FASHION INSTITUTE WITH MERCHANDISING

THESIS ON

FASHION INSTITUTE WITH MERCHANDISING

Submitted
For the partial fulfillment of the requirement
For the award of the Degree of

BACHELOR OF ARCHITECTURE

By
Sakshi Agarwal

Under the Supervision/Guidance of

Ar. Keshav Kumar

May 2020

Babu Banarasi Das University,

School of Architecture, Lucknow, 226028
 CERTIFICATE

In the fulfilment of B.Arch. degree program, this is to certify that thesis entitled “Fashion
Institute with Merchandising” is the bonafide work of the student “Sakshi Agarwal” is
correct to the best of our knowledge and belief.

Ar. Keshav Kumar Ar. Mohit Kumar Agarwal

Thesis Guide Dean

Accepted

Not accepted

External Examiner
External Examiner
 ACKNOWLEDGEMENT

Behind every success there is certainly an unseen power of almighty, but an aim is eternal condition of
success which is attainable at perfection in things by those who perverse with the association of their
predecessors, teachers, family members and friends.

With great sense of gratitude I would like to pour down my owe and whole hearted gratefulness to my
esteemed guide Ar. Keshav Kumar for his precious constructive guidance, constant encouragement,
continuous inspiration, sincere criticism, his enthusiasm, valuable suggestions, authentic ideas and
generous efforts in making this work a success. From beginning to end, she always gave necessary
direction and most useful suggestion at every stage which could accomplish the desired results.

I am grateful to thesis coordinators AR. URVASHI TIWARI and AR. SHAILESH SINGH for
providing their useful comments at the various stage submissions.

It is a great pleasure for me to acknowledge and express my gratitude to my batchmates Pranav, Janhvi,
Rishabh for their support and timely providing information during the work.

Great Thanks to my colleagues for keeping good interest in embodying this work.

In the last but not the least I would like to thank GOD who gave me encouragement and strength to
accomplish the work.
 Abstract
We need houses as we need clothes,architecture stimulates
fashion,it’s like hunger and thirst –you need them both.
--Karl Lagerfeld

How may pleating, folding and layering techniques often used in fashion design to create
‘structural’ garments, be used as an approach to both ----structure and façade in a large‐
scale, architectural intervention?
This research project develops a design for a fashion institute, in a manner which acknowl-
edges the everchanging nature of clothing fashion, the façade of fashion design and how it can
not only be linked to architecture as an aesthetic principle, but with a functional and spatial
aspect of design.
The project aims not only to successfully resolve the functional, formal and technological
issues of this particular brief, but to also propose an urban and architectural design strategy
that can be applied to similar sites around India.
This approach goes beyond the aesthetic side of architecture and engages also the functional
and structural aspect of architectural design.
 Content
Chapter one- Introduction
1.1 General Overview
1.2 Project Brief
1.3 Aim & Objectives
1.4 Scope and Limitations
1.5 Methodology

Chapter Two- Design Guidelines and bye Laws 2.1

Design Brief
2.2 Authority Bye Laws

Chapter Three- Case Studies

3.1 Nift Delhi
3.2 Pearl Jaipur

Chapter Four- Literarture Study

4.1 Nanyang School of arts(Singapore)
4.2 Zero Enery Media Wall- greenPIX(Beijing)
Chapter Five Correlation of Fashion and Architecture
5.1 Fashion and Architecture
5.2 Impact of Fashion
5.3 Indian Fashion Industry
5.4 Fashion Terminologies
5.5 Inferences
5.6 Anthropometrics and Required Standards
 Content
Chapter Six- Site Analysis
6.1 About Delhi
6.2 About Climate
6.3 The Site
6.4 Culture and Fashion of Delhi
6.5 Handloom
6.6 Justification of
Site

6.7 Floor Plans

6.8 Elevations
6.9 Sections

. Bibliography
CHAPTER ONE

INTRODUCTION
1.1 General Overview

The relationship between fashion and ar- Contemporary fashion designers and ar-
hitecture is not as far fetched as one would
chitects are creating incredibly innovative
imagine. Both are based on structure, shapedesigns that are influenced by the tools,
and aesthetics. Both industries can also betricks,theory and philosophy of each other’s
susceptible to frequent changes in taste and
trade.
styles. These parallel relationships are the
starting point of Regardless of differences that may arise in
my research. fashion and architecture in size, scale and
materials, the point of origin for both fashion
According to an article in EGO Magazine design and architecture is the human body.
en-titled ‘Fashion and Architecture’, Both practices protect and shelter us, whether
considering the dialogue between modern it is at a small or larger scale.
architecture and contemporary fashion is a
popular subject in this day and age.
I propose to explore the influence of fashion on architecture through the principles of fashion
such as pleating, folding and layering,and to translate this into an architectural language.
1.2 Project Brief
The Vision
“To emerge as a centre of excellence and innovation proactively catalyzing growth of
fash-ion business through leadership in professional education with concern for
social and human values”.
The Mission
“To establish NIFT as a centre of excellence in fashion business education, a nodal agency
for benchmarking fashion education in India and apex body for training of trainees in fashion
business education”.

National Institute of Fashion Technology (NIFT) is a fashion institute in India. It was set up
in 1986 under the aegis of the Ministry of Textiles, Government of India and is an institution
of design, management and technology for the international fashion business. National
Institute of Fashion Technology plays a distinct role in bridging the young talent with the
thriving fashion and textile industry. NIFT offer a varied range of programs for interested
students and individuals who are looking to make a break in the fashion industry. The
programs in fashion designing are designed to train students with the advanced skills,
language and process of fashion design. NIFT's programs are designed to provide students a
complete skill-set right from drawing, draping, pattern making, sewing, and haute couture
along with training in production. The institution boosts of a unique culmination of both the
worlds of academia and industry training. National Institute of Fashion Design has been
equipping students for success at every level, from haut couture to ready-to-wear to mass
market.
Fig 1.0 Nift Institutes all over India
With growing demand for specialized manpower from the fashion business industry across the country, the
Institute expanded its operations by establishing six additional Campuses at Bangalore, Chennai, Gandhina-
gar, Hyderabad, Kolkata and Mumbai in collaboration with the respective State Governments during 1995-
98. Later during 2007 to 2010, eight more Campuses were established in Bhopal, Bhubaneswar, Jodhpur,
Kangra, Kannur, Patna, Raebareli and Shillong.
 Panchkula
Page No.4

1.3 Aim and Objectives 1.4 Scope and Limitation

Aim Scope
To create a world class institution building -- Design studios
for the students of fashion technology and -- Workshops& development centre
providing them with creative, interactive and -- Fashion laboratories
learning built-up forms and spaces that in- -- Fashion classrooms
timidate the uniqueness of fashion. -- Fashion library & resource centre
-- Computer and photography lab. -
Objective - Seminar and conference rooms
-- To create built-up forms and spaces -- Ramps for fashion shows
with respect to planning and design
standards. -- Retail outlets
-- To co-relate the built-forms and its -- Exhibition halls
natural surroundings. -- Party halls
-- To maintain the balance and create a -- Oat
har-mony between formal and informal -- Material sourcing centre
functions. -- Administration
-- To provide with drawing plans of entire -- Space for food courts and restaurants
complex, along with site plan, all -- Space for recreation spaces like cafeterias
building plans, their respective sections -- Space for residential complexes
along with three dimensional views. -- Parking
-- Space for hostels

Limitation
--To design accordingly to the
underling guidelines of by-laws of huda
--My design is limited to academic and
admin block only and aprox. Area of
other blocks will be provided.
--The area block of the other building blocks
will be included in site plan and view but
there designs will not be provided in my
thesis.
1.5 Methodology
Chapter Two
Design Guidelines
And
Bye Laws
2.2 Bye Laws

For Institution
Max. Permissible ground coverage above
10000 sq. M = 25%
Permissible basement for the same =upto
four levels
Permissible far = 150%
Max. Permissible height = unrestricted
Boundary wall = upto 2.4 metres

Staircase
Provided must be accessible from =30 m –
45 m (if fire fighting mesures are taken)
Permissible staircase width = 1.5 – 2.0 in
metres
Permissible width of tread = 0.30 m
Permissible height of riser = 0.15 m
Max. No. Of risers in single flight = 14
Ramps
Buildings more than 15 m in height should
be provided with lift and ramps with inclina-
tion of 1:10.
To basement min ramp width = 7.2 m

Lifts
Min. Size of lift lobby = 1.8x2.0 m
Enterence door = 0.9m
Capacity = 13 person
Passages and corridors
Min. Width of passages and corridors = 2.0
m
Min. Clear headroom height = 2.15m

Exit
At least one primary enterance and exit to
each building shall be usable by individuals
in wheel chair.
Max travel distance on the floor = 22.50 m
Min. Width of exit doors = 2 m
Organised park
Atleast 15% of total area of site

Parking
Covered parking height = 4.75 m
Chapter Three
Case Study
Panchkula
Page No.
3.2 NIFT Delhi

General Overview
National Institute of Fashion Technology (NIFT) is a fashion institute in India. It was
set up in 1986 under the aegis of the Ministry of Textiles, Government of India and is
an institution of design, management and technology for the international fashion
business.

Client
Ministry Of Textle,
Government Of India
Stakeholders:
Faculty, Students
Area:
11,650 sq.m
Architect:
B.V Doshi
Location
The NIFT Campus Is Located At Gulmohar
park Near Green park metro station In New
Delhi’s Hauz Khas institutional area.it is
eas-ily associated with the Aurobindo Marg
Or Balbir Saxena Marg.
Access is from north east and south west
side of the campus.
The main access is from the Mehrauli Road
which goes from AIIMS to Qutab Minar. it
can also be accessed from the Khel Gaon
Marg which goes to the Asian Games
Village. surrounded by Hauz Khas
Apartments, Spas-tic Society building and
the Classical Dance Institute.
About The Building Concept
-The building covers almost the entire -Doshi’s concept of the building revolve
site leaving very less green area. around form-imagery perception thus
-The plan follows the site boundary with provid-ing the building with roots, life and
a setback of 6m maintaining its character. history. The NIFT campus becomes a village
-The opening are designed such that they square growing organically over time to
maintain a visual unity in their form and become a theatre, the scene for unfolding
proportion. drama of day to day life. For the central
-Academic clusters have been grouped to- kund like court, wide casually aligned steps,
gether to form units comprising class water-channels, green areas,over looking
rooms, labs, common lobby, and service terraces and bridges emerge as elements of
space making to recreate for fashion and
spaces. design activities.
Orientation
-Building is aligned with its long sides along -Openings for light and ventilation have been
NW and SE axis, facilitating good exposure sacrificed for aesthetic considerations than
to the sun and breeze, at times causing glare. climatic comfort.
-Different blocks of building complex are
placed according to the site lines. All the pe-
ripheral building lines are parallel to the site
lines.
Site Planning
-Flat land with artificial contours. Proper -Two types of circulation pedestrian and
segregation of functions as build-ing blocks vehicular.
are places in certain set of zones which is -An inner road leads to the main car park just
determined by the function charac-ter of the outside the main entrance.
building block. -The entry to the campus is from two sides.
-The planning revolves around the two courts- Front and back.
the sunken cover with a stepped kund and the
amphitheatre.
-Although apart from the zonal green there
is not any substantial green area to be land-
scaped, the institute gives a feeling of
richly landscaped environment.
Zoning
-The site is basically divided in to three basic zones.
-Academic block are similar in plan and in function also, occupies the left portion of the site.
-Administrative block along with canteen and library is in right hand side.
-The Hostel block is placed right at the back of the site.
Building Layout
-Different blocks acquire different shapes and
forms depending upon the functions they are
accommodating.
-Permeability of the blocks, due to accessibil-
ity from all the sides.
-The building blocks are concentrated around
the sunken court thus generating activity and
creating lively environment

The front court separated

from amphitheatre by terraced
academic wing becomes cul-
turally appr. and climatically
comfortable outdoor space

Ground Floor Plan

GROUND COVERAGE =2892

sq.mts. (25%)
Labs in the way due to in-
sufficient space
A common lift for both the academic
blocks

Labs are south west oriented which

causes glare
First Floor Plan

Adm. Block covers projection and

research office, administrative office
and officer’s cabin
Narrow corridor of administration block end up at toilet blocks on
both sides

View of display board in class room

Sitting area/projector in class room Second Floor Plan

-Library is used by all the students and out-
side people from the industry and professi-
on, for research and reference work
-Resource centre consists of valuable audio-
visual collection of videotapes, slides, CDs
and photographs.
-Resource centre also comprises of material
collection of textile, costumes, jewellery and
other related reference material.

Entrance Plaza and Foyer

It is a series of steps with seating at various
levels from the entrance plaza giving an in-
formal atmosphere to the area.
The foyer leads to the reception & also
opens out of the sunken courtyard
Academic Block
-The whole complex forms a vibrant composition.
-The academic blocks are connected through different systems of circulation overlooking the
central court.
-Academic facilities have been provided in the areas joined together in the form of a cluster.
-The cluster comprises of lobby, lecture rooms, labs and toilets.

Amphitheatre’s stage

Sunken court

Lecture rooms

Laboratory

Steam presses in the Lab

Computer labs in
different depart-
ments Cubicles for the librarian
and director of the resource
center made with wooden
partitions.
Swing machines in Glass for the day lighting in the
Laboratory Library area
Amphitheatre
-Total seating capacity is for 300 students.
-Area covered by Amphitheater = 319.35 sq.mts.
Material Used
-Structure - R.C.C and brick walls. -Floor Finish: Block granite and white mar-
-Cladding– Random rubble stone masonry on ble check flooring in reception hall, Kota
some part of the plinth, walls in some places, green and Jaisalmer yellow in corridors, Plain
imported float glass used as a special mate-rial cement floor finish in classrooms and
as a non reflecting glass used as a com-plete laboratories, chip flooring in exhibition hall,
wall, steel frame screened with reflected glass, stone in open spaces.
and use of vibrant colors in the interi-ors -Façade Treatment: The exterior although
spaces. uniformly finished in grey-colored grit, the
-Windows: Jharokhas of traditional interiors come as a surprises, with
architec-ture and new materials and composi-tion in white, grey and greens of
expression creat-ing an interesting blend. the court reflected in the glass wall.

Landscaping
-The institute gives a feeling of richly landscaped environ-
ment.
-Site boundary is lined with deciduous and evergreen
trees.
-A series of high and low platforms, soft and hard land-
scaping have been used in the amphitheatre court.
-In surrounding areas of kund soft landscaping is done and
it is paved with cutouts for basement lighting.
3.3 Pearl Academy of Fashion Jaipur

General Overview
The Pearl Academy of Fashion is a campus which by virtue of its design id geared
towards creating an environmentally responsive passive habitat. The institution
creates interactive space for a highly creative student body to work in multifunctional
zones which blend the indoor with the outdoors seamlessly. The radical architecture
of the institution emerges from a fusion of the rick traditional building knowledge
bank and cutting edage contemporary architecture.

Client
Pearl Academy of Fashion
Stakeholders:
Faculty, Students
Area:
12,250 sq.m
Architect:
Morphogenesis
Location
-The Pearl Academy Jaipur campus is
nestled amongst the majestic Aravali hills on
the Jaipur Delhi Highway. -The campus is
less than 6 kms away from the historic fort of
Amber and 15kms from the Jaipur city cen-
ter. -25kms from Jaipur International
Airport. -14kms from Jaipur Bus Stand and
Railway Station.
Concept
Due to the project location within an in- Throughout most of the year these incisions
dustrial site context and the impact of form offer shade, limiting solar ingress into the
optimization on built form, a rectangular underbelly. Cool air as it warms up rises
volume was formulated that would provide vertically through these courts creating cross
with minimum exposed surface area. The ventilation.
entire building is raised above the ground The courtyards plan is a simple form where
and 4 meters were excavated to create an the floor plate is no more than 9 meters wide
underbelly. The underbelly forms a natural at any point, at no point is an occupant more
thermal sink which is cooled by water bodies than 4.5 meters from a window or opening-
through evaporative cooling. Floating above this eliminates daytime reliance on electrical
the underbelly is a teaching block raised on lighting, 90% of the gross space area relies on
pilotis, two stories high with footprint of 111 natural daylight. Green spaces and water
by 50 meters. The mass is broken into bodies are designed as per orientation to be in
several courts creating alternative solids and shaded areas in order to lower the water
voids which respond to solar geometry as evaporation and aid evaporative cooling.
shown. The solids become studios and During the night, when the desert tempera-
classrooms, whilst the voids are visual breaks ture drops, this floor slowly dissipates the
that allow daylight and air through. heat to the surroundings, keeping the area in
thermal comfort.

Images show the shadow analysis of the building done in Ecotect to optimize building envelope and
deter-mine the fluid shape of the internal blocks to suit solar geometry
 The Site
Learning was derived from the built heritage The underbelly provides functional spaces that
of Rajasthan, replete with havelis3, inward- operate in a passive environment, elimi-nating
looking blocks with rooms along corridors the need for additional built volume in the
and in enfilade, surrounding a single or mul- form of a floor without jeopardizing the
tiple courtyards. The haveli3 typology epito- program. Steps on the perimeter of the
mizes the idea of the building as a device for underbelly double up as seats, making this an
ad-hoc performance venue. The institute
environment control, where the solid-void creates interactive spaces for a highly cre-ative
balance is calibrated for maximum daylight student body to work in multifunctional zones
penetration, minimum heat ingress and the that blend the indoors with the out-doors
accommodation of multiple seamlessly. The underbelly is thermal-ly
functions.Hence, The Design response was banked on all sides serving a large student
an introverted building, given the setting recreation and exhibition zone. It also houses
which was largely industrial. A long low- the cafeteria and spill out area thus forming
lying two-floored perimeter block pushes the the anchor for the entire project (figure 4). The
building enve-lope to the mandatory ramp is multi functional as a runway during
setbacks, optimizing the exposed surface fashion shows. The spatial flexibility allows
area to volume ratio of the form and almost ample room for growth. An additional floor
seems to float above the land. will be built in the future to accom-modate
students’ residences, thereby becom-ing a
mixture of residence and workspace that will
take the building even closer to the archetypal
haveli3. The multifunctional programming
allows for the elimination of a complete storey
which would otherwise use artificial
techniques of cooling hence making the
building extremely efficient in its energy
consumption.
The Classrooms, Labs, and Offices have been
designed around an internal courtyard, which
Perspective view showing the optimised building
is further broken down to fluid forms housing
the flexible requirements of Studios.
envelope floating over the sunken court.

View of the site showing

multi-functional programming
in the sunken underbelly space.
Building Layout
Classification of area
Gross Floor Area: 12,250 sqm
Building Height: 21m
Capacity: 600 students & 100 staff
Operational Hours: 1100hrs/year
Programme: 4 classrooms,
24 studios, offices, library
Auditorium (195 occupancy)
Elevation Strategy Courtyard/Stepped Well
Jaali acts as a second skin to the building, Self shading courts keep the solar ingress
servicing the functions of 3 filters, air, light and out and control the temperature of internal
privacy, a 1.2 m wide sliver of space be-tween spaces, whilst allowing for sufficient day
the two building skins along the outer lighting inside studios and classrooms. The
perimeter of the teaching block cuts down solar lowest floor of the building, the un-
heat gain without curtailing air flow or daylight derbelly is able to moderate ambient tem-
entry. The porosity of the jaali panels varies peratures with water, shade and
with orientation of façade; the greater the solar vegetation. The underbelly is sunken 4
exposure the more opaque it comes. meters below street datum so that the cool
humidified air which is heavier than warm
dry air might be contained. The sinking of
this space also provides privacy for inner
sanctum where students gather. A matrix
of water and greenery creates a
microclimate via evaporative cooling and
transpiration that is substantially cooler
than outside. Dur-ing the night when the
desert temperature drops the

Section showing positioning of the jaali with

respect to the internal habitable space
The building is wrapped in a double skin con-
sisting of Fritted screens set 1.2 meters away
from inner walls and windows. The jaali
moderates incoming natural light, which can be Section showing the effect of pas-sive
harsh much of the time. The double skin acts evaporative cooling through the courtyard
as a thermal buffer between the building and
surrounding, thereby reducing direct heat gain over the water body.
through fenestrations, yet allowing for diffused The building is wrapped in a double skin
daylight. consisting of Fritted screens set 1.2 meters
The façade is entirely composed of two away from inner walls and windows. The jaali
detached horizontal planes formed by per- moderates incoming natural light, which can
forated panels, creating a ventilated buffer be harsh much of the time. The double skin
space to protect the outer walls and a service acts as a thermal buffer between the building
corridor through which the horizontal pipes, and surrounding, thereby reducing direct heat
cables and ducts are supplied around the gain through fenestrations, yet al-lowing for
building. diffused daylight.
The wall section is inspired by the Hawa Ma- The façade is entirely composed of two
hal, an 18th century building with a tapered detached horizontal planes formed by per-
block with finely screened windows that forated panels, creating a ventilated buffer
provide shade and admit cool air. However, space to protect the outer walls and a service
the primary purpose of these grilles was to al- corridor through which the horizontal pipes,
cables and ducts are supplied around the
low women of the court to observe life in the building.
street without exposing themselves to view.
street without exposing themselves to view.
Walls and Fenestration Material Used
-The building is protected from environment The pallet of materials includes stone, glass
by a double skin which is derived from a and concrete, all of which are locally
traditional building element called the jaali sourced. Jaisalmer stone, kota stone, granite
which is prevalent in rajasthani architecture. - and slate are quarried from within Rajasthan.
The double skin act as a thermal buffer be- All materials used are from under 300 km
tween the building and the surroundings. The distance. Aluminum, concrete come from
density of the perforated outer skin has been Jaipur city limits. Concrete jaalis cast on site
derived using computational shadow analy- by employing the local craftsmen of the re-
sis based on orientation of the facades. -The gion. Matkas bought in the markets of Jaipur.
outer skin sits 4 feet away from the building Traditionally matkas are handmade mud ves-
and reduse the direct heat gain through fen- sels that are used to carry water. Hundreds of
estration, yet allowing for diffused daylight. 35cm wide matkas were placed 2.5 cm apart,
The jaali thus, aerves the function of 3 filters- the gap was filled with sand and bro-ken
air, light and privacy. - The adverse climate bricks, and then cast over with binding layer
makes it a challenge to control the micro of concrete. The sandwich of trapped air is
climate within the project thus incorpora-tive applied to horizontal surfaces that are
various passive climate control methods exposed to the sun, becoming a barrier that
become a necessity and also reduce the de- limits solar heat transmission. The fill and
pendence on mechanical environment control the air within the mutkas provide insulation.
measure which are resource hungry. -The ar- Matka’s (earthen pots)were inverted and
chitecture of the academy needed to be a con- placed along the terrace creating an air cavity
fluence of modern adaptation of traditional that thermally insulates the roof. The exterior
indo-islamic architectural elements and cool- is painted orange to set off the jaalis, but the
ing strategies prevatent in the hot-dry desert interior surfaces are white, to reduce heat
climate of Rajasthan such as open courtyard, absorption and create a cool backdrop for the
water body, a step-well or baoli and jaalis. bustle of activity and the brilliant colors of
women’s saris.

Section showing the use of matkas (earthen

pots) in the roof for the purpose of insulation.
Drawing showing the arrangement of the jaali panels
on the elevation.
Image showing the use of matkas in the roof slab of Pearl Academy of Fashion during the actual construction.
Chapter Four
Literature Study
4.1 Nanyang School of Arts(Singapore)

The school curriculum is developed around

interdisciplinary learning in design, interac-
tive media; digital filmmaking; digital pho-
tography and imaging; emotive robotics and
digital animation. Students are encouraged to
explore and inter-disciplinary experience
across multiple domains even in connection
with engineering
disciplines.
-The 5 story facility sweeps a wooded corner -The roofs serve as informal gathering spaces
of the campus with an organic,vegetated from challenging linear ideas and stirring percep-
that blends landscape and structure,nature and tion.
high-tech and symbolizes the creativity it -The roofs create open space, insulate the
houses. building, cool the surrounding air and har-
-The curving green roofs distinguish the vest rainwater for landscaping irrigation.
building from among the other structures; -Planted grasses mix with native greenery to
the line between landscape and building colonize the building and bind it to the set-
is blurred. ting.
-This design seems to offer a new experience
of every elevation or perspective fulfilling
the intent that a “school for art should inspire
creativity.”
Glass facade:
-High performance building envelope
Reduces solar gain and heat load
Allows the benefits of natural views and day-
light into creative spaces.
-The glass walls provide a visual exchange
between indoors and out allowing students
and teachers to experience the building, the
surrounding landscape and the interior plaza
as fluid spaces.
-Diffused natural daylight is abundant
throughout studios and classrooms, filtered
through the surrounding foliage.
-Finishes are internationally raw to act as a
backdrop for the art, media and design proj-
ects. Concrete walls and columns, cement-
sand screeded floors, timber railings and
a neutral palette define the interior spaces
which vary in shape and size.
-The vision of the school ‘to change rigid
perception’ has been translated directly into a
form with ever changing perspectives. The
form becomes the metaphor of change as it to
facilitate the flow of creative ideas.
4.2 Zero Energy Media Wall-greenPIX (Beijing)
GreenPix - Zero Energy Media Wall - is a
groundbreaking project applying
sustainable and digital media technology to
the curtain wall of Xicui entertainment
complex in Beijing, near the site of the
2008 Olympics. Featuring the largest color
LED display worldwide and the first
photovoltaic system integrated into a glass
curtain wall in China, the building performs
as a self-suffi-cient organic system,
harvesting solar energy by day and using it
to illuminate the screen after dark,
mirroring a day’s climatic cycle.
GreenPIX the zero energy media wall, uses
architecture and technology to absorb
,store,amplify,translate, and display data both
natural and manmade, in an organic system
that responds dynamically to the local
environment.
-Creative programming adds even more lay-
ers to the already rich stream of data being
presented and
allows passes by to experience the site in
terms of space and time through both their
own eyes or the
minds of the selected artists.
-Media is displayed on a gigantic screen
which uses 2292 pixels of
LED lights and translucent glass. The entire
presentation comes
with the zero net consuming energy footprint
thanks to glazing
integrated system of perforated photo boltaic
cells and a battery
storage system. The result is public at instal-
lation that creates
awareness of the local environment in both
appearance and
functionality.Sustainbility is more than fa-
çade deo.
Facts
-Desing by Brooklyn based simoneglostra
and partners .
-Architects in collaboration with arup.
-Location xicul entertainment complex Bei-
jing
-Largest LED display in the world building
façade
integrated PV system.
-Design Brief -enliven the building’s opaque,
boxilikeprecense and connect it to its envi-
rons all using
only one façade.
-Media displayed on the large format low -res
screen
can be presented in both fellow and still im-
age formats.
-Desingners develop a special software for
artists to
test their creation on a virtual façade before
loading
it into the media wall.The software made it Day Cycle: Energy Production.
possible to The photovoltaic solar cells store the solar energy that
give the wall from many angles and distances is not required to the activities in the building during
to test the day, while acting as an affective shading device
the resolution . and protecting the building from excessive heat gain.
-The entire façade display is rougly 24000
sq.ft.Each of the 2292 glass panels
has a colour changing LED fiction mounted
behind it and is pixel in the last
format low-res display.
-INTEGRATED photovoltaic cells mean that
the panels both aemmit and absorb
energy in the form of LED and sunlight thus
reinforcing giostros vision of
techno legible self sufficiency.
-DURING the day time however when sun
obscures the LED light, giostra had to make
the passive elements
of the façade appeared dynamic. He accom-
plished this by varying opacity and mounting
angle 5* of the
glass panels as well as by carefully arrang-ing
the integrated PV cells to form a dynamic
pattern. The result
is a façade that appears to undulate with the
rhythm of the environment day and night.
Night Cycle: Energy Consumption.
The media envelope releases the energy accumulated
during the day, in form of bursting light, transforming
the facade in a glowing beacon, and the building in an
overwhelming visual experience within the nightscape
of Beijing.
Layering of Facade
.
 .

Chapter Five
Correlation of Fashion and
Architecture
5.1 Fashion and Architecture
Fashion refers to the styles and customs
prevalent at a given time. Fashion designing Symbolic Expression
is all about creativity. And when its design- Fashion is, basically, a state of anything with
ing for fashion designer’s use, it definitely regard to is external appearance, shape, style.
should reflect their passion and our creativity. Or pattern. Fashion is the state of mind also
It is like a mirror that reflects the present. It which exists at all levels of society. Fashion
is the way of refection of life that responds sometimes becomes trendy and in that sense
too many things; an area, feeling events. It it is the prevailing mode or customary stile.
is a time dependent scenario. “Fashion is Fashion design demands continuous innova-
the style that is popular at a given time”. A tion. It is more of a designer’s state of mind
designer may produce thousands of designs, which wants to present that to a large group
beautiful, elaborateand exotic elegant but of people. For this a changing environment,
they might not be right for some particular highly visible display and show areas are
memento history, they would not have been essential. Fashion shows become very im-
acceptable. The term implies 3 components. portant, which are live and are supported in
-Style the background by other media to create a
-Acceptance total effect.Fashion shows are indeed theat-
-Timelines rical acts with an emphasis on the dramatic
Fashion as we understand it today, as profes- effect, an art of producing and presenting.
sional endeavor owes its solution to the in- The rapidly changing trends of fashion also
stitute of fashion technology. I.F.T is making imposed ‘time’ as the fourth dimension.
efforts to evolve a unique fashion identity,, All this implies a continuous movement in
for a global audience. It’s developing a pool the space and time that must be modulated.
of trained professionals- specializing in con- As beauty relates quite obviously to human
ventional and emerging segments of fashion. figure and aesthetic extremities, architecture
From Indus valley to I.F.T. play the Indian too, is about form and aesthetics, besides be-
fashion industry has come a long way. ing functional and need specified. The idea
The future will see I.F.T. play a more pro- of forms and aesthetics in fashion and archi-
active role in partnership with industry in tecture can be spiritually relate. The aspect
articulating and meeting the challenges of the of fashion can be reflected in the architecture
new millennium. of the campus designed for a discipline of art
and design as Fashion Technology
5.2 Impact of Fashion

Fashion is the most common denominator in the

modern world. Non western cultures are bounded
by dress codes that have their own system of fash-
ion communication. Fashion communication to an
individual emotional life. As few other things can,
cause conflict or approved between husbands and
wives, parents and children & arouse feeling of
jealousy between friends. Fashion is integrated to
everyday life. Often we are unaware of its Impacts
on our lives, as we are of the air we breathe. With
the wind of adventure and innovation sweeting the
fashion industry. Indian design is not opening. The
Indian industry has made inroads to the fash-ion
industry already. The exports of the garments
between 1982-1988 increased by over 200% to a
level exceeding two thousand crores.
5.3 Indian Fashion Industry
India in Global Fashion Industry The Business of Fashion Designing
For the global fashion industry, India is a Fashion designing is a dynamic, fast paced
very big exporter of fabrics and accesso-ries. field with unbelievable career possibilities.
India’s strengths not only depend on its Students from the fashion designing institutes
tradition, but also in its raw materials. World have various options like working in export
over, India is the third largest producer of houses or working for other designers. But
cotton, the second largest producer of silk having a label of one’s own is the dream of
and the fifth largest producer of man-made anyone aspiring to make one’s career in this
fibres, apart from having cheaper skilled field. Fashion designing business has ev-
work force. India provides these fabrics to erything one can wish for. Famous fashion
the international fashion houses at com- designers of today have fame & money and
petitive prices with shorter lead time and an there is a lot of personal satisfaction in ex-
effective monopoly in designs which covers pressing one’s creativity. But to achieve all
elaborated hand embroidery. Indian this, one has to address a lot of issues like
garments embellishment with bead work is sourcing of raw materials, targeting the right
another area which is in demand in the consumer & market, the financial side of the
international market. business etc. So, in order to make it big in
this industry, a solid foundation is a must.
Historical Perspective
In the 1960s, tight „kurtas‟ and „churidars‟
were a trend among ladies. In the 1970s inter-
national fashion arrived in India much before
the MTV culture with the bold colors, flower
prints and bell-bottoms. Synthetics turned
trendy and the disco culture affected the fash-
ion scenario. It was in the early 1980s when
the first fashion store „Ravissant‟ opened
in Mumbai. With the evolution of designer
stores in Mumbai, clients immediately trans-
formed into the high fashion fold where they
were convinced that that the word „fashion
design‟ means, it had to have a higher price
tag. In the 1990‟s, the price tags, which had
reached a peak, began their downside jour-ney.
In those times the downturn was not only
experienced in the prices of the garments, but
also in the business of fashion shows. More
models,Choreographers, make-up men, hair-
stylists and designers streamed down into this
business. The fun and party time in the Indian
fashion scenario did not end with this, but
continued. It was a point, where it reached a
certain steady level and from there, in the be-
ginning of the 21st century, with new design-
ers and models and some sensible designing,
the fashion hype accelerated.
Distribution of Design Practices Evolution of Education
over India Educational institutions are indicators of the
Mumbai, Delhi, Bangalore and Pune are direction in which a culture intends to be
industrially active and are home to the major- headed in. built in anticipation of market
ity of well known Indian companies. Mumbai trends; they represent the value that a com-
and Delhi are natural destinations for fashion munity attaches to learning. Education, as a
industries purely for the reason that these two process, can be affective only if it constantly
cities host the topmost Indian corporations evolves with the society and mirrors its aspi-
from diverse segments. These two cities offer rators. This fact is of vital significance in in-
the best market for fashion services. Banga- dia, which is fast catching up with the world
lore and Pune offer a very good standard of as technological advancement is revolution-
living, good weather and an experimental, izing the content and process of its educa-
culturally active society. Architectural and tion. The challenge for educational facilities
associated design practices have not been is to keep up with this evolution. In an inter-
correctly represented. If included their sheer connected and multi-ethnic environment like
number and scale would overshadow prac- that of india, the challenge extends beyond
tices from other streams across all cities. technological integration/upgradation of the
education system into addressing the innate
contradictions that arise within it.
5.4 Fashion Terminologies
Fashion Designing Textile Design
Fashion design is the art of application of de- Textile design is essentially the process of
sign and aesthetics or natural beauty to cloth- creating designs for woven, knitted or printed
ing and accessories. Fashion design is influ- fabrics or surface ornamented fabrics. Textile
enced by cultural and social attitudes, and has designers are involved with the production of
varied over time and place. these designs, which are used, sometimes
repetitively, in clothing and interior decor
Fashion Technology items. In other words, textile design is a
Fashion Technology is the applied art dedi- process from the raw material into finished
cated to clothing and lifestyle accessories cre- product. Fiber, yarn and finishes are the key
ated within the cultural and social influences of elements to be considered during the textile
a specific time. Fashion Technology differs design procedure.
from costume design due to its core product
having a built in Obsolescence usually of one Design Space
to two seasons. Fashion Technology is gen- the set of possible designs and design
erally considered to have started in the 19th param-eters that meet a specific product
century with Charles Frederick Worth who was require-ment. Exploring design space means
the first designer to have his label sewn into evalu-ating the various design options
the garments that he created. Some fash-ion possible with a given technology and
designers are self-employed and design for optimizing with respect to specific
individual clients. Other high- fashion
designers cater to specialty stores or high- constraints such as power or cost.
fashion department stores. Fashion Management
Apparel merchandising and Fashion management is the promotion of
apparel sales and involves all of the tasks
marketing necessary to deliver the clothing requests and
The apparel merchandising and marketing meet the needs of potential customers and
course covers the practical aspect of the fash- designers. Developing campaigns, displays
ion / apparel industry. The curriculum in- and advertisements, directing manufacturing
cludes subject on buying merchandising retail and marketing, and creating sales strategies
operations, fashion coordination, advertising are the various parts of Fashion management.
and publicity styling fashion /color forecast-
ing international marketing etc. the creative
approach to merchandising /marketing and
the direction of fashion trends will be rein-
forced by field trips, organization of fashion
shows and presentation.
Knitwear design and technology
The knitwear design and technology depart-
ment has assisted reputed fashion designer to
develop fabrics structure and garment with
placed lace design. The structure has been de-
veloped using Scottish yarn – a blend of wool
and skim fiber which has given garments a
soft and warm feel.
5.5 Inferences
Various case studies and prototype studies were carried out for--
Contemporary approach
-Response to environment
-Architectural response (aesthetic and functional)
-Success in creation of ground breaking ‘creativity fostering’ environment -
Understanding creativity and how it was achieved
-Listing out the functional components required
-Studying architectural conditions needed to create stimulating
environments -Laying a comparitive area analysis between the institutes
Creativity
Understanding Creativity Role of Mood in Creativity
Meaning of creativity: essentially an ‘as- ‘Positive emotions such as joy broadens a
sumptions breaking process’. person’s available repertoire of cognitions and
Aspects of creativity actions thus enhancing creativity’ proven by
-fluency Broaden and build model of Fredrickson.
-the total number of interpretable, meaning- ‘Particularly strong links have been
ful, and relevant ideas generated in identified between creativity and mood
response to the situation. disorders, par-ticularly manic-depressive
Measures of Creativity disorder’ proven by Arnold Ludwig of the
Social personality approach university of Ken-tucky
-independence of judgment Four Patterns between Effects and
-self-confidence
-attraction to complexity Creativity
-aesthetic orientation -Antecedent to creativity
-risk taking -direct consequences of creativity
-openness to experience As an indirect consequence of creativity -
simultaneously with creative activity
Functional Components
Architectural progress of educational buildings does not imply quantitative massificiation. It
implies more robust,flexible,adaptable buildings for a diversified range of courses. The suc-
cess of such a setup depends on the balance between the managerial and physical combina-
tions.
the building should provide and limit the activities that are to be performed in it. Thus ,it
becomes vital to determine what the building doesn’t do. Functionally, the building
should provide room for change.
Architectural Conditions needed to creatte Stimulating Environments
Corridor
-Doubly loaded corridors- will force students to ‘hang out’ in undefined spaces-
conversation will be rarely about work.
-Singly loaded wide corridor with formal display space-will encourage individual
students (whose work is on display) and adds ‘pride’ or value to the product. But adds the
sense of looking ‘down’ upon something that has been ‘encased’ and conversation will
tend to be opinionated.
-Singly loaded corridor connected with informal display- will encourage more and more
students to display it, it is more democratic, sets the tone of the conversation. And allows
the observer to really experience the display without mental prejudice.

Classroom
For an unstructured teaching method, the classroom has to be ‘an envelop’ ready to serve, be
customized as needed and cannot be laid out formally.
The light in the classroom effects state of material alertness and should allow for all kinds
of permutations and combinations.
Studio
A customizable den/nest for every student
creates sense of belonging and encourages
students to work.
Visual connectivity to the landscaped/re-
laxed environment is indicative of freedom
of thought.
Desired- customizable light fixture. Ample
storage, strategically located electric points.
Lab
-Interior has to comply with regulations, but
adjoining area has to have some lounge like
space connected to an outdoor green relax-
ation are with fresh air or the café’ itself.
-Space for placing bags, footwear in an eye-
sore and creative handling is needed.
-View of outdoor not easily permissible
due to light control needed.
Spatial Character
Planning that creates visual interest in the
outdoor will be preferred. Visual interest
can be created in three ways

Watching movement and activities of people.

Focusing the eye on art

work- which will be the
visual interest Introspective spaces with landscaping
Informal Spaces
Essentials of informal spaces
-suitable for physical/postural improvisation -
shaded
-view-people watching-lookout point with less probability of being noticed -
distanced from passerby-undisturbed, away from earshot
-usually in a 4 dia for interaction-steps.

Junction
-Can be a physical edge like the ‘cliff edge’
where there is a change of level
-Can be a sun and shade edge
Occupacy of Doorways, Steps,Porch,Edges
Seems random because these are not really meant to be used/occupied.
Students prefer to occupy ‘unofficial’ places, where ‘faculty’ is not expected to interrupt.
These areas have to be designed for this purpose as well.
5.6 Anthropometrics and Required Standards
Body Measurements
5.7 Some points to remember while designing about projection
A projection system is desirable in the class room as teaching is aid with visuals. And
over-head projection requires as electric socket near lecture tables and a screen is mounted
prop-erly to assure good visibility with minimum distortion.
Storage Lighting
Space should be provided for the storage Light accelerates deterisisation of museum
where the students can keep their belong-ings objects effected by the intensity of radiation.
i.e books needles, threads etc. cupboards Time of exposure
should also be provided, so as to hang the Special character of radiation Capacity of
gar-ments in its different stage of progression objects and the affected by radiation
energy. Object insensitive to light such as
Acoustic: stone, glass etc. should be used. Maximum
Though a small classroom may be reverberate intensity of illuminationis unlim-ited but it
if all surfaces are reflected. This is unsuitable is good to keep it below 3001ux. For
for speech and creates a very noisy environ- damaged peone objects like water col-ors,
ment. But to convey wanted sound; a hard fine textiles, tungsten lamps of intensity not
reflective surfaces behind the main speaker is more than 50ux should be used.
desirable.
Ceiling and rear wall should be made absor-
bent to stop should from bouncing back once Acoustic Consederation for
it had been delivered.
Perforated acoustics tiles are suitable for ceil-
an Open Theatre
The basic shape, size and capacity of the
ing and walls. searing area should be determined to insure
Absorbent material should be introduced to satisfactory speech intelligibility through out
reduce reverberation to ¾ seconds. the entire audience area.
The distance of seat from sound source
Air conditioning should be kept at reasonable minimum with
If humidity content is too high, it promotes strict economy in the layout of aisles and
microorganisms to grow on the material caus- gangways. All acting surfaces should be of
ing it to designate. wood construction to provide maximum
Material also gets deteriote in the presence of resonance because resonance gives richness
moisture , salt, dust particals etc. thus of tone to music and speech. The platform
constant humidity has to be maintained. Air- should be elevated and the seating area
conditioning provides an atmosphere conduc- steeply banked with increase rake towards
tive to preservation of object by the control of the rear, to provide max amount of sound
relative humidity and also provides comfort to for the entire audience.
the user by controlling of temperature. It is
required to provide homogenous air,a low
temperature of about 18 c and average
relative humidity of 60%
Chapter Six
Site Analysis
6.1 About DELHI

Delhi, India’s capital territory, is a massive metropolitan area in the country’s north. In Old
Delhi, a neighbourhood dating to the 1600s, stands the imposing Mughal-era Red Fort, a
symbol of India, and the sprawling Jama Masjid mosque, whose courtyard accommodates
25,000 people. Nearby is Chandni Chowk, a vibrant bazaar filled with food carts, sweets
shops and spice stalls.
Location of Delhi
LOCATION: Near Qutub Minar Metro
Station, South Delhi.
CLIMATE: Summer (Jun–Aug) is very
hot. Monsoon season is Jun–Sep. Winter
(Dec–Feb) is cool. Oct–Mar is the peak
travel time
TYPE: Mix-Land Use
AREA: 4 Hectares; 40,000SQM
DIMENSIONS: (230*170)SQM
STATE : DELHI
POPULATION : 2.01 Crore
LANGUAGE : Hindi , English , Punjabi
COORDINATE : 28.7041° N, 77.1025° E
AVERAGE RAINFALL : 31.5 inches
WIND DIRECTION : South-West to
North-East
LITERACY RATE : 82.50%
ANNUAL RAINFALL :
6.3 The Site
Site Images
6.7 Handloom and Cottage Industries
Haryana has diverse crafts and arts such as pottery, paintings, sculpture, embroidery and
weaving. Phulkari, bagh, chope, durries etc. are many on which the state prides itself on.
Haryana arts and crafts are one of the sources of income for the rural people and thus play
an important role in contributing to the economy of its people. The state organises an
annual Surajkund Crafts Mela, where it portrays its arts and crafts.
Pottery Phulkari
While pottery making is commonly found The shawl or dupatta known as the phulkari,
across the country, the uniqueness that dif- meaning flowered work, are wonderful pieces
ferentiates this craft of Haryana is the kick of art and is an offshoot of the Kashmiri shawl.
operated turn of the potter’s wheel while Essentially a winter wear; it is worn over a
hands are traditionally used to spin the tight-fitting ‘choli’ (blouse) and ‘gh-aghra’
potter‟s wheel. The clay items are made on (long skirt). The phulkaris are intri-cately
wheels that are “legged” to spin. Being a woven in a magnificent and colourful piece of
state that is predominantly driven by the clothing. The warmth and richness of colours,
rural economy, pottery finds a place of para- the bold patterning and the patient hard work
mount importance. The pots are very which go into the embroidery work of phulkari
colour-ful, brightly done by the women folk make it symbolic of the women of Haryana. A
of the household, while the pot making is very coarse homespun texture, the „Khaddar‟,
done by the male members of the family. is used as a base ground cloth in „phulkari‟ a
simple stitch done entirely from the back in
silken threads is applied to work out the
patterns.
The patterns used are the art motifs of birds,
flowers and human figures using darning
needles. In some cases, the phulkari takes
many years to make.
The making commences during the birth of
the girl child and continues till the age of her
marriage and is presented to her as a
wedding gift as a part of her trousseau.

Embroidery and Weaving

Some of the very popular woven products
are the shawls, durries and the lungis. Kar-
nal is popular for bright robes and „lungis‟
which is a common garment worn by inhab-
itants of rural India.
Bagh Durries
Another type of shawl is the Bagh, mean- The durries are rather coarse and have spec-
ing Garden. Geometric patterns of design tacular geometric patterns adorning the entire
are almost always followed in the making of rug. Often set against a blue background, the
the Bagh essentially with green colour. This durries have white triangles filling up the
craft is practiced mostly by Muslims and has rug. This art is mostly practiced by the Jats of
interesting designs varying from elephants, Haryana and are concentrated in and around
houses, crops, the sun, the moon, kites and the Panipat region of the state.
gardens. This embroidery is also done on
khaddar. Bagh differs from „phulkari‟ basi-
cally in the manner the motifs are spread all
over in an integrated pattern without leaving
any space in between. „Bagh‟ is also known
by the name of “Sar-pallu‟ in Haryana.

Chope
is a kind of shawl, which is simple in its look
as compared to phulkari and bagh. Rather a
simple affair in comparison to the „phulkari‟
and „bagh‟, it is presented to a new bride by
her maternal grandmother. The „darshan
dwar‟ shawl is gifted to a temple, by a devo-
tee whose wish has been fulfilled.
PLANS
ADMINISTRATIVE BLOCK

SERVICE ENTRY
ROOM
STORE

A/V

DINING HALL BUFFET TABLE

KITCHEN
EXAMINATION DEPT. BOARD ROOM
PURCHASE & STORE
OFFICE

ESTATE OFFICE

PUBLIC RELATIONSHIP
OFFICE

PHOTOCOPY & PRINT

ROOM

ACCOUNT'S DEPT.
TOILET (F)

DISPLAY AREA DISPLAY AREA

SERVER & RECORDING

ROOM

TOILET (M)

TOILET (F)

PLACEMENT DEPT.
COURTYARD

DISPLAY AREA DISPLAY AREA

TOILET (M)

A.H.U.

SEMINAR HALL 1

ADMISSION DEPT.
A' A

WAITING AREA
A/V
ROOM
P.A. OFFICE
RECEPTION DESK
ENTRANCE FOYER
SECURITY
WATER COFFEE SHOP
STORE COOLER

FLOOR PLAN DIRECTOR'S CABIN

FRONT ELEVATION

SIDE ELEVATION

SECTION AA'
WORKSHOP PLANS
CANTEEN BLOCK
Bibliography

Referred Books and Journals

Internet Study

Natgeo.org
Mapsofindia.com
Wikipedia.org
Haryana.gov.in
Discoverindia.com
Scribd.com
Issuu.com
Academia.edu
Arch.design.edu
Google maps
Archdaily.com
Archinomy.com
Adambrown.net