Architecture of Textiles: Design Thinking for Local Contexts

architecture of textiles: design thinking for local contexts

Honors Senior Research Project Chelsea Brown, BS in Arch, 2013 Peter Wiederspahn, Faculty Advisor asbtract 3

The study of traditional cultural mate- ing first what it means to be local, then 1. Appadurai, Arjun, “Illusion of rials provides insight for the design of creating a spatial idea of what that Permanance,” in Perspecta, no. 34 contemporary architecture in cities of local is, allowing one to “get a deeper (June 2003): 44-55. the developing world. Precedent exists sense of what it means to produce, Art & Architecture Complete, EBSCOhost within the images, materials, and cli- inhabit, and sustain spatial relations.”1 (accessed July 27, 2012), p. 44. mactic responses of cultural artifacts, Similarly, Mehrotra suggests identi- however the methods of adaptation fying lessons from globalization for 2. Mehrotra, Rahul, “Between Equity And for architectural design are yet to be application in local contexts in order Impatient Capital: Making Indian Cities,” defined. to create distinct identities for each in Journal Of Inter- of India’s cities, thus creating unique national Affairs 65, As seen in many developing countries, no. 2 (Summer2012 the rapid modernization of urban architectural responses that are “very 2012): 133-137. Aca- much of that place.”2 Combining the demic Search Premier, centers, such as Mumbai, has sup- EBSCOhost (accessed July 26, 2012), p.137. ported the construction of countless process of these two experts, that of generic buildings that fail to relate to understanding both locality and the their locality and fall short of design benefits of global methods, suggests a innovation. Many researchers have method for creating new contextually critiqued the urban environments and relevant architecture. architecture of many of India’s major cities, including Mumbai; however few have proposed real methods of creating better spatial conditions. Published interviews with both Rahul Mehrotra, a Boston-Mumbai based architect and professor at the Harvard Graduate School of Design, and anthropolo- gist Arjun Appadurai, provide insight into the theoretical approaches to the design of new urban environments, of which local identity is a major con- cern. Appadurai suggests understand- METHODOLOGY 4

3. Frampton, Ken- In line with Kenneth Frampton’s tural material—textiles—explores the neth, “Prospects for a Critical Regionalism,” “Prospects for a Critical Regionalism,” visual, material, and spatial manifes- in Perspecta, vol. 20 (1983): 147-162. my research similarly deconstructs tations of Mumbai’s culture for the JSTOR (accessed Sept. local traditions and foreign influences, development of a broad-based design 9, 2012). then analytically proposes methods of thinking that incorporates tradition design thinking for the reconstruction with contemporary culture. 3 of a modern context. Understanding At the outset I defined the terms of the use of textiles in Mumbai as both my architectural thought as identity, a temporary construction material grounding, and boundary. These three and cultural expression, my research terms served to delineate the vari- makes in initial conceptual leap—con- ous aspects of architecture’s aesthetic, necting textiles with architecture. This cultural, and spatial qualities into connection allows both textiles and more broad based terms that move architecture to be understood outside beyond specific architectural moves their typical definitions, and aids in into the realm of architecture’s social my research of local traditions in applications. Similarly, I defined the Mumbai. terms of my investigation of textiles Methodologically, my research has as aesthetic, means, and environment. followed a loosely linear sequence of After elaborating upon the defini- (1) defining the terms related to both tion of each term, I plotted them in a the topics of textiles and architecture; matrix, from which I began to draw (2) making conceptual connections conceptual connections, pages 6-7. between the two sets of terms, with Within each cell I listed initial ideas textiles in Mumbai as a test-bed for relating to the intersection of two these connections; (3) compiling a given terms—for example the crossing matrix diagram of the conceptual of textile means and architectural connections between architectural and grounding—as well as questions for textiles terms; (4) travel to Mumbai to further research and a brief list of rel- document and critique the conceptual evant articles that I anticipated would connections thus developed; and (5) aid in my later expansion of the cell’s reformation of concepts and revision conceptual contents. of matrix into specific-generic design The matrix then became a conceptual thinking paradigms. The final result map that lead my in-field research of this process of research, analysis, in Mumbai. Over a two-week period and reordering of an existing cul- 5

I visited a number of open public spaces, parks, and markets, document- ing instances of temporary construction, textile structures, and screening elements. Information gathered while in Mumbai has thus influenced the content of the matrix and its application. Moving away from a process- based conceptual research framework, the matrix is now a solutions-based framework, illustrating potential methods of design-thinking. MATRIX 6

ExploresTEXTILES the themes relating to use of textiles.

AESTHETICS: MEANS: ENVIRONMENT: IMAGE/PATTERN TOOLS/TECHNIQUES CLIMATE/EXPERIENCE

Rapoport, Amos. “Attributes of BIBLIOGRAPHY Visual associations between textiles Repetition of pattern, fabric, color, Regionalism Tradition.” In Dwellings, Settle- ments, and Traditions. Edited by and architectures, referencing each application aid in forming a Alsayyad, Nezar, “From Vernacu- Use of screens, layers of larism to Globalism: the Temporal Jean-Paul Bourdier and Nezar other— seen in patterns, screens, cultural/traditional identity Reality of Traditional Settle- Alsayyad. Lanham: University thresholds, and deep shadows Press of America, 1989. 77-105. and layers of thresholds ments.” In TDSR vol. VII no. 1 (1995): 13-24. Academic Search Economic class division through Semper, Gottfried. “Style in the Tradition in symbology Premier, EBSCOhost (accessed Technical and Tectonic Arts or application of A/C October 14, 2012) Practical Aesthetics.” In The Four Elements of Architecture and

TRADITION Temporary architecture of street Appadurai, Arjun. "Illusion of : / markets, slum residences, and Permanance." Perspecta, no. 34 Other Writings. Translated by (June 2003): 44-55. Art & Archi- Harry Francis Mallgrave and special events tecture Complete, EBSCOhost Wolfgang Herrmann. (accessed July 27, 2012). Cambridge: Cambridge University Press, 1989, 181-264. Burns, Carol J. “High Performance IDENTITY CULTURE Sites.” In Site Matters. Edited by Vellinga, Marcel. “Anthropology Carol J. Burns and Andrea Kahn. and the Materiality of Architec- New York and London: Routledge, ture.” In American Ethnologist, vol. Urban “fabric” and continuity of Materiality as it relates to culture Temporary responses to weather 293-310 34, no. 4 (2007): 756-766. image Tools to create repetition, Typological adaptability to climate: Cerasi, Maurice. “Type, Urban Wang, Wilfried. “Sustainability as a Cultural Problem.” In Harvard Temporary structures have typologies open markets, screens, deep Context and Language in Con�lict.” In Typological Process and Design Design Magazine, no. 18 permanent presecnel iterations of overhangs (spring/summer 2003): 1-3. Temporary market structures near Theory. Edited by Attilio Petruc- structures vary; frequency cioli. Cambridge: Aga Khan train stations Program for Islamic Architecture. : throughout city creates urban fabric 179-188.

Frampton, Kenneth. “Frank Lloyd REPETITION

/ Wright and the Text-Tile Tectonic.” In Studies in Tectonic Culture. Edited by John Cava. Cambridge: MIT Press, 2001, 93-120. SITING GROUNDING Frampton, Kenneth. “Prospects for a Critical Regionalism.” In Visual/perceptual edges Systems of enclosure Spatial qualities of boundaries Perspecta, vol. 20 (1983): 147-162. JSTOR (accessed Sept. 9, Physical boundaries are layered, Textiles used as physical boundaries Expansion of space through 2012). gradual progression from exterior overhangs and shade Frampton, Kenneth. “Introduction: Temporary construction implies to interior Re�lections on the Scope of the socioeconomic permanent Blurring of boundaries through Tectonic.” In Studies in Tectonic Culture. Edited by John Cava. boundaries spatial depth Cambridge: MIT Press, 2001, 1-27. : Mehrotra, Rahul. "Between Equity And Impatient Capital: Making WALLS Indian Cities." Journal Of Interna- / tional Affairs 65, no. 2 (Summer2012 2012): 133-137. Academic Search Premier, EBSCO- LINES BOUNDARY host (accessed July 26, 2012). ARCHITECTURE textiles. of use to relating themes the Explores MATRIX 7

ExploresTEXTILES the themes relating to use of textiles.

AESTHETICS: MEANS: ENVIRONMENT: IMAGE/PATTERN TOOLS/TECHNIQUES CLIMATE/EXPERIENCE

Frampton, Kenneth. “Frank Lloyd REPETITION

4. Alsayyad, Nezar, ineffective, as the form and influence “From Vernacularism IDENTITY to Globalism: the of each change with any given envi- Temporal Reality of Identity refers to both the individual ronment. It is first crucial to establish a Traditional Settle- and the collective, the elements that ments,” in TDSR vol. process for interpreting tradition, then VII no. 1 (1995): 14. reveal a building’s use, and the col- Academic Search later look to specific examples. Premier, EBSCOhost lection of buildings that define a built (accessed October 14, In looking at the traditions that 2012). environment, such as a neighborhood or district. Identity is influenced by constitute a built environment, and 5. Rapoport, Amos, subsequently that environment’s iden- “Attributes of Tradi- notions of both culture and tradition. tion,” in Dwellings, tity, it is perhaps easiest to consider Settlements, and Tra- “Identity,” understood as the fact of ditions, ed. Jean-Paul tradition in terms of its various facets, being or knowing what one is, relates Bourdier and Nezar as Amos Rapoport suggests in the “At- Alsayyad. Lanham: to architecture in the expression of University Press of tributes of Tradition.” Through literary America, 1989. 83. the structures, uses, construction, etc. analysis of “tradition” Rapoport was in a built environment. The elements able to deduce the varieties of applica- that inform this expression are culture tions and meanings of tradition into and tradition, and are two distinct a relatively concise list of attributes, realms of influence. Looking to the grouped into three major categories: ways the built environment is adapted on (1) the nature of groups, (2) tem- to meet the demands of tradition, the poral, continuity, and change, and (3) influences of culture, reveals those economy/tradition.5 These groups, and moments that contribute to the estab- associated attributes, provide a start- lished identity. ing point, a system of categorization, Alsayyad lists “family, ethnicity, from which to analyze a “preliterate or religion, language and history” as vernacular” built environment. being “identity-constituting elements This primary list of attributes is which are handed down in a process limited in scope, as it is based on the normally referred to as ‘tradition.’”4 common literary use of “tradition” in Tradition then is the process by which reference to “preliterate and vernacu- customs are passed through genera- lar” design. Seeking to expand the tions, and how this process informs scope of tradition, Rapoport calls for the built environment is the moment a definition of tradition that is meant of my investigation. So to look initially not only “to help define preliterate and at the specific customs, languages and vernacular design and distinguish one religions as the defining elements of a from another, but to help distinguish traditional built environment may be 9 them from high style, popular and riality.” This focus is significant in both 6. Rapoport, “At- tributes,” 86. other types of design, and to help its physical and social value, because 7. Wang, Wilfried, define these other concepts as well.” In it is through “materiality” that culture “Sustainability as a doing so, Rapoport provides a second and architecture “mutually constitute Cultural Problem,” in 8 Harvard Design Maga- list of attributes that is divided into the one another.” Velligna additionally zine, no. 18 (spring/ categories of “process” and “product” calls out the need for anthropological summer 2003): 1. characteristics, intended for the analy- studies in understanding the cultural 8. Vellinga, Marcel, “Anthropology and the sis of somewhat undefined traditional influence of architecture, with atten- Materiality of Archi- built environments.6 Finally, this idea tion “paid to its material as well as to tecture,” in American Ethnologist, vol. 34, that tradition is both a process and a its social and symbolical aspects, and no. 4 (2007): 756. product is critical as it addresses the to the ways in which all three dialecti- 9. Vellinga, Marcel, t duality of tradition—something that cally interrelate.” “Anthropology and the is both happening, continuing, and Materiality of Archi- The ways in which these two elements tecture,” in American evolving and as an established pattern Ethnologist, vol. 34, inform one another creates a dynamic no. 4 (2007): 757. that is the result of a specific time and relationship. Culture, as a reflection place. This notion will be critical in of the contemporary, challenges tradi- defining identity. tion. Simultaneously, tradition is the Tradition can be assumed to have a singular element around which culture specific scope of influence, whereas is formed. They are then dependent culture is much more far reaching. in upon each other for realization, and what Wilfired Wang would describe their combination forms an “identity.” as architecture’s “cultural footprint,” or the zone of cultural influence it has as an image or symbol that can GROUNDING be transported across boarders.7 And Looking to the design elements used this lends to the idea that in this global to create architectural ties to sepecific world, culture although it may be tied culture, the term “grounding” applies to a specific environment, is influ- to the repetition of architecture to enced by others. How culture comes to create a fabric of a local built cul- inform architecture, and the architecture. Frampton’s definition “Critical tural responses to culture, provides an Regionalism” provides a starting point area of investigation that is emerg- from which to develop an understanding in architectural discussions, as ing of grounding: evidenced by Marcel Velligna’s review of three books on the subject of “mate- the analytical deconstruction of local 10

10. Frampton, Ken- traditions and foreign and contempo- reveals the individual elements work- neth, “Prospects for a Critical Regionalism,” rary influences for the reconstruction ing together. in Perspecta, vol. 20 10 (1983): 148-149. of a modern culture/civilization. “Grounding,” refers to both the JSTOR (accessed Sept. 9, 2012). The notion of “grounding” relates physical area of a specific site and the to architecture that is “of its place,” modes of creating architectural con- 11. Frampton, Ken- neth, “Prospects for a meaning the architecture exudes a nections to that site, both physically Critical Regionalism,” in Perspecta, vol. 20 sense of belonging to a particular site and cultural. Critical to the notion (1983): 148-149. or context. Elements that influence the of grounding is the influence of local

12. Burns, Carol J, notion of grounding—siting, or be- culture. What are the elements that “High Performance Sites,” in Site Mat- longing—include materials, massing, distinguish this site from another, how ters. Edited by Carol typologies, and building uses, among does a universal building type adapt to J. Burns and Andrea Kahn. New York and others. Each of these elements influ- various sites, or groundings? How are London: Routledge, 308. ence the architecture, pushing it in these elements analyzed and reinter- some way, creating a dialogue between preted? the architecture and its site. Both the Where do sites begin and end? Con- site influences the architecture, and text can be understood in terms of a architecture on the site. Frampton’s cultural or physical site, or perhaps “Critical Regionalism” discusses the both. In this way sites can be inter- inclusion and appropriation of “out- preted as boundless, composed of side” modern influences in the design living, constantly changing elements. for local contexts, calling for the Involved in the “processes of living analytical deconstruction of local tra- change,” architectural sites are part ditions and foreign and contemporary of a dynamic system of cultural and influences in contemporary construc- material realities.12 These realities are tion of modern cultures/civilizations.11 separate and evolving matters, with This requires a critical understanding their occasional overlap creating dif- of the context and interpretive work ferent conditions and contradictions on the part of the designer to create in the formation of an architectural modern-contextual architecture that site. Analysis of these two realities, the resists mere symbolism. cultural and material, yields a dynamic Repetition of structures works understanding of a context and its together to form a “fabric” of built cul- various modes of influence. ture that creates a sense of uniformity from afar, but with closer inspection 11

“patently tactile and materialist, rather 13. Frampton, Ken- BOUNDARY neth, “Prospects for a than visual or graphic.”13 It is this em- Critical Regionalism,” The delineation of rooms or enclo- in Perspecta, vol. 20 phasis on the physical qualities of ma- sures, how boundaries are made, and (1983): 151. terials that is essential in the formation the significance of those boundaries; of space. Analysis—in terms of place- in addition, the construction of an ment, values, construction—of specific environment and responses to climate. materials present in a local context How do these things relate to the con- will lead to informed design decisions struction or continuation of a context? that relate back to the context through How are spaces created, what are their the continuation of the local material qualities? language. This continued material As a continuation of grounding, language aids the connection between “boundary” takes on the three dimen- new and old within the specific built sional qualities of contextual design. environment. “boundary,” as a system of enclosure Then is it also important to consider determines the extents of a space. I the spaces within a building relating to am interested primarily in the type of on another, as well as the exterior con- enclosure and how it is associated with text, and the larger built environment, the use of the space it defines. The with the connections formed through system of enclosure refers to the ma- material appropriation. Understanding terials of the enclosing surfaces as well these elements will help in determin- as the boundary lines. Materials and ing the values of the spaces of a local lines should then be considered for context, that can then be applied to the effect they are producing within new spaces created and the experience a space. This supports an approach to of each. contextual design that does not rely on symbolic imitation to form connections to the a local context, but seeks a way to embody the qualities of the existing in order to further develop the built environment. Frampton praises Alvaro Siza y Viera’s buildings in their ability to form “tight responses” to local contexts. This is achieved through a process that is 12

The terms aesthetics, means, and Means environment fall within the heading Looking to the tools and techniques “textile” as they convey idea about used to establish the performative both the appearance and functional- and aesthetic goals identified in the ity of textiles. In the early phase of previous segment, “means” explores research these terms created a basic not only how the textiles are made— framework for observing textiles, embroidered, woven, or printed— but reading their use and cultural values also how they are applied, whether for an architectural language. draped, covering a surface, or held in tension as a roof. Construction of Aesthetics the textile itself may or may not play a critical role in how it is used in a Referencing the visual qualities of specific space. In addition, how textiles textiles, including color and pattern are used to construct spaces is essen- and formal qualities. Light may also tial to my research, specifically their play a role in the aesthetic qualities, use in public spaces. How are textiles whether it is allowed to pass through used to create temporary shelters? the textile or made to stop at its edge. What are the qualities of textiles that I am interested in determining when aid in creating temporary structures? the visual elements have specific ties Do the aesthetic qualities of the textile to cultural traditions, whether certain still read when used to define spaces? colors and patterns have implied meanings. Conversely, I would like to note the moments when aesthetics Environment have given way to practicality, when Both the climatic influences and does necessity of function prove more experiential qualities of textiles define important than the look of a textile? spaces and as such the boundaries and Each of these instances could greatly enclosures common to specific cul- alter the experience of the space, and tural traditions, for example weddings, so ultimately I am interested in how festivals, and markets are considered aesthetics move beyond image to to be the delineation of environments. reflect and define the spaces they are I am interesting in how the decision applied to. to use textiles to define spaces alters the experience of that space, and in 13 the case of temporary applications, how textiles alter a public space both before and after their implementation. I would also like to document how textiles are used in regards to local climate conditions and mass population use. Ultimately, I seek to document and understand any typologies found in Mumbai. BOUNDARY 14

aBoundaries in Mumbai are both deep shadows over the windows, lim- physical and social, and in both iting visibility to the interiors, fig. 2. instances are deeply layered. Physical Windows screens used this way recall boundaries are found in walls, screens, the screens of the Mogul empire, used and building types; social through to shield the public’s view of women, class and occupation. however allowing women clear view to the exterior. Windows rarely appear as simple punched openings but are layered Aided by Mumbai’s temperate climate, elements extending past the plane most buildings allow fresh air to flow of the wall. Patterned metal screens freely. Without the seals required of air cage windows, creating a zone to dry conditioning (traditional) buildings laundry or filter the air and light. The allow a slow progression from exterior screens blur the distinction between to interior, with these boundaries pure opening and enclosure casting often changing as the day and season progresses. Fabric overhangs extend-

Figure 2. Screens covering windows. 15

Figure 3. Temporarary awnings extend retail space by creating

ing from buildings to create shade, Boundaries allows or deny engage- claiming small portions of the side- ment with Mumbai’s streets. The walk as its own. Beyond this a room typical retail spaces that line the street or retail space may face the street, its provide an overhang above the side- entirety visible from the sidewalk. walk, claiming a bit of public space as Housing or private offices may lay their own. The retail space is an exten- behind or above these retail spaces (re- sion of the street, bringing the market search building types). This building environment into a semi-enclosed practice presents a permeability not environment, fig. 3. found in new construction. Walled off and entirely sealed, new office buildings are forbidding, appearing inacces- sible and entirely detached from their surroundings. TEMPORALITY 16

Temporary structures abound in The area surrounding the Chattrapati Mumbai—most are made of found Shivaji Terminus, Mumbai’s financial materials, plastic tarps, sun umbrel- district, is characterized by the wide las—and can be seen on every street in boulevards the British historically su- an endless number of iterations—the perimposed on the traditional Indian chai stand, the jewelry cart, the slum city, along with British imperialist residence. The temporality of these architecture. Today this imperial structures, a result of the life span of urbanism of wide streets has given their material construction, does not way to crowded places of commerce, deter from their ability to inform the in which temporary structures provide urban condition in which they exist. the platform from which hawkers The presence of temporary structures selling clothing and basic household becomes a defining characteristic of items, fig. 4. The temporary structures, Mumbai, sustained by easy replication the stands where each hawker displays and minimal maintenance inherent in his goods, are made of fabric materi- their buildability. als. Used to create shade, an umbrella

Figure 4. Covered ar- cade provides shelter for street hawkers. 17

stands above the table where goods are Bandra, an area just northwest of displayed, while a large sheet is laid Mumbai’s center, is physically divided across the table, allowing the hawker into East and West halves, separated to wrap up all that he is selling in one by a train station between. Bandra motion. This set up, as well as many East and West are divided by income other iterations, line the streets leading and class, made most apparent by the up to Mumbai’s oldest train station. structures that are immediately adja- The hawkers are part of the daily cent to each side of the train station. cycle in Mumbai, as are the men that Bandra East is host to one of the larg- commute from the suburbs to work est slums of Mumbai with residences downtown. Both inform the identity built so close to the train ticketing of this area of the city. booth and connecting skybridge one could reach their hand into an open window. Wood framed and clad with 18

corrugated metal, the residences the city and are immediately recogniz- present a temporality representative of able by the construction materials. work and achievement. These are tem- The life and character of the slums is porary residences, occupied the the vastly different than that of a typical millions of villagers that have moved city. It feels as if the village has been to the city in search of wealth. Walking reinvented in the urban setting. along the Bandra East skybridge at night one can see into the windows of the slum structures to find men at work behind sewing machines. As families save more money they build their narrow houses taller, out of more permanent materials, brick and con- crete. The densely packed slums spot

Figure 5. Layered tarps create a sense of permanence through their temporary reapplication. 19

Figure 6. At night, commercial stalls are enclosed in fabric.

Mumbai’s historic Crawford Market is result is a web of tarps interlacing with composed of a larger interior market, the strings that keep them in tension, covered by an iron structure and fig. 5. This process of shelter, age, and an exterior market, shaded by a low re-shelter creates an environment that metal and currogated steel structure is immediately representative of its supplemented by plastic tarps for ad- past. A sense of tradition pervades the ditional shading. The tarps are tied to market and its necessity as an urban metal structure at irregular intervals institution is evidenced by the recur- and to each other as needed. Layers ring use of tarps for shade. Conversely of tarps lie upon each other, as the in smaller, more informal markets, the tarps deteriorate from constant sun layering of time worn materials is less exposure, new ones are added. The to be found. In stead the speedy con- 20

struction and deconstruction of the For example Colaba Causeway. Well market stall comes to the forefront, ap- known, reoccuring daily, the stalls pearing as a daily installation process. appear ready for deconstruction. Tarps Thus two types of markets occur in create shade in day time, and create Mumbai, the formal and the informal, security at night. Closer inspection however both hold a permanent place reveals hooks extending from adjacent in Mumbai’s urban condition. Each buildings, ready to receive the line reoccur, however visual presence of of the tarp or each day’s sales. An past markets distinguishes the two. ambiguity in temporality is created, One that is tied to a specific loca- however the place remains, fig. 6,7. tion, another that creates the market environment as it moves. Intentional permanence versus unintentional?

Figure 7. During the day, fabric is strung from the stalls to the buildings, enclosing the sidewalk in a distinct commercial zone. conclusion 21

At the outset of my research I sought evaluate each topic under a new set of to identify a research process that terms and paradigms. In doing so, this would enable the design of contextual- has allowed me to deduce lessons from ly sensitive architecture in urban cen- the specificity of the Mumbai context ters in the developing world. Drawing that are applicable to similar urban from the scholarship of architects con- settings in numerous other developing cerned with materiality and contextu- countries. For example understand- alism—I began my investigation with ing “boundary” and “temporarilty” as the assumption that researching the conditions relating to all architecture, use, prevalence, and significance of a my research in Mumbai serves as in cultural material, such as textiles, will illustrations of broader concepts sub- directly inform the design of contem- sequently uncovered. porary architecture. Moving forward this research remains From this initial assumption I defined specific to Mumbai and textiles, how- specific terms related to both architec- ever the process, the research, concept ture and textiles, then plotted them in matrix, and illustrations are applicable a matrix that allowed me to make con- to any number of location and materi- ceptual connections between the two als. Through focusing on the architec- topics. Further focusing my research tural value of textiles in Mumbai, this to textiles and architecture found project has had its greatest influence in Mumbai, the matrix that initially as an exercise in thought and research served as a conceptual framework methodology. then became a “road map” for onsite investigation while in Mumbai. The city thus became a “test bed,” in which I searched for site specific examples to elaborate, evaluate and revise the concepts thus developed in the matrix. The outcome of this process has led to a series of specific-generic illustrations. Ultimately, basing my research on two seemingly unrelated topics—architecture and textiles—has allowed me to