東華大學圖書館 |

Outside-In and Inside-Out : = In-Between Spaces as Social and Spatial Connectors.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Outside-In and Inside-Out :/
其他題名:	In-Between Spaces as Social and Spatial Connectors.
作者:	Mandalay, Anashwara.
面頁冊數:	1 online resource (86 pages)
附註:	Source: Masters Abstracts International, Volume: 83-01.
Contained By:	Masters Abstracts International83-01.
標題:	Design. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28543333click for full text (PQDT)
ISBN:	9798516091902

Outside-In and Inside-Out : = In-Between Spaces as Social and Spatial Connectors.
Mandalay, Anashwara.

Outside-In and Inside-Out :In-Between Spaces as Social and Spatial Connectors. - 1 online resource (86 pages)

Source: Masters Abstracts International, Volume: 83-01.

Thesis (M.F.A.)--Pratt Institute, 2021.

Includes bibliographical references

Embedded within the history and identity of the fashion industry is a tension between the temporal, fleeting, and virtual nature of its contemporary practices and the deeply rooted tradition, craft, and social value of its cultural spaces of production. The shift to fully digitalized workflows from traditional design and manufacturing processes has had an effect on the quality and value of the product,1and has resulted in a loss of connection to its craft. The process of fashion production and retail is fragmented, dispersed among disparate locations, or in-between the real and the virtual. Retail stores no longer need storefronts, the majority of manufacturing is exported, and centers of distribution are separated from spaces of production. This thesis argues that physical proximity and awareness of the social and cultural value of the traditional craft is integral to the resiliency of the fashion industry and proposes activating interstitial space within the historic Garment Center of New York to foster collaboration and enable awareness of its place identity. The Garment Center in New York has a rich history of fashion production, from the early 1920s to the 1960s, with approximately90% of the garments made in the USA coming out of its studios, factories, and warehouses. While the Garment Center continues to exist as a historic space of production in NYC, less than 3% of US garment production is sourced out of its 6 block radius today.2 The displacement of goods, culture, and manufacturing from their origins in the contemporary fashion industry has disrupted the community that exists around the Garment Center and has also reduced the environmental and social sustainability of the industry.3At risk, is the loss of knowledge, loss of skilled labor, and loss of a sense of place that is an integral part of the history of fashion in New York City. The Garment District now occupies a liminal space in the industry, caught between its past and present identities, its virtual and physical outlets, and its shifting social and cultural values. Synonymous to the in-between, or the interstice is a spatial condition that suggests a middle location between two contrasting programs.4 Interstitiality facilitates proximity and has been written about at various scales from urban to interior design. In urban design, it is viewed as a space of opportunity and collaboration, whereas, in the interior, it is viewed as an ambiguous spatial connector. This project seeks to build upon the in-between nature of the Garment District by reimagining its interstitial spaces to foster proximity between public and private space, front-end and back-end programs, and blur the boundaries that exist between the different stages of fashion production. The network of satellite programs installed in urban interstices intends to embed the culture of making into the social fabric of the city, while facilitating proximity between the public, the garment industry, and its culture, as a way to increase awareness. The satellite programs connect back to the main hub located within the garment district. Programmatically, the main hub is a fashion incubator, that serves as an experimental platform to explore ethical and sustainable fashion design, while paying homage to the traditional craft. It is imagined as a microcosm of the city, as well as the historical landscape of the garment center, and is designed as a porous interior-exterior condition. The existing programs adjacent to site overlap with programs of the incubator, creating a series of interstitial hybridized programs. Physically and programmatically connecting the adjacent programs to the site helps ground the design in its context, while activating relationships and opportunities for collaboration. Historically, the streetscape of the Garment District was the centre of activity, being the space of circulation, of transfer of goods, and of commerce. The sidewalk remains the most active interstitial condition in the urban landscape. The streetscape from the exterior is internalized (Figure 1.1), to weave through different programs, while connecting, activating, and facilitating proximities. This interstitial artery of the building morphs in form and atmosphere as it gains proximity to different programs. The programs that line the interior street form storefront conditions that are activated and deactivated at different times of the day, mirroring the dynamic interaction that occurs in the exterior. These interstitial hybridized moments aim to create a socio-culturally active interior-exterior space that celebrates the history of the Garment district, traditional craft, and culture of making. They are seen as a series of vignettes, activated to facilitate collaboration, awareness, and create a deep-rooted sense of place to combat the displacement of an industry from within.Footnotes:¹ "Mass Production in the Fashion Industry: How Quantity Outweighs Quality and Leads to Waste and Financial Loss - 3D Insider: Optitex Blog," 3D Insider | Optitex Blog, May 1, 2020,https://3dinsider.optitex.com/fashion-quantity-outweighs-quality/.² Staff Reporter, "NYC's Garment District, Past and Future," Bisnow, March 9, 2017, https://www.bisnow.com/new-york/news/neighborhood/nycs-garment-district-past-and-future-48489.³ Maffucci, Tessa. "Design/Proximity." Advocacy in Design Conference - Engagement, Commitment, Action, presented November 2020.4 NG, Veronica & Lim, Pay Jia. "Tracing Liminality: A Multidisciplinary Spatial Construct" Journal of Engineering and Architecture. 2018. 6(1). pp76-90.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798516091902Subjects--Topical Terms:

518875
Design.
Subjects--Index Terms:

FashionIndex Terms--Genre/Form:

542853
Electronic books.

Outside-In and Inside-Out : = In-Between Spaces as Social and Spatial Connectors.
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This thesis argues that physical proximity and awareness of the social and cultural value of the traditional craft is integral to the resiliency of the fashion industry and proposes activating interstitial space within the historic Garment Center of New York to foster collaboration and enable awareness of its place identity. The Garment Center in New York has a rich history of fashion production, from the early 1920s to the 1960s, with approximately90% of the garments made in the USA coming out of its studios, factories, and warehouses. While the Garment Center continues to exist as a historic space of production in NYC, less than 3% of US garment production is sourced out of its 6 block radius today.2 The displacement of goods, culture, and manufacturing from their origins in the contemporary fashion industry has disrupted the community that exists around the Garment Center and has also reduced the environmental and social sustainability of the industry.3At risk, is the loss of knowledge, loss of skilled labor, and loss of a sense of place that is an integral part of the history of fashion in New York City. The Garment District now occupies a liminal space in the industry, caught between its past and present identities, its virtual and physical outlets, and its shifting social and cultural values. Synonymous to the in-between, or the interstice is a spatial condition that suggests a middle location between two contrasting programs.4 Interstitiality facilitates proximity and has been written about at various scales from urban to interior design. In urban design, it is viewed as a space of opportunity and collaboration, whereas, in the interior, it is viewed as an ambiguous spatial connector. This project seeks to build upon the in-between nature of the Garment District by reimagining its interstitial spaces to foster proximity between public and private space, front-end and back-end programs, and blur the boundaries that exist between the different stages of fashion production. The network of satellite programs installed in urban interstices intends to embed the culture of making into the social fabric of the city, while facilitating proximity between the public, the garment industry, and its culture, as a way to increase awareness. The satellite programs connect back to the main hub located within the garment district. Programmatically, the main hub is a fashion incubator, that serves as an experimental platform to explore ethical and sustainable fashion design, while paying homage to the traditional craft. It is imagined as a microcosm of the city, as well as the historical landscape of the garment center, and is designed as a porous interior-exterior condition. The existing programs adjacent to site overlap with programs of the incubator, creating a series of interstitial hybridized programs. Physically and programmatically connecting the adjacent programs to the site helps ground the design in its context, while activating relationships and opportunities for collaboration. Historically, the streetscape of the Garment District was the centre of activity, being the space of circulation, of transfer of goods, and of commerce. The sidewalk remains the most active interstitial condition in the urban landscape. The streetscape from the exterior is internalized (Figure 1.1), to weave through different programs, while connecting, activating, and facilitating proximities. This interstitial artery of the building morphs in form and atmosphere as it gains proximity to different programs. The programs that line the interior street form storefront conditions that are activated and deactivated at different times of the day, mirroring the dynamic interaction that occurs in the exterior. These interstitial hybridized moments aim to create a socio-culturally active interior-exterior space that celebrates the history of the Garment district, traditional craft, and culture of making. They are seen as a series of vignettes, activated to facilitate collaboration, awareness, and create a deep-rooted sense of place to combat the displacement of an industry from within.Footnotes:¹ "Mass Production in the Fashion Industry: How Quantity Outweighs Quality and Leads to Waste and Financial Loss - 3D Insider: Optitex Blog," 3D Insider | Optitex Blog, May 1, 2020,https://3dinsider.optitex.com/fashion-quantity-outweighs-quality/.² Staff Reporter, "NYC's Garment District, Past and Future," Bisnow, March 9, 2017, https://www.bisnow.com/new-york/news/neighborhood/nycs-garment-district-past-and-future-48489.³ Maffucci, Tessa. "Design/Proximity." Advocacy in Design Conference - Engagement, Commitment, Action, presented November 2020.4 NG, Veronica & Lim, Pay Jia. "Tracing Liminality: A Multidisciplinary Spatial Construct" Journal of Engineering and Architecture. 2018. 6(1). pp76-90.
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