumer and manufacturer. Therefore the Fashionarium
will play a pivotal role in the years to come and also enhance the current
developments in the industry.
 Offers experience for both the public and private realm of the fashion industry.
For the public: the opportunity to see and feel the clothes on the runways. For
the private: the designers can work, show, and display all in one building.
 When one thinks of something providing the function of shelter and protection
the first reaction is to focus upon a structure however there is a clear symbiotic
relationship between fashion and architecture providing both primary functions
of shelter and protection.
 Together architecture and fashion dictate our movement through the world
around us. Architecture appears to have a larger impact in defining space, but
this perception is based on scale. The space immediately surrounding the body is
created and altered by fashion. It is this space that architecture must contain.
METHODOLOGY:
 The first step is to conduct case studies apt for the project and identify the
requirements of the Fashionarium. The next step is to draw inferences from the
case studies and literature review on the subject and also outline the nature of
Indian fashion industry, life and career of fashion designers and models.
 Next is to develop a deep understanding of how fashion shows works and to
incorporate it in the design program. Then move on to studying 3 major fashion
hubs in Paris, Japan and London to understand the wholesome functioning of the
project.
 The next step would be site analysis and the impact of the project in and around
the site. Followed by formulating the design guidelines and develop a concept
for the project.

CONCLUSION:
The project once it comes up will host the higher profile fashion weeks and shows.
Also, since the hub has mix of all aspects, this unique Indian fashion-entertainment and
business will lift the face of Delhi as the Fashion capital of India. It will also be a big
leap in giving fashion respectability and status of an industry.

It will also provide great exposure to the upcoming designers. Promoting fashion
journalism is another aspect of the project.

DESIGN COMPONENTS
 International flagship stores and display spaces
 Runway ramps for fashion weeks and other fashion shows and associated make
up rooms
 A permanent exhibition space- a fashion museum
 An auditorium to hold conventions
 A business Centre with meeting rooms
 A fashion library to promote fashion journalism
 Lounges
 Night clubs, private party spaces and dance floor
 Restaurants
 Shopping streets to reflect Delhi street fashion
 Open air digital theatre
 Studios for photo shoots
 Private galleries
 Designer studios, stores and offices
  Product launching centres
 Luxury stays for models and designers
 Administration offices

CASE STUDIES:

Store, restaurants and studios:

UB city, Bangalore

Rohit bal store, New Delhi

Rohit Mittal studio, New Delhi

Exhibition areas, convention centre, museum, runway and luxury stay:

Museum of Indian textiles: Sanskriti Kendra, New Delhi

India habitat Centre

For common/ public area:

DLF emporio, New Delhi

Flea market, Select city walk, Saket

Light house 13, New Delhi

Fashion shows:

Bangalore, Cochin

SPECIAL TOPIC:

 Colour in Architecture
LITERATURE STUDY:

Vertical Omotesando
Tokyo, Japan

Omotesando Street is recognised nowadays as a powerhouse in the world of fashion. Its

particular urban fabric is famous for its conglomeration of iconic, although individual
luxurious boutiques

As a programmatic catalyst for its context, the fashion museum is envisioned as a

vertical version of Omotesando Street; a Vertical Omotesando. In the 100 meter-high
museum tower, the avenue is reinterpreted as a network of shuttling elevators,
platforms, escalators and stairs that connect a series of horizontally projected volumes.
Acting as floating boutiques, the enclosed nature of those spaces stimulate the
environment of exclusivity typical of high fashion and design. In them the main
programs are displayed; fashion galleries, administrative offices, a runway area and a
skybar on the highest level.

The moving catwalk receives the people in the main lobby and distributes them through
the floating galleries, reaching on its last levels the runway and skybar which overlook
the city .Throughout the exhibition spaces, the public acquires a protagonist role as the
exhibitions become fully complete only when The Moving Catwalk levels off inside
these spaces..

On the runway floor the moving catwalk becomes not only part of the seating area, but
also acts as a visual connection with the backstage rooms of the runway, opening a
domain of fashion usually inaccessible to visitors.

In Vertical Omotesando, by means of a circulation network connecting the floating

programs a dynamic relationship between fashion and the public is created, enhancing
even farther the participation of the visitors. In this fashion museum for the 21st
century, the experience of the visitor moving through the building becomes the fashion
show; a contemporary urban spectacle.