OF A WHOLE CLOTH: A CONSUMER-DESIGNER FASHION HOUSE reshaping the way the consumer and brand interact to create a collaboration that enhances the designed product and the consuming experience
2
5th Year Thesis: The Reinvention of a Fashion House Emily Liuzza Professor Juan Ruescas The Pennsylvania State University Department of Arts & Architecture
TABLE OF CONTENTS 1.0 ABSTRACT // 4 2.0 THESIS STATEMENT // 5 3.0 RESEARCH 3.1 Area of Focus Summary // 7 3.2 Literature Review // 12 3.3 Theoretical Issues Raised // 15 3.4 Architectural Issues // 16 3.5 Architectural Precedents // 17 4.0 SITE AND CONTEXT ANALYSIS 4.1 Annotated Site Maps // 19 4.2 Site Documentation // 22 4.3 Site Studies // 24 4.4 Site Parameters // 26 5.0 PROGRAM 5.1 Program Description and Assessment // 28 5.2 Program Elements and Relationships // 29 5.3 Program Concepts // 31 5.4 Program Experiential Sequence // 32 6.0 DESIGN STUDIES 6.1 Studies of Architectonic Ideas // 35 6.2 Building Drawings // Plans // 36 6.3 Building Drawings // Sections // 40 6.4 Building Drawings // Building Details //44 6.5 Building Drawings // Interior Views // 45 6.6 Building Drawings // Exterior Views // 48 7.0 CONCLUSIONS // 50
3
8.0 BIBLIOGRAPHY // 51
1.0 4 // 1.0 // Abstract
ABSTRACT
Technology has changed the meaning of brick and mortar stores, however few brick and mortar stores have responded to this change, which has therefore made their business suffer. Storefronts will always play an important role in delivering value, but their function and meaning needs to change to adapt to the 21st century economy. By focusing on redeveloping a fashion house, I will learn to develop this type of architecture at the highest level of the fashion world. Only after this will it will be able to be transformed and modified to fit the need other products, brands, and business models. Architecture will be able to solve the gap between the online retail environment and the brick and mortar store by creating an experience that consumers cannot experience online and that designers cannot get from relying on internet sales.
2.0
THESIS STATEMENT
5 // 2.0 // Thesis Statement
An architecture that reflects and responds to the change in consumerism in the 21st century creates a focus on the interaction between the designer and the consumer in order to redesign the experience of the buying and selling of a Fashion House.
3.0 6
RESEARCH
2013
$14
$9
2014
The number of shoppers who research items online before purchasing.
2015
*data collected in billions of dollars
2016
$370
$345
$319
2015
2017
*data collected in billions of dollars
The percentage of US customers that desire personalized offers and experiences.
2007 2008 2009 2010
2011
13%
14%
14%
11%
5%
3%
Vacancy Rates of Main Retail Areas
2012
47%
2014
The percentage of people that use social media for researching or shopping.
The amount (in billions of dollars) that GenY buyers are expected to spend per year.
31%
2013
200
2012
$291
$231
$262
62%
Online Retail Sales Growth
The amount of increase in ecommerce sales in the US.
7 // 3.1 // Research // Area of Focus Summary
2012
The percentage of the western population that will have been born after 1980 by 2020.
75%
2011
$5
$1
$3
27%
Sales through Social Network
Late Twentieth Century
After the war, malls are viewed as the “town hall,” used for social gatherings and focus of an area.
Mid Twentieth Century
Fashion Retail Timeline
Early Twentieth Century
8 // 3.1 // Research // Area of Focus Summary
Shopping was centered in cities and didn’t cohesively exist in suburbia.
Consumers begin to have more input and drive to change and be in charge of their own retail experience.
Online retailers become a larger player in retail.
Brands do not know how to transform the retail environment to have in-store success with this new model.
Consumer is in control of experience.
9 // 3.1 // Research // Area of Focus Summary
Brands notice the importance of creating an environment for shopping, not just a place to purchase items.
Corporations want to create an atmosphere for consumers to make a comfortable environment.
Third Generation Experience Economy
Retailer makes all decisions based on company and ignores customer input.
Second Generation Experience Economy
First Generation Experience Economy
Malls and shopping centers are erected all throughout America, creating a retail economy that didn’t exist before.
The Current Retail Archetypes lowest cost
convenience location
convenience preselection
platform operator
largest selection
exclusivity
10 // 3.1 // Research // Area of Focus Summary
exclusivity ecosystem
ecosystem
experience
experience
The New Retail Archetype platform operator
experience
ecosystem
adaptation
collaboration
The data collected from researching the decline of instore retail and the integration of the senses in retail led me to my final concept and design. The research proves that there is justification and reason behind collaboration and interactions in the physical store. These tangible elements will not only help the consumer make a more informed purchase, but help the brand create a better end product. The focus of this research is on the change happening in retail with the boom of online shopping.
Joseph Pine
11 // 3.1 // Research // Area of Focus Summary
“Retailers need to create an environment that rewards consumers for not shopping online�
12 // 3.2 // Research // Literature Review
As the retail industry changes, many brands face the problem of failing stores. The consumerist society has turned to online retail as a more convenient option for purchasing goods. This has a great deal to do with the technology advances of the present and society’s “instant gratification” need. Consumers are only purchasing goods to purchase. They have lost the phenomenon of “shopping” and engage in a disconnected online transaction. This disengagement has over taken society in many forms, from people’s deep relationships with their cell phones to children playing on iPads at the dinner table. In order to reconnect society, the senses need to be engaged once again. To do this in retail would not only revitalize brands, it would create a new social space, engage consumers, boost economic growth, and reinvent retail as a business model. All over America, the idea of the “mall” and the in-store opportunities is slowly dying. The mall, a phenomenon that came about in the ages of post war in America, was viewed as a model of the “modern town square.”11 It was a place to shop, gather, and socialize. American malls quickly became the beacon of suburbia, casting an image on the danger of urban centers. “The mall culture became pop culture, weaving its way into music, movies and television.” In recent times, this appeal of the mall as a social center has vanished.11 In the time of “on-demand” shopping and constant availability, consumers have found quicker ways of filling their carts and emptying their wallets. The culture of the mall is vanishing and so are the stores that once occupied these lively spaces. The last enclosed mall in the United States was built in 2006. For the first time since the 1950’s, an entire year, 2007, went by and not a single mall was built. After 2007, the recession took an even harder hit on instore retail.11 Stores sales-per-square foot dropped to around $210 per square foot, which is less than ideal as anything below $250 per square foot is considered to be in danger of failure. In a two year span, 400 out of 2,000 large malls across America shut their doors.3 Shopping centers were not generating enough income to renovated and many fell into a state of disrepair. Consumers slowly starting to disappear from the mall and stores followed shortly after. Now, these malls remain vacant today, turning them into a ghost town. According to a retail consultant, over half of the malls in our society will close within the next fifteen to twenty years. 3 This demise will lead to many retailers loosing their main platform for business, unless designers and companies work together to redesign retail as a social and cultural platform. eMarketer reported that global e-commerce sales hit $1.3 trillion at the end of 2014, an increase of 22 percent over 2013.3 The idea of the online market needs to be inverted
to draw people back into in-store retail. To re-imagine the American retail experience is to envision an urbanized, mixed-use area with an aspect of retail, rather than retail as the focus. These facts might seem like a shattering demise to retail. Instead, these should be seen by brands as an opportunity to reinvigorate the idea of retail and how consumers in the modern area utilize the “store.” “We will see more disruption in the next 10 years of retail than we did in the previous 1,000,” said Doug Stephens, founder of Retail Prophet.3 Stephens makes these claims because unless brands make drastic changes in their marketing, they will become obsolete.3 No brand wants that to happen. One way to do this is the idea of showroom-ing. “Stores will become like museums—we will go to see something, to learn and be entertained,” predicts Thomas Keenan, a professor at the University of Calgary. 3 Lord & Taylor has recently put a lot of effort into creating an interactive shopping experience for their consumers, a trend which might start to happen in other larger retailers. This interaction and display techniques are just a few ways that retailers are trying to create an “experience” for the consumer, instead of just a place to buy. The recent change in economy impacts how brands need to reinvent the aspect of sales. We are living in an “experience economy,” specifically the third generation of this type of economy.10 In the first generation of the experience economy, the late 90’s, encouraged commodities, goods, and services to all be experienced at once. The second generation criticized the first generation for being “companycentric” and therefore changed the model to include the consumer.10 During the first generation, there was an over-commercialized sense of consumerism. Companies took a stance to value their consumers and inspire them to “achieve goals, realize ideals, and contribute to their sense of value.” 12 For profits to grow, companies need to follow the economic trends and interests of the consumers. Now, in the third “experience economy” generation, the internet plays a larger role than in previous times. There is a rise in the spontaneity and virtual communities.12 Because this is new to the retail market, many brands don’t know how to deal with this type of consumer in the newest version of the “experience economy.” There needs to be an element in retail that engages something that the online retailers cannot perform. In order to create a successful brand in the third generation of the experience economy, the retailer needs to emphasize the experience over the product. Many retailers have used their stores as social platforms or activity facilities to draw attention to their products and entice their consumers. While this might not work for all products on the market, it has
appeal to the consumers the most. A brand called Emotient has developed a face scanning technology, which can pick up emotions based on facial expressions. 1 Their platform is based on the fact that there are seven emotions that can be visually expressed on your face and that all of these are expressed independent cultures and societies: joy, sadness, anger, fear, surprise, contempt, and disgust.1 At the on-set of an emotion, your face can register an involuntary expression called a micro expression, which appears for as little as 1/30 of a second.1 While the human eye might not be able to pick up on this, their technology is designed to do so in order to help brands bridge the gap. Emotion-aware brands will be the future success of retail re-branding. Everyone is familiar with the five sense: sound, sight, touch, smell and taste. These senses create immeasurable emotions because people can feel engaged and get a “real-world” sense of something. Some of these senses impact people more than others do. Sensory marketing is defined as a group of key levers which are controlled by the brand to create a multi-sensory atmosphere .13 Sound is a constant sense we experience, as we as humans have no control of turning our ears “off.” Unlike eyes, your ears are always in constant engagement, making it necessary for the space created to appeal to your ears.4 Sight is another powerful sense. While you can, in a way, control what you see, you can’t control how colors and other visual cues make you feel. A person might see an orange wall and suddenly feel energized. This connection might not be something a consumer would think about, but it engages their senses before they even understand what is happening in their mind. Sonic dominance is a term used to describe the overwhelming sense of sound. 4 The concept of aural architect, the properties of a space that can be experienced by listening, is a highly studied psychological sense.4 Brands like Abercrombie & Fitch and Starbucks have picked up on this phenomenon. Studies have uncovered that when loud music is present, all other sounds are inaudible and you are transported outside of the space.5 Abercrombie & Fitch have used this to their advantage. Loudness sells because you cannot focus on any other sonic event (blesser). “Overload makes people move into a less deliberate mode of decision making,” says Kathleen Vohs, a professor of marketing.2 People become more susceptible to influences and therefore lose their sense of self-control, which prompts impulse buys.2 Spaces with loud music are also viewed as exciting because loudness represents intense activity and dynamic events. This works well to create a social
13 // 3.2 // Research // Literature Review
been successful for companies such as Starbucks and REI (Recreation Equipment, Inc.) Starbucks has successfully created a distinct vision for their company. They’ve created an environment that people will pay five times more for a cup of coffee than normal, just to have the experience of Starbucks.12 The relaxing and tranquil environment encourages a place for comfort and long stay. The stores are set up to promote a meeting space, work space, or social space. The soft, Indie music playing throughout the stores creates a background for the quiet chatter of the patrons, while the strong smell of coffee sparks strong ideas and energy.12 This atmosphere created by Starbucks keeps people coming back to purchase the over priced coffee, all to experience the scene that is their brand. REI has taken a different approach. Instead of creating an atmosphere that encourages people, they have installed activities in the stores to keep people there longer. Since REI is an athletic company, they installed rock-climbing walls in their flagship stores. This not only allows people to engage in their surroundings, but also to “test-run” the products being sold. It allows people to feel the energy of the store and therefore creates an energy in customers to buy. Even though some brands have started to generate an “experience” in their stores, it is not applicable to all brands yet. Not every product has the need for a rock wall or a comfortable leather couch. However, every retail store does have the opportunity to engage the senses of the consumer. 12 To connect with the senses, creates a lasting memory and experience in people. “The most straight forward approach to making goods for experiential is to add the elements that enhance a customer’s sensory interaction.”12 Certain products engage people, by their very nature, more than others. Some examples of these are toys, cigars, wine, and instruments. Companies need to take these concepts applied here and sensualize aspects of the store, even if the product isn’t sensory by nature. For example, magazines are now spending millions to improve the feel of their published paper in order for the reader to have a different experience. 12 For my thesis, I will pick goods to retail and come up with strategies for retailing each item. In order to create a “new social hub,” the retail items will focus on bringing people into the space for wants, not needs, to create a relaxed atmosphere. When people are not shopping because they “need” to acquire something quickly, they are more susceptible to wanting to linger, engage, and enjoy.12 Retailers need to use the engagement of senses and emotions to sell products in this generation of shoppers. There are now technologies developed that help brands analyze a person’s reaction or emotions. This could be increasingly helpful when deciding what emotions or senses to
14 // 3.2 // Research // Literature Review
hub, since the music can signify interactive activity. Music also has the ability to create a mood. Soft, unobtrusive music is played in a serene setting like Starbucks, while techno-club music is played in Abercrombie & Fitch.2 These music choices speak to the clientele of the brand and help enhance people’s association with the physical store. Visual illumination and the intellectual use of colors also triggers the senses to help the brand achieve a certain atmosphere.5 Visual illumination is determined by placement of lights, the different light sources, and the temperature of these lights. For the most part, interior light is static. In a phenomenon called sonic illumination, this changes. It makes the noises in the space react with the lighting, creating a visual and sonic divergence. 5 The illumination of a space, much like the noise in a space, influences the energy. Brighter spaces are more energized and social, while dim, warm spaces are for intimate gatherings. Color also influences our visual perception of a space, solely by engaging with emotions.9 Scientific research has been conducted over many years in many settings to determine the primary characteristics of each color. Green sparks creativity, red reduces analytical thinking, blue is universally accepting, yellow invokes precaution, orange is associated with good value, pink calms people, white is pristine and can lead to boredom, and black is perceived as mysterious.9 These are important choices to make when designing the interior of the store, the logo, and even the labels. Smell is said to be the sense that evokes the most emotion and memory. Some brands have taken this proven research and developed their own scents to create a strong brand recognition. Eric Spangenberg is an environmental psychologist and has conducted many studies in scent psychology of business. He has discovered that pleasantness and intensity of scents have an effect on the consumption in a retail store.15 A study was conducted in Switzerland at a home-goods store to develop a scent that would encourage people to buy more. In 18 days of testing, they found that those who made purchases at the store while it smelled simply of orange spent about 20 percent more. And not only 20 percent more than in unscented conditions, but 20 percent more than in the presence of the more complex scent.15 When people don’t have to think about how the scent resonates with them, they feel more connected to it. Humans, by nature, prefer the simple scents over complex ones. 15 A “renewed sense of urbanism” for a retail location will boost a brand’s profit, as well as improve the economy in the surrounding area.7 There are certain places were retail does better than others, just by nature. New York City is one of those examples. There are retailers all over the New York area and most are successful because of their prime
location in Manhattan. The challenge in an area like this is to “stand out” from all the other stores. The project of a new social, retail center allows the opportunity for economic growth. The area of Manhattan is well developed and has enough economic stimulus to keep the city thriving. In areas like the Bronx or Yonkers, however, this is not the case. These areas aren’t usually thought of as the “retail capital” that Manhattan is. This allows to great opportunity in these areas. With the right site and a developed project, an area would greatly benefit from the economic boost that a “social mall” would produce. An area with the potential for greatness is the Yonkers Power Station, an abandoned power plant on the Hudson River. The 165,000 square foot power plant has been closed for over 50 years.13 This specific area of Yonkers needs economic help, as there are few attractions and therefore very little room for growth of businesses, jobs, and profits in this area.13 The location is ideal, as it is on the water and next to a park. This allows for the opportunity of expansion and other activities and events to occur once people are drawn to the area. Yonkers has very few retail resources and even less attractions for outsiders to be promoted to visit. A new retail prototype that acts as a social space will bring in locals as well as outsiders to visit and experience the modern retail center. “Any product that you don’t need to experience yourself is in danger” says Joseph Pine, author of “The Experience Economy.”15 This statement shows the urgency to redesign retail. For online consumerism not to be competition in the future, in-store retail needs focus on what the internet can’t do: engage all five of your senses. Each sense has a specific connection to the psychology of retail and either encourages or deters buying. Along with engaging the senses, retail needs to once again become a social center. Instead of stopping to pick up products, people will be encouraged to spend time in a space, interact with others, and experience a specific atmosphere. This creates a destination and will encourage a boost in economy, as longer stays of patrons increase sales. With the potential for an economy boost comes the revitalization of an urban area that otherwise lacks social interaction and business development. Overall, a new retail model can change business for the retailer, experience for the consumer, and urbanism development for a town or city.
“Any product that you don’t need to experience yourself is in danger.” 15 // 3.3 // Research // Theoretical Issues
Joseph Pine
16 // 3.4 // Research // Architectural Issues
Architecture has yet to adapt to the way consumers in the 21st century shop. Designers and consumers exist in separate worlds and become detached from each other, furthering the gap in retail.
17 // 3.5 // Research // Architectural Precedents
4.0 18
SITE AND CONTEXT ANALYSIS
YONKERS
Mt. Vernon
Riverdale
N 19 // 4.1 // Site and Context Analysis // Annotated Site Maps
Hudso
n Rive
r
Yonkers Site Map
Dobbs Ferry
Hillsdale Westwood
GLENWOOD Yonkers
River Edge
20 // 4.2 // Site and Context Analysis // Annotated Site Maps
New Bridge Landing
Riverdale Williams Bridge
Marble Hill
Fordham Meadowlands
Melrose
Harlem - 125th Street
Kingsland
Secausus Junction
Selection Diagram
Retail Density
Penn Station
Grand Central Terminal
Metro-North Railroad Rail Line Access
21 // 4.2 // Site and Context Analysis // Annotated Site Maps
22 // 4.2 // Site and Context Analysis // Site Documentation
Housed on an abandoned industrial site, this new retail model breathes life back into the city of Yonkers and the high fashion world. Yonkers is a 20 minute train ride north from Manhattan, so it’s still very accessible to anyone in the city, but also to all of the accompanying suburbs of New York. The site was once home to the Glenwood Power Station, an industry which was built by the New York Central Railroad to provide electricity for its tracks heading north from Grand Central. The building hasn’t been used in over 50 years, but still maintains much of the industrial quality of that time. By giving new life to an old and unused building, it speaks to the metaphor of bringing a new mentality to the redevelopment of retail.
The first sugar industry was established in 1862
1960
1911 The Yonkers Metro North Train Station is built
Glenwood (Yonkers) Power Plant shut down in 1963
Construction on Glenwood (Yonkers) Power Station is completed by 1906
1983 Otis Elevator closes its plant in Yonkers
Glenwood Power Station was sold to Edison Light & Electric and converted to an oil fuel plant in 1940
2000
2016
2004 Metro North spends $43 million to upgrade the Yonkers station
IoT and cloud technology automate complex tasks and information.
23 // 4.2 // Site and Context Analysis // Site Documentation
The Alexander Smith Company which followed in 1865
Yonkers becomes a 'city' in 1872
1900
Today
1853 Otis Elevator opens its first Yonkers factory
1870
Third Generation Industry
Milling becomes one of the few industries in Yonkers
First Generation Industry
Yonkers History
1850 Second Generation Industry
1800
24 // 4.3 // Site and Context Analysis // Site Studies
The existing building on the site has a steel structure, allowing for a large open space that creates the opportunity for a large-scale, high end brand to inhabit the space. The building was inherently divided into two spaces, when it housed a power plant. The Power Station is located along the river front and next to a train station, making it a prime location
25 // 4.4 // Site and Context Analysis // Site Studies
While the site is not vitally important, as this model should be able to be reproduced and used in other retail situations, it is influential on the design solution for retail. New York City is an extremely concentrated zone of retail. In order to create a model that is more adaptable and applicable to other retail scenarios, this project had to move outside of the bustle on Manhattan, while still being within reach to all the residents in and around the city.
26
// 4.4 // Site and Context Analysis // Site Parameters
5.0 27
PROGRAM ANALYSIS
28 // 5.1 // Program // Program Description and Assessment
The separation that exists within the current building can be used to mimic the retail model, by speaking to the production of the designer and the needs of the consumer. While the building is divided into two worlds architecturally, the gaps between the worlds are filled with collaboration spaces for the interaction of the brand and consumer. This action does not currently exist in the retail world, but can be used as a solution to create a better experience for the consumer and a better product for the designer. In the high fashion world, the designer and consumer programs exist in separate spaces. By intertwining the programs, a new environment is created to solve this detachment. In the building, the spaces are separated by a sectional diagonal cut. This cut allows for the designer to have more square footage at the top, where the staff will be most dense and for the consumer to have the most space on the ground floor, which will be most concentrated. The program on the consumer and designer sides, separately, is representative of the process in these respective environments. The architecture then creates a collaborative space that bridges the existing programs. These spaces are emphasized and elevated within the diagonal sectional cut through the building.
Program Phasing
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As
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bl m se
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ha yP
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ha nP
ha yP
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Program Phasing: Development Sequence Segregated
Private
Semi-Private
Mech
Semi-Public
Fire Stairs
Storage Design Studio and Workshop
Public
Elevators
Consumer Research and Profiling
Restrooms Customization Lab
Assembly
Product Showroom Entry
Prototype Lab Administration Offices
Feedback and Meeting Area Testing Facility Exhibition and Display
Final Production
Liberated
Purchasing Lounge
29// 5.2 // Program // Program Elements and Relationship
Work Shop
Program Features and Size Level
Program Division
Program Element
Design Features
Square Footage
Fourth Level
Designer
Design Studio Designer Collaboration Consumer Research Meeting Rooms Storage Restrooms Other Assembly Area Workshop Customization Lab Feedback Facility Meeting Area Storage Restrooms Other Prototype Lab Final Production
Studio Workshop Space Meeting Space Work Stations Conference Tables
18,036 sq. ft.
Consumer Collaboration Services Third Level
Designer Consumer Collaboration
30 // 5.2 // Program // Program Elements and Relationship
Services Second Level
First Level
Designer Consumer Collaboration
Product Showcase Testing Area
Services
Storage Restrooms Other Administration Office Purchasing Lounge
Designer Consumer Collaboration
Services
Bar and Lounge Seating Areas Exhibition Space Entry Lobby Storage Restrooms Other
Work Stations Sewing Stations Electronic Work Stations Showcase and Work Stations Conference Tables
Work Stations Sewing Stations Work Stations Showroom Fittings Sampling Area
Work Stations Selling Stations Lounge Space Bar and Services Runway Seating Showroom Floor Information Center
8,853 sq. ft. 3,360 sq. ft. 785 sq. ft. 720 sq. ft. 2,200 sq. ft. 6,400 sq. ft. 6,550 sq. ft. 12,955 sq. ft. 1,300 sq. ft. 1,300 sq. ft. 785 sq. ft. 720 sq. ft. 2,200 sq. ft. 6,800 sq. ft. 6,000 sq. ft. 8,020 sq. ft. 16,720 sq. ft. 785 sq. ft. 720 sq. ft. 2,200 sq. ft. 9,034 sq. ft. 18,036 sq. ft. 10,000 sq. ft. 15,000 sq. ft. 2,000 sq. ft. 785 sq. ft. 720 sq. ft. 2,200 sq. ft.
31 // 5.3 // Program // Program Concept
The building is experienced from the top down. During the first stages of retail (at the top), the consumer and designer are existing in two separated worlds that rarely intertwine. Here is where the brand exists in the form of a design studio, creating concepts and designs behind the products they produce. In this case, the brand produces clothing for a fashion house. The consumer in this stage is in a preliminary buying stage, which includes research on the brand and also what they are in the market for. Below this level, the brand is in a prototyping phase and the consumer is able to choose ways to customize what they are buying. They are presented with the options for the clothing, such as the colors and fabrics. Here, decisions about the final product are made. Next, the designer is in a finalization stage, completing their prototyping. The consumer will be able to see and experience the final products in a showroom. The collaboration here will occur in the fitting and dressing stage. The last stage, on the ground floor is where the culmination of the experience happens. There is a runway space to officially display all the products and allow for an event to occur to be the end of the phasing of the building. On this floor, the consumer will be able to place an order for the products that they got to be a part of every stage of. This renders many dated aspects of the retail process unnecessary, like the process of the check out and the need for a large amount of storage for stock.
Level 4 designer collaboration: the designers are showcased in a collaborative environment, which allows them to freely exchange their ideas in a public setting.
research lab: the consumer can conduct product and brand research, much like in e-commerce, however, here they are exposed to the environment the product is being created in.
32 // 5.4 // Program // Program Experiential Sequence
designer studio: this is a work space for the preliminary design stages in a studio environment.
Level 3 workshop: the seamstresses construct the designs produced in the preliminary phase. here, prototypes are created.
conference room: the designer will host a collaborative meeting where work is presented in a prototype phase and the consumer gives feedback on the product.
customization lab: the consumer is exposed to the options of colors, fabrics, and styles of the clothing offered.
Level 2 fittings: the clients will be measured and fitted by the seamstresses, so the consumer will have their exact size and fit before leaving the facility.
runway: the runway will host exhibitions of final products for viewing by the consumer and the designer.
offices: the team in the offices handles the administration, product orders, and finances.
purchasing lounge: the consumers place orders through an electronic database. the products will then arrive to their home at another date, once fully produced off-site.
// 5.3 // Program // Program Concept
Level 1
showroom: the consumer will be allowed to interact with the products in their finalized form. fitting rooms are available.
33
assembly lab: the designer will modify and finalize designs in this workshop based on the feedback they received. the clothing will be completed for runway exhibition.
6.0 34
DESIGN STUDIES
Massing Sequence Slabs for Existing Structure
Insertion of Floor Slabs
Fill Floor Plates
Insertion of New Floors
Insertion of Program
Introduction of Diagonal
Insertion of Diagonal
Cut from Diagonal
35 // 6.1 // Design Studies // Studies of Architectonic Ideas
Existing Shell
36 // 6.2 // Design Studies // Building Plans
Ground Level
37 // 6.2 // Design Studies // Building Plans
Second Level
38 // 6.3 // Design Studies // Building Plans
Third Level
39 // 6.2 // Design Studies // Building Plans
Fourth Level
40 // 6.3 // Design Studies // Building Sections
41 // 6.3 // Design Studies // Building Sections
42 // 6.3 // Design Studies // Building Sections
43 // 6.3 // Design Studies // Building Sections
44 // 6.4 // Design Studies // Building Details
45 // 6.5 // Design Studies // Interior Views
Ground Level Collaboration Space: Runway
46 // 6.5 // Design Studies // Interior Views
Second Level Collaboration Space: Fittings
47 // 6.5 // Design Studies // Interior Views
Third Level Collaboration Space: Meetings
48 // 6.6 // Design Studies // Exterior Views
49 // 6.6 // Design Studies // Exterior Views
7.0 50 // 7.0 //Conclusions
CONCLUSIONS
In a world where the model is changing, and everything becomes more invisible and detached, the building is a place where this visibility is compensated and contact is regained. This new environment provided will breathe life into the gap that currently exists and a way architecture can do this is to incorporate space for collaboration and interaction to occur in a way it has not before.
1. ”About Emotient.” Emotient. Emotient, Inc. Web. 27 Sept. 2015. 2. Anthes, Emily. “Outside In: It’s So Loud, I Can’t Hear My Budget!” Psychology Today. Sussex Publishers, LLC, 1 Sept. 2010. Web. 14 Sept. 2015. <https://www.psychologytoday.com/ articles/201010/outside-in-its-so-loud-i-cant-hear-my-budget>. 3. Baker, Natasha. “5 Tech Trends That Will Hit Every Retail Store By 2020.” Forbes 3 Apr. 2015. Print. 4. Blesser, Barry. “The Seductive (Yet Destructive) Appeal of Loud Music.” Blesser. Web. 22 Sept. 2015. <http://www.blesser.net/downloads/eContact Loud Music.pdf>. 5. Blesser, Barry, and Linda Salter. Spaces Speak, Are You Listening? Experiencing Aural Architecture. Cambridge, Mass.: MIT, 2007. Print. 6. Coburn, Grace V., “A Psychological Analysis of Behavioral Consumerism: Advertising, Decision-Making, and its Implications for Retailers” (2015). CMC Senior Theses. Paper 1014. 7. ”The Death And Rebirth of the American Mall.” Smithsonian. Smithsonian, 25 Nov. 2014.
8.0
BIBLIOGRAPHY
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