The deconstructed garment as basis for organising the performance of a curated space: how can a cross-disciplinary approach shape the formation of interior space?

This paper will discuss a proposed methodology for planning space and flow within the gallery environment, drawing on a case study. Coll3ct was a 2010 exhibition that explored the narratives of collecting and collections, of the collector?s connections to the past and to the present. Objects can be considered as companions to our emotional lives: they can provoke to make connections, and the conversations they hold when viewed become the starting point for more discussion. The theme of 'past' will be relayed in the case study itself, 'present' discusses a cross-disciplinary approach to ways of planning a gallery/exhibit space and 'future' will be discussion of the proposed methodology. The focus of this case study is a collection of sixties and seventies dresses belonging to an artist's deceased mother. From this collection, the comparison of the dress pattern's marks and the traditional floor plan became the theory behind the methodology for organising the performance of a curated space. The plan has its set boundaries whereas the pattern is only bound before it is cut from its sheet. Less 'solid' than sketching would be the approach of 'draping' the interior elements, as the dressmaker can to adjust 'fit' with the garment. The languages overlap ? material qualities, performances, memories, histories, psychological attachments, inhabitation, identity and associations. The paper proposes that deconstructing the elements of the interior - in the same way a dress pattern is already deconstructed ? would bring an alternative disciplinary approach to spatial construction. Karen Franck talks in ?Yes, We Wear Buildings? 1 of literally wearing the building 2 as metaphor and so by using one discipline?s method to organise another?s, this can bring together the two in a curated environment with an emphasis on ?fit?.