Interweaving Connections by Heleyde Villafañe BA in Business

Within Spaces: Interweaving Connections

By Heleyde Villafañe

B.A. in Business, May 2008, Universidad del Sagrado Corazón

A Thesis submitted to

The Faculty of The Colombian College of Art and Sciences (formerly the Corcoran College of Art + Design) of The George Washington University in partial fulfillment of the requirements for the degree of Master of Arts

May 15, 2016

Thesis directed by

ii ii Dedication

The author wishes to thank family, partner, friends, and mentors

who have made this journey possible.

iii Table of Contents

Dedication………………………………………………………………………………………………………………………iii

Table of Contents…………………………………………………………………………………………………………..vi

List of Figures………………………………………………………………………………………………………………… v

Thesis Statement…………………………………………………………………………………………………………. 1

Thesis Abstract……………………………………………………………………………………………………………… 2

Chapter 1: Introduction …………………………………………………………………………………………………4

Chapter 2: Theory - Historical Analysis of Weaves……….……………………………………………..7

Application – Case Studies……………………………………………………………………………… 11

Chapter 3: Site……….………………………………………………………………………………………………….. 17

Chapter 4: Concept Figures – Massimo Bottura and Petra Blaisse..………………………….21

Chapter 5: Methodology – Supporting Experiences……………………………………………………26

Methodology – Human Connectivity.……………………………………………………………….32

Chapter 6: Process – Space Planning………………………………………………………………………….33

Chapter 7: Programming and Requirements …………………….…………………………………….. 37

Chapter 8: Materiality – Curtains…………………………………………………………………………………41

Chapter 9: More Materiality and Applications…………………………….…………………………….. 46

Chapter 10: Conclusions…………….……………………………………………………………………………… 50

Bibliography………………………………………………………………………………………………………………….51

List of Figures

Figure 1: Concept and Inspiration..………………………………………………………….…………………..6

Figure 2: Additional Concept and Inspiration Images.….……………………………………………. 6

Figure 3: Warp and Weft Illustration Textile Weaves Image.………………..…………………. 8

Figure 4: Types of Basic Textile Weaves…………………..………………………………………………… 9

Figure 5: Paleolithic Weaving Method Illustration.…………………………………………………… 10

Figure 6: Louisiana State Museum….………………………………………………………………………… 12

Figure 7: Portrait Gallery: The Kogod Courtyard in Washington, DC..…………………… 13

Figure 8: Kinney Court Store Venice Beach, CA..……………………………………………………… 14

Figure 9: Manhattan Laundry Building Façade Images……………………………………………. 17

Figure 10: Manhattan Laundry Building Interior Images…………..……………………………. 18

Figure 11: Manhattan Laundry Building Google Site Map………………………………………….19

Figure 12: Douglas Development Brochure Building Image………………………………………19

Figure 13: Manhattan Laundry Building First Floor Plan…………………………………………….19

Figure 14: CAD Site Plan Drawing……………………………………………….………………………………20

Figure 15: Massimo Bottura Plate Images………………………………………………………………….21

Figure 16: Petra Blaisse’s Work Images………….………………………………………………………….22

Figure 17: Petra Blaisse and Textile………………………………………………………………………….. 22

Figure 18: OMA Designs Pavilion by Petra Blaisse………………………………………………………24

Figure 19: Connections Diagram.………………………………………………………………………………. 25

Figure 20: Methodology Diagram..………………………………………………………………………………26

Figure 21: SAT Space Programming Images……………………………..…………………………….. 28

Figure 22: LABO at SAT Image…………………………………………………………………………………..28

Figure 23: W-120301.2012 Sculpture by Sarah Oppenheimer Image………………………30

v Figure 24: Gabriel Dawe’s Renwick Gallery, Plexus A1…………….……………………………….31

Figure 25: Connectivity Image – Unknown Source…………………………………………………….32

Figure 26: Spatial Relationship Diagram…………………………………………………………………….37

Figure 27: Petra Blaisse’s Curtain Flow Sketches……………………………………………………….43

Figure 28: Curtain Rod Mechanism Image………………………………………………………………….46

Thesis Statement

Within Spaces: Interweaving Connections

Thesis Abstract

Within Spaces: Interweaving Connections

The built environment being created under the parameters of textile weaves structures is ideal for spaces, and here is why; Textiles create a feeling of connection, interlacing and interlinking relationships, and it is formidable in connecting spaces for a feeling of natural fluidity.

This unconventional approach to interiors with textiles structure can be perceived as comforting, continuous, connecting, and shows how with a given parameter of weave-like principles a space evokes a statement while serving a purpose. Proportions, relationships, and methodology are to be dictated by the study of weaves interconnecting structures.

Exploring weaves history and the relationship it has to people is essential for this thesis to see how spaces can adapt to the relationship of materials and elements

2 in a harmonious way. The aspect of continuity is visually ideal and aesthetically enticing, but more importantly, it upholds the purpose of this thesis to transform a space so it conveys an experience of connection by the weave-like structure parameters. Pre-established notions of interiors can now be questioned and re- structured; ceilings and floors are viewed as important as walls are in their relationship. Without one you may not have the other, like yarn in a weave. The practical can be elevated to the connected astonishment.

Textiles structures have proven to be easily moldable applications allowing for better configuration of an interior structure and hence breaking down the barriers of a typical structure or space. The transparency, adaptability, and flexibility of textiles as structure make the perfect environment for spaces.

Chapter 1: Introduction

The following thesis shows the relationship of food and textiles framed by connectivity notions in a food eatery concept space. Artist Petra Blaisse offers the inspiration to the development of the curtains concept and chef Massimo Bottura is the inspiration for the food served at the eatery. The elements defined by artist

Blaisse and Chef Bottura fulfills the framework to create the environment. Food and textiles are undeniably enticing things by themselves. Separately, they satisfy our vision, food our hunger, and textiles our tact. The connecting aspect present in weaves or textiles, is the reason why it unifies the space with people and food; it brings them together and defines them just as the weaves do. A design admiration with textiles comes to be in many cases due to its play of colors, patterns, and its aesthetics in that they are very much visually stimulating. The notion of strength by connection reaches personal levels many surely may have experienced in their lifetime. As you all know life is full of struggles, adventures, ups, and downs, but when people feel connected they are strong and feel comforted, either by supporting family and friends, or by something held dear. Humans all live in moments, a moment to another, as we do from one breath to the next and only the connectedness of moments, things, and time structures our lives. As Josef Frank was quoted saying in 1958; “There is nothing wrong with mixing old and new, with combining different furniture styles, colours and patterns.1 Anything that is in your taste will automatically fuse to form an entire relaxing environment.2 A home does

1 Daniel Nelson, “Josef Frank and His Technicolour Designs for Svenskt Tenn,” Ateliertally, March 18, 2011, http://ateliertally.com/josef-franks-colourful-designs- for-svenskt-tenn/. 2 Daniel Nelson.

4 not need to be planned down to the smallest detail or contrived; it should be an amalgamation of the things that its owner loves and feels at home with.”3

This thesis explores the design potential of fiber composites, i.e. textiles applications, to model a space on the basis of its interweaving and integral properties breaking down barriers and the limits of walls, ceilings, and floor to promote connectivity. Textiles application allow for a better configuration of an interior structure where the environment and food complement each other. Textiles provide the environment and food provides the experience. As mentioned previously, we as humans need to feel connected to something. The Atlantic magazine looks into studies conducted by institutions such as Perdue University showing how human interaction changes perceptions and mood.4 Even lack of acknowledgements between individuals alters your mood in a negative light.5 If we create a space that celebrates these connections then people will find comfort in that. The tight web of people, food, and curtains reinforces connectivity. If people feel connected in a space and with the space itself they will frequent it. Following this page are images of concept elements and an inspirational textile art image by Gabriel Dawe that help frame this thesis.

3 Daniel Nelson. 4 Neil Wagner, “The Need to Feel Connected,” The Atlantic, 2012, http://www.theatlantic.com/health/archive/2012/02/the-need-to-feel- connected/252924/. 5 Neil Wagner.

Figure 1

Gabriel Dawe’s art installation piece creates the illusion of a spectrum and of space definition by a series of connecting strings that are separate but look as they are all connected as one uniform piece leading to the concept. And as the concept defines, the assumption of food and textiles as things with texture, color, and placement are sensorial elements that create uniformity. The sensorial element is defined but the tactile, and that connectedness is in fact delineation, but together the message can be communicated and the purpose of this thesis fulfilled.

Figure 2

Chapter 2: Theory – Historical Analysis of Weaves

Fiber composites, i.e. textiles are tensile, adjustable, flexible, and elastic.

They are harmonious in its equality and consistency, resulting in the accumulation of planes, which is the end of this mean. This achievement is part of an evolution that started since the beginning of human life. Textiles go back in history to the

Paleolithic period.6 Preserved textiles today date back to the Neolithic era, which goes after the Paleolithic time.7 These surviving fragments are said to have twelve threads interlacing with nine threads.8 Most likely, weaving was an arduous and labor extensive task that has benefited with time passed and by the development of better tools and technology.

Textiles are one of the first things humans invented.9 In its history, cultures can be identified and known. Fiber composites have been vital to the development and survival of many cultures. Even looking at present times, textiles are vital in our lives. When born, babies are wrapped in cloths so they feel comfortable as they leave their mother’s womb. And throughout our lives textiles form our clothes that protect us from the sun, the cold, and other elements. As part of textiles application, a known method for their application is weaving. Weaves are the focus for this thesis as the textile component.

6 David Jenkins, The Cambridge History of Western Textiles, (Cambridge, UK: Cambridge University Press, 2003). 7 David Jenkins. 8 David Jenkins. 9 Mary Schoeser, World Textiles: A Concise History, (New York: Thames & Hudson, 2003).

Weaving is a method, a process where yarns are placed in an interlaced form and one is placed vertically and the other horizontally, or at right angles to compose a plane of fiber composites.10 The threads that are placed vertically are known as the

“warp” threads and the ones placed horizontally are referred to as the “filling” threads.11 Like with anything, the method used to intertwine the yarns affect the visual structure, and even the quality of it. Two methods widely known are spinning and reeling, to name a few.12 Different weaves are categorized as plain weave, satin weave, and twill.13

A loom is the fundamental tool used to interlace the yarns vertically and horizontally, and as mentioned above, technology and innovative designs of looms have given ground to more fiber placements, designs, and color arrangements.14

When cloth is woven on a loom it holds and connects the fiber composites tightly.15

The process overall is consistent and continuous.

Figure 3

10 Wikipedia, The Free Encyclopedia, s.v. "Weaving," (accessed November 10, 2015), https://en.wikipedia.org/wiki/Weaving. 11 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 12 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 13 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 14 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 15 Wikipedia, The Free Encyclopedia, s.v. "Weaving."

Working the cloth on a loom has several actions, shedding, picking, and battening.16 These are important to view as the will later be further examined as the methodology for this thesis. In the first step, shedding is when the ends are separated and attached to the actual loom frame to facilitate passage between the

“warp” and filling” yarns.17 The picking motion is where the filling is raised and launched across one end of the loom to the other.18 And the battering motion lays the previously laid filling to the cut of the cloth or warp.19 The subsequent motions or secondary motions are the taking up and or letting off in different manners and moments to wind the cloth and frame the pattern, density, or the color alignments.20

When letting off the beam held to the frame holds tension so that the fibers maintain the shape and does not get tangled.21

Figure 4

16 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 17 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 18 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 19 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 20 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 21 Wikipedia, The Free Encyclopedia, s.v. "Weaving."

The auxiliary motions or tertiary motions of the loom consist of the warp stop motion, filling stop motion, and warp protector motion to protect the threads from braking or getting tangled.22 Also it is a great way to correct any natural defects the cloth might have.

The methodology of weaving promotes connections between the craft of weaving itself and with people in the tense and malleable aspects, hence the reason to understand the weaving method for the framework of this thesis and its application to the food eatery. It is important to view how this method relates to the concept of connection as it parallels the fundamentals of it. After all, connection as define by the dictionary is “ the act of connecting, the state of being connected, as causal or logical relation or sequence, and/or contextual relation or association.”23

Figure 5

22 Wikipedia, The Free Encyclopedia, s.v. "Weaving." 23 “Connection,” Merriam-Webster.com, 2011, http://www.merriam- webster.com/dictionary/connection, Accessed March 14, 2016.

Chapter 2: Application – Case Studies

Interior spaces fundamentally tie structural elements in cohesion to achieve a connection of the space and enclose it. With that notion we can parallel the concept of textiles and the weaving method discussed in the previous pages used to research the approach for this thesis. The elements of the weaving method such as warping, interweaving, and patterns are used to verify the design approach. The dictionary defines textiles as “cloth, especially: a woven or knit cloth. A fiber, filament, or yarn used in making cloth.”24 This combination of terms can be interpreted as “fabric topology,” like a city block. In the same way yarns bend together and represent a hierarchy of structural behavior, when applied as a framework, they create a map, a guide to the design process. Textiles methodology aids the navigation to the space programming of the food eatery proposed.

When making these connections, it is sure to specify that they will be simple in nature, as it is widely understood that complex connections lack fluidity. The fluidity from spaces to moments needs to be harmonious as weaves. To view how to approach this project and identify possible opportunities or conflicts three different case studies are examined for their warping, interweaving, and pattern characteristics.

First study is the Louisiana State Museum, designed by architects Trahan

Architects and built in 2013. The area is 28000 sqm. and it is located in

24 “Textiles,” Merriam-Webster.com, 2011, http://www.merriam- webster.com/dictionary/connection, Accessed December 23, 2015.

Natchitoches, LA, USA. This site showcases a wonderful interior design approach showing how a space’s structural elements, floor, stairs, and ceiling are warped to achieve architectural experience. The warping effect merges the lobby, stairs, and second floor into a modular shape that integrates three spaces. The site, as seen in the images below, does prove how geometrical the surroundings are. Therefore, the interior of the museum serves as a great way to view how to take elements as textiles and their warping mechanisms to create something, in this case it was something futuristic looking, majestic. But perhaps applied differently the notions of warping and modular shapes can define the aesthetic value of the textiles in the food eatery for this thesis.

Figure 6

The second study is the Portrait Gallery: The Kogod Courtyard in Chinatown

Washington, DC. This case study shows another interesting element, patterning and connections. The challenge in this project by Norman Foster and his firm, was how to place a roof over a historic structure without touching it and altering its integrity due

12 to its delicate and, again historic nature.25 The roof is supported by four columns around the actual courtyard grounded by gaskets that are hidden on the sides but somehow connect the building with the roof.26 This method efficiently enclosed an area and creates a multi-functional modern space. More amazingly the sense this structure emits is that of connection, an important element for this thesis. From this study the challenge is clear, how to create an enclosure without touching its base.

Translated into this thesis the challenge it presents is how to integrate the principles of fluidity in weaving. How can it create the structure for the space program? The connection of the roof and the base structure denote the connection needed between the environment and the experience.

Figure 7

25 Nicolai Ouroussoff, “A Delicate Glass Roof With Links to the Past,” The New York Times.com, November 19, 2007, http://www.nytimes.com/2007/11/19/arts/design/19fost.html. 26 Nicolai Ouroussoff.

The third study views Kinney Court and its Concept Fashion Store in Venice

Beach, CA. This fashion store designed by Ilan Dei Studio, shows an inspirational interior that demonstrates how a material composite, of plywood in this case, can be molded into a space and find an interesting way to display products. This case study is a great example of having an existing structure and given it new life and purpose with the application of “double-bent plywood surfaces.”27 “In the areas where the material wouldn’t support the most extreme combination of bends, holes were cut out and utilized as the product display shovels.”28 The technique used to create these panels is parametric modeling which entails the design was made digitally.29 This method may be applied to some textiles to give it structure and shape, a feasible design option.

Figure 8

27 “A. Kinney Court Store Interior by Ilan Dei Studio”, Contemporist Magazine, January 7, 2010, http://www.contemporist.com/2010/01/07/a-kinney-court-store- interior-by-ilan-dei-studio/. 28 “A. Kinney Court Store Interior by Ilan Dei Studio.” 29 “A. Kinney Court Store Interior by Ilan Dei Studio.”

These case studies provide a framework, ideas of challenges that may arise in the design process. Also the studies demonstrate how pre-fabricated panels for interiors can be used differently for alternate times and occasions bringing a notion of dynamic design useful with the textile-to-curtain application in the food eatery space. Within the three studies there is materiality, shape, and application. The relationship of materials, space, compounds, and developments is synthesized in what the method and purpose presents.

More on the learning side is the innovative aspect of materials within a space.

How to use the weave method and curtains to be applied in an interior space for a use other than its usual window treatment. Different materials or different uses for materials can be conformed by their attributes for multiple purposes not necessarily common to them. Uncommon usage expands the quality of the design and expands the design approach. All structures have a surface, either paint, polished concrete, bricks, or drywall. Adding an alternative finish broadens the horizons design wise. It creates a tensile atmosphere making a space relaxing and without tension.

A challenge in this method is the scale of the textile integration concept, how much of the structure can be used and how much of the geometry of the space once the curtains are there will be used. More on this after more concept and framework as first we need to view the site.

Chapter 3: Site

This thesis investigates the design potentials along the framework premises of weaves based on how its yarns interlace, thus creating connections while defining a space. To create a design strategy for the ideas mentioned in the thesis statement we must first consider what weaves are and what is their relationships with a space or any space, given their characteristics. We can also refer to spaces as moments of actions and inactions. It can be agreed that relationships to surroundings may stem from an emotional connection or a purely aesthetic one. And connections can be from person to person, to things, to guilty pleasures, and so on. A site that resonates and mirrors the core idea of this thesis is important in order to hold together with the framework. A few things to note through the process that lead to the selection of the site are scale, materials, and performance for the given site.

The Manhattan Laundry Building in Washington, DC is the ideal space to unify the concept with the framework. It is a great space to incorporate connectivity notions of weaving methods, to how a curtain under those premises will be applied to the space and have a fluid story with the food being served in the food eatery. To proceed on the understanding of weaves’ environmental aspects alongside food experiences lets first explore the space, the site. This thesis unfolds within the

Manhattan Laundry Building located at 1328 Florida Avenue NW, Washington, DC

20009.

The complete building was built in 1911 and is 81,453 square feet of office, retail, and mix-used space potentials. The complex originally housed the traction facility for a streetcar company. The oldest building on the site, the west building at 1346 Florida Ave, was built in 1877. The complex became a printing plant in 1892 and it was converted into a laundry in 1905. It is part of the expansion of Washington’s urban core and industrial development along Florida Avenue. This historic property features three buildings with ideal space for office or retail in the heart of the U Street neighborhood. The building is just 3 blocks to the U Street Metro Station. It has 81,453 rentable square feet divided by Building A: 30,454 sf, Building B: 44,424 sf, and Building C: 6,575 sf.30

Figure 9

This site was selected for its aesthetics and location. The building is in the heart of DC and reasonably accessible. Also the building is unique to its surroundings with its enticing 1920’s Art Deco façade. The 1st floor has twelve feet ceilings with exposed plumbing, steel details, exposed brick walls, and polished concrete floor;

The perfect simple palette for the curtains to stand out in the space. Also, the building has an “artsy” history. It was the first house for Artomatic, a yearly art event in DC. They hosted their first event using most of the interior building space in

30 “Manhattan Laundry Building,” Douglas Development Corporation website, http://douglasdevelopment.com/properties/manhattan-laundry-building/.

1999.31 The space was opened to artists that organized the event for the purpose to have other fellow artists freely exhibit their own work.32 Like a chain reaction artists grouped friends and other known artists until the building was full of different mediums of expression.33 It was there the event got dubbed with its name spelled formerly as “Art-O-Matic.” Its success was unparalleled to any event similar in DC.

More than 25,000 attendees participated the six weeklong event that gained high appraises, and media coverage.34

Figure 10

Considering the large scale of the whole building, and the fact that it would be wishful thinking to assume 25,000 people will visit the space in a given month, the

31 “Artomatic,” Artomatic website, http://www.artomaticfrederick.org/#!about/sonxv. 32 “Artomatic.” 33 “Artomatic.” 34 “Artomatic.”

18 interior space for this thesis will be defined in the north side of Building B. The total square space for Building B is 6,014 RSF.35

Figure 11 and 12

Figure 13

35 “Manhattan Laundry Building.”

The history of the U Street neighborhood is a colorful one, a perfect backdrop to the evolution of this rich in color and texture thesis. U Street is known for its history, music, food, and art. That can be echoed in what this thesis design represents. With a neighborhood full of galleries and restaurants, this site will add character to the area.

Now that the site has been described to cater to this thesis, lets proceed to how to make it work for the concept. The scale and footage of the structure and its geometry is a challenge, but in the following section will show how using Massimo

Bottura and Petra Blaisse help plot the course of design. Also important to note is the performance of the finishes existing in the building to better serve the space. It is essential to make sure the space is assembled efficiently but again, this thesis is about a design process, a way of thinking, a way of feeling, and a connection.

Figure 14

Chapter 4: Concept Figures – Massimo Bottura and Petra Blaisse

Food is a wonderful connective medium. When families and friends sit down to eat they converse, share, and connect. Food is society’s connecting factor, it is the one thing we all have in common. It explores interpersonal relationships. With that passion and connection, Chef Bottura creates and plates his food. “I understood how art is meaningless without a concept... [then] art came through the back door into the kitchen.”36 Massimo defies the odds to create something different, an experience provoked by art. He changes the way we look at traditional food by giving it a soul.

And in that way his food is to art like this thesis’ eatery is to fiber composites.

Figure 15

In a more direct way, Petra Blaisse’s work is more contributing to the proposed curtains framework concept. Blaisse is a British born and Dutch naturalized designer that works actively in Europe as an architect, interior designer, textile

36 “Chef’s Table,” first broadcast April 26, 2015 by Netflix, directed by David Gelb.

21 designer, and urban designer.37 Her work upholds a vision and mission that relates to connections of textiles and structures and to the idea of textiles molding a space as “(I)t is characteristic for Blaisses’ work that the interior and the exterior space join each other within a fluent transition.”38 This transition notion is precisely what supports the framework of this thesis as the curtains separates spaces but does not divide them, thus reinforcing connectivity. Her work brings the space together while defying structures with textiles as curtains breaking barriers of traditional walls.

Figure 16

Figure 17

37 Avinash Rajagopal, “The Creative Process | Spatial Conversations – Petra Blaisse,” METROPOLIS Magazine, March, 2013, http://www.metropolismag.com/March-2013/The-Creative-Process- Spatial-Conversations-Petra-Blaisse/. 38 Vanderstraeten, Margot, Ruimte wonder, in: De Morgen (Belgium) April 2014, pp. 48–56.

Blaisse’s notion of including the exterior into the interior is used as a metaphor by the name given to her studio of 10 members called Inside Outside established in 1991 in Amsterdam.39

“Blaisse first gained international acclaim for her exhibition installations, theatre curtains, acoustic walls and poured floors. Her traveling exhibitions in the eighties and nineties showcasing the work of Rem Koolhaas/OMA, the embossed ‘liquid gold’ drapes for the Netherlands Dance Theatre in The Hague, the ‘sound curtain’ for the Kunsthal in Rotterdam, the back lit curtains and poured floors for Lille Grand Palais in France, the multi- layered curtain walls for the Mick Jagger Centre concert hall in London, the ‘Garden Carpets’ and reversible curtains for the Seattle Central Library, the pleated and knitted curtains for the Prada stores in New York and Los Angeles, and the large flowered ‘jacquard’ curtains for the Dutch Embassy in Berlin are a few of her most recognized works.”40

The textiles she uses are functional in that they define spaces and moments to the effect of the experiences, but are also light in fabric, transparency, and fluidity.41 Noise and light crosses them. The fiber composites used in many of her projects are engineering masterpieces such as the space defining curtain for Knoll

International at Salone del Mobile, Milan, Italy done in April 2015.42

39 Biography Petra Blaisse / Inside Outside, http://www.insideoutside.nl/en/petra-blaisse.htm 40 Biography Petra Blaisse / Inside Outside. 41 “OMA Designs Pavilion and an Exhibition for Knoll,” World Architecture Community Magazine, last edited April 2015, http://worldarchitecture.org/architecture-news/cpmmf/oma-designs-pavilion-and- an-exhibition-for-knoll.html. 42 “OMA Designs Pavilion and an Exhibition for Knoll.”

Figure 18

Based on research for this thesis, Blaisse has developed amazing coverings that are the results of basic and old weaving techniques from centuries ago made into modern improved textiles.43 These new significant fiber composite upgrades show how ingenuity can be successful to design a space. To move forward, remember the weaving methodology explained in the beginning of this work as it relates with the design approach proposed and to the understanding of how the curtains relate to it.

“But at the heart of Blaisse’s practice is the belief that the design of textiles should evolve as the concept of a building takes form—as an organic aspect of architectural thinking, not a decorative frill tacked on once the structure is built. Textiles have emotion. They can have an enormous influence on the acoustics and the feel of architecture. With one movement, you can create a totally different world, in every sense of the word—light, acoustics, color, atmosphere, organization of space. It’s an absolutely connected dialogue; it’s not an afterthought,” she says. “Nothing is good as an afterthought. The aesthetic and technical quality of the designs (curtains, floor, ceilings, walls, gardens, parks, and landscapes) are closely related to the architectural context and atmosphere. Melting into, complementing or challenging the architecture or the architectural environment, our working process takes care to service the users in the best possible way.”44

43 Biography Petra Blaisse / Inside Outside. 44 Avinash Rajagopal, “The Creative Process | Spatial Conversations – Petra Blaisse,” METROPOLIS Magazine, March,

Figure 19

Curtains serve as partitions, as moments that encompass a physical state, an area of sitting, of eating, and an area of connection. Similar to what plates delineate, a specific course with a state of ingredients. That way together, the ideas that represent Bottura and Blaisse inspire the direction of this thesis.

2013,http://www.metropolismag.com/March-2013/The-Creative-Process-Spatial- Conversations-Petra-Blaisse/.

Chapter 5: Methodology – Supporting Experiences

Following the ideals of Bottura and Blaisse a design framework is specified following the storyline of connectivity. Creating a space that unifies and connects people with food is a challenging task, one that designers and architects alike thrive to achieve. How to unify elements, spaces, finishes, and ideas that tell a congruent story can be knotty. Per the figure below, connections stem through a myriad of things, through food from its actual plating process to its environment to be reflected in it and defined by the curtains. With the creation of a path or a program, we can defy the odds of new ideas. As chef Massimo Bottura said on the Netflix’s Chef’s

Table, “art is meaningless without the concept to magnify its genius.”45

Figure 20

45 “Chef’s Table.”

The interior of the Manhattan Building, and the building itself has infinite potential. It is a great location for something bold and new. The space will be converted into a food eatery, where food is the experience promoting connectivity as framed in the weave-like curtains. Compositional elements as the environment will create a space resembling a loft-style space, where people can find delectable food in an environment with no walls but curtains. Ideal place to find innovative, stylish, and clever work in a colorfully tasty atmosphere. It will entertain wonderfully spacious areas unlike anything in DC for people to enjoy the bold taste of creative ingenuity. You can enjoy food and drinks throughout the area, in inside lounges, tables, and bar or in the outside lounge areas.

As part of the framework development for the design potentiality of the process, a series of spaces and artists provide insight to find structure for design ideas and feasibility for the food eatery interior space. The first of these spaces is the

Labo culinaire at the Société des Arts Technologiques in Montréal, Canada. This space is in one word “fascinating.” From the great design to the great food the space inspires potency. The space is simple in materials and finishes, but something about it is alluring. SAT (Société des Arts Technologiques) was built and founded in 1996.46

The space has three floors that cater to international artists and enthusiasts of

“immersive technologies.”47 It is a place to engage with art and exploration, parallel to food and weave methodology. The space foments seekers, doers, and tinkerers.

46 “Société des Arts Technologiques,” SAT Website, http://sat.qc.ca/en/sat. 47 “Société des Arts Technologiques.”

Various activities year round transform the space from shows, markets, exhibits, food stations, to any imaginable atypical experience.48

Figure 21

One of the most wondrous features is the Satosphere on the top floor. The modular dome serves as an awe-inspiring light show similar to a planetarium, which is used mostly for music events attributed to its extraordinary sound contraptions.49

Figure 22

48 “Société des Arts Technologiques.” 49 “Société des Arts Technologiques.”

Another site research is the Baltimore Museum of Art, BMA, and the work within the museum’s architecture of artist and sculptor Sarah Oppenheimer. She uses her work to study the interrelation of spaces and cavities to connect them or to bring them in a congruent manner.50

“Oppenheimer manipulates space by means of a formal element that is the absence of solidity: the hole. The paradox of Oppenheimer’s holes, which she situates in a typology and accordingly names with a letter and number, is that however empty they are in essence, they are never lacking for substance. Marking the interstices between and among spaces, Oppenheimer’s holes—as shaped by a variety of materials—afford lines of sight so unexpected and passages of bodies and light so complex that they wind up calling into question the very stability of even the simplest of rooms.”51

Her piece in the museum almost transcends into the artwork placed on the walls, but they are indeed part of the building itself. Seemingly her work unifies segmental planes to create the illusion of continuity, as curtains would. Even though the work is treated as interior work they are also considered as sculptures or as additions. Piece, or sculpture “W-120301. 2012” connects spaces by creating reflective surfaces with different finishes to the different galleries adjacent to each other, to the sides, and below or above. The fact that it acknowledges several spaces as a connecting or working unit means a complete reverence to the surroundings as a whole, as one congruent space.52 In that then, she connects the galleries by way of emotion and the physical.53 Undoubtedly, visual challenges change special experiences as seen in the image in the next page.

50 Faye Hirsch, “Sarah Oppenheimer NEW YORK, at P.P.O.W,” ArtinAmericaMagazine.com, December 19, 2012, http://www.artinamericamagazine.com/reviews/sarah-oppenheimer/ 51 Hirsch, “Sarah Oppenheimer NEW YORK, at P.P.O.W.” 52 Faye Hirsch. 53 Faye Hirsch.

Figure 23

Artist Gabriel Dawe, is also a great example to navigate the work proposed to understand relationships. Mexican born and raised, this artist “explore(s) the connection between fashion and architecture, and how they relate to the human need for shelter in all its shapes and forms”54 even though the proposed relationship of this thesis relates more to the relationship of experience and environment. It is interesting though to see how relationships of any form are developed.55 Gabriel’s work can be used to define the scope of this design process in the sense that he clearly has a meaning for his work to create something beautiful. His work is a source of inspiration. Gabriel’s piece at Renwick Gallery, Plexus A1, is truly mesmerizing. “His work is centered in the exploration of textiles, aiming to examine the complicated construction of gender and identity in his native Mexico and attempting to subvert the notions of masculinity and machismo prevalent in the present day.”56

54 http://www.gabrieldawe.com/bio.html 55 http://www.gabrieldawe.com/bio.html 56 http://www.gabrieldawe.com/bio.html

Figure 24

Other artists such as Virginia Arrisueno, Chiharu Shiota, and Emmanuelle

Moureaux are also wonderful visuals to understand the possibilities of textile modules that connect elements. In the following pages an exploration of human connection is examined to tie together the storyline of this thesis starting from weaving methods, curtains, food, curtain projects, and now how it connects with the human aspect in the concept of connectivity.

Chapter 5: Methodology – Human Connectivity

The conceptual notion of connections can be first viewed as that between people as a need to feel part of something big for some apparent reason, many argue it is part of our genetic constitution.57

Figure 25

We all need connections to make our days feel more meaningful. There is great value to interactions for our wellbeing. Imagine a world where people alienate themselves from each other. Cooperation through connections is what drives ours lives to thrive. A space that celebrates and enhances connectivity is to be, not only seen in a thesis, but ultimately in reality.

57 R.F. Baumeister & M.R. Leary, “The Need to Belong: Desire for Interpersonal Attachments as a Fundamental Human Motivation,” Psychology Bulletin, 117, no.3. (1995): 497-529.

Chapter 6: Process – Space Planning

To define these malleable spaces in the Manhattan Laundry Building the design must assemble elements to be applied throughout as one whole extended environment. The idea is to create fluid and moldable areas that serve the eatery experience for people to enjoy the chef’s in turn creations. They are defined in any moment by their standing or by what is being created within. The curtains can be closed or opened to create larger spaces. Their function in general terms can be described by the collaboration of both the chef and space, the fluidity of curtains experience. This is a place of eating concept food in a fun environment that promotes connections. Several partis were done to study the relationship of food by plating with space as we navigate towards the application.

Plan Partis

The interior areas are separated by the curtains made using the weaving method to help give attribute to its sense of scale, purpose, and connection as people walk through the eatery. It is the connection, either emotional or physical, that the people walking in the interior has with its interconnecting surroundings, which can dictate “play” due to its un-deliberate attempt to direct the individual in and out of the space, around it, and within it as fiber composites do. The success of how efficient is the direction or not can be telling on how well the space is designed under the premises of the dynamics of interweaving functionality. As dubious as this may sound, connections are disparities of notions. Below are a few sketches on how the flow and usage of the space could work. These sketches try to understand what happens when fluidity (textiles) is introduced in a space with food and people. The first shows navigation and the second trio of sketches shows spacing.

Flow Studies

The sketches above represent how the environment surrounds the experience. The first set is very fluid and then the sketches get more geometric. The second set is a combination of defined spaces that can be moved as modular ones.

These spaces stem from the notion that people enter the building through Florida

Ave. and use it as the main entryway. To the east side of the building there is an alley space perfect for outdoors seating. The building is ideal for a full cycle circulation motion, where from entrance you can reach the back through the east side and the west side creating an open-space approach. The research then continues to verify what program, scheme, and layout best serves the space to be functional and innovative.

Sections Space Studies

These four other sketches are part of the initial sketching process when the

area of the site selected was being tried out.

These partis are helpful to develop a plan for the design approach, a design thinking moment. The diagrams above measure the human experience within the space and how they navigate from entering, to moving around, to exiting. The lines define the subjects’ movements that lead to the programming seen in the next section.

Chapter 7: Programming and Requirements

The process leading to this point has been a story of connectivity that starts from the notion of connectivity itself to weave methods, food, and people. Now we have all the information to start developing the space on the site selected, the

Manhattan Laundry Building. As the figure below shows, spaces are occupied by people who interact with each other and with the space itself.

Figure 26

If a space interacts with people in the same way that people relate to each other, it is safe to assume the space can influence the way people’s interaction unfolds. That being said, can design change our perception of people in how we connect and relate to them? Of course it does. We see time again in history how architecture, art, and social trends defined eras, styles, and ways of thinking. From the Neoclassic era to the 70’s we see very defined moments in history where perception was defined by the masses. To understand and speculate on how space

37 can connect people through a concept seems crucial to examine why forms change the relationship between visitor and space. How experience relates to environment.

The overall square footage of the Manhattan Laundry Building is 81,453 square feet. The RSF for the eatery in Building B is 6,014, which is still a large area and a wonderful palette for this proposal. Three components to define critically are connectivity, food, and textiles (curtains). Every space needs the basics to have an adequate flow. For this eatery a restaurant model will be ideal to matrix the spaces needed. The diagram below lists all the areas to be included in programming of the space.

Diagram Matrix for Programming

With a semi-linear floor plan the incorporation of the program in the plan is fairly easy. The facilities need to comply with ADA requirements and the general space able to sustain heavy traffic of people. The space has yet to consider the

38 curtain incorporation at this point as the floor plan in the next page just shows the spaces with square footage for the building’s first floor.

Floor Plan

The next step is to incorporate the furniture to test the space for restaurant qualities and for how people will navigate around the furniture. The placement is based on the parties sketched above. And as shown the furniture plan below, the curtains are still not incorporated at this point.

Furniture Plan

Font Elevation

West Elevation

Chapter 8: Materiality - Curtains

When both connection notions and intent integrate in a space, they manifest into utilitarian expressions. Its value can be assessed by the traditional structure of weaves to “question the inner structure of our forms of dwellings.”58 The idea would be taking the actual space and structure to the next cycle of its life. After being a streetcar company, to a laundry facility, to a charter school, and then used for art events, this can be the next revival for the Manhattan Laundry Building. The industrial 1920’s space already accounts for great raw materials such as steel, wood, glass, and cement. Let the space be transfigured to a food heaven and areas to enjoy with people. Factors to consider for achieving consecutiveness are accessibility, comfort, visibility, and productivity in this space concept. In this space using textiles weaving principles blurs the lines defined by the typical restaurants in

DC.

Fiber composites reinforce ideas of connections by their aesthetics and by their engineering capabilities qualities. “High performing continuous fibers”59 examples are weaves, knits, braids, and certain non-woven textiles. Their system of repetition and interweaving properties allude to a feeling of belonging and integration as seen in the weave method section of this paper. Therefore, the design aesthetic within this space can conceptually be part of the notion enforced. With this challenge

58 Robin Clark and Giuliana Bruno, Automatic Cities: The Architectural Imaginary in Contemporary Art, Museum of Contemporary Art San Diego, 2009, 48. 59 Nandan Khokar, “3D-Weaving and Noobing: Characterization of Interlaced and Non-interlaced 3D Fabric Forming Principles,” Chalmers University of Technology (1997): ISBN: 91-7197-492-x, http://publications.lib.chalmers.se/publication/1266- 3d-weaving-and-noobing-characterization-of-interlaced-and-non-interlaced-3d- fabric-forming-principle.

41 it is important to rethink an interior configuration and design based on weave-like structures and develop a more efficient malleable space that connects one side of the space to the other. Another issue to consider is what connection between materials serves better purpose for the space. Fiber composites add soft elements that are deemed more approachable breaking down the barriers between person and structure. But the connections may be viewed spatially to determine the connecting factors. All this is very contextual but in practice it is vital to understand the properties ideal for such an application. Here are a few sketches to test the application for the textiles:

Curtains Layout Sketches

Petra Blaisse’s own studies and sketches as seen below inspired the sketches used for this thesis.

Figure 27

The materials used in the space need to be resistant to heavy traffic, plates coming and going, and light. Also since the interior of the building is vast and spacious sound needs to be accounted for. As with any interior light, sound, and fluidity are crucial to understand. Therefore, careful application of textiles in the space will work with these factors. As seen in the sketches for the curtains applications in the previous page many options are viable. The next isometric renderings display the relationship of the space, the furniture, and the curtains.

Rendering Isometric Plan

Wire Isometric Plan

Textile Weave Method

Curtain Material

Curtain Rendering

Chapter 9: More Materials and Applications

Food and textiles together pose a challenge but adding actual curtains to the mix also complicates things. Materials need to be carefully selected to serve for better acoustics, let light in, and connect the space, but also be careful the textiles do not weather quickly with time and use. They need to be flame resistant or retardant, easy to clean, and maintain. Vinyl, cotton, cotton waxed materials, moldable wood, plastic, thermal-heat resistant cloth, and broadcloth, were some of the materials researched for the curtains. The textiles ideally will fall from ceiling to floor and have a rod mechanism so that they can be pulled and pushed. Their work will be choreography of use to transform the shape of the defined space. The possibilities are numerous. Another detail to consider is when installed in the space it is important to note the tolerance of the push and pull. This relates to what specific textile material is chosen in relation to the mechanism controlling its fluidity and movement. The horizontal movement of the hinged textiles, assuming the mechanism will function as a curtain, will hold the material in place so it can be pushed and pulled to close and/or open areas. The play relies of the mechanism used and the hinges relationship with the textiles, the connection to tie back to the initial concept. The rode ideal for this project is the following together with weights at the bottom of the curtain to hold its form and fluid motion:

Figure 28

The materials should not in any instance create friction with each other. It should complement each other. The materials already present are the space as concrete, steel, wood, and brick will remain to maintain the character of the building and space.

Interior Space Materials

They will be incorporated in other design detains in the bar and tables as the images below demonstrate.

Furniture Images

The bar will have reflecting surfaces to enhance lighting and the focus area.

The renderings below show how the materials complement each other and harmoniously connect the space.

Bar Backdrop Bar Top and Structure Finishes

Bathroom Floor, Walls, and Counter Materials

Lounge Rendering

Main Eating Area Rendering

Bar Rendering

Chapter 10: Conclusions

With the research at hand and with the ideas presented in the body of this document, the proposed space at the Manhattan Laundry Building will be unlike anything in Washington, DC. The space inspires connections with residents and tourists, and any spectator. It will be an opportunity to create, to learn, to indulge on deliciously enticing food. The building has grown with the city and hence the city will grow within it, giving it a new life and purpose. This project serves as an opportunity for different restaurants and eateries to use curtains as a design option. This thesis could have multiple design options or outcomes with the curtain layout or application, but what is vital to take away is the conceptual work and methodology leading to this thesis design proposal.

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