STORE, MSD, ALPHA60 ROSE ONG LUCID DREAMS P. 1
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CONTENTS A. INTRODUCTION (P. 5–9) B. REAL (P. 10–27) C. VITRUAL (P. 28–43) D. MIX (P. 44–61) E. DEVELOPMENT (P. 64–119) E1. SITE (P. 90–109) F. MID-SEM PROPOSAL (P. 120–131)
G. DEVELOPMENT V.2 (P. 5–9) H. FINAL PROPOSAL (P. 10–27)
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A. INTRODUCTION (PP. 5-9)
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A. INTRODUCTION. ROSE ONG. STORE MSD ALPHA60.
OMA/AMO X PRADA SS 2012 The collaboration of OMA and Prada begun almost a decade ago in Milan, inviting thought-provoking ideas into the 21st century on the representation of fashion shows. Fashion, now evolved into a vital economical in our culture today, has been a significant part of the expression of self. When combined with “luxury”, has become a lifestyle in itself, as explained by Jack Self during his interview with OMA/AMO.1
The Field by OMA/AMO SS 2012 explores the hierarchical arrangement of viewers on a runway. As described by OMA/AMO’s Partner, Ippolito Pestellini Laparelli, during his interview with Jack Self, the “Field” questions how runways are assembled, and in most cases, it’s usually determined by exclusivity. As mentioned by Laparelli, “[m]ore important people are in the first row, and people who are less important in the back. By providing a field, we created a sort of democratic organization, where everyone had the same hierarchy.”2 The organization of the project invokes the challenge of how the exclusivity of a conventional fashion show can be dissolved by creating an open plain consisting of a grid, diminishing all hierarchical or biased viewing. Drawing inspiration from the formal concept of a stadium field whereby each viewer has the same vantage point, OMA/AMO pushes boundaries by creating intersecting paths between the models and the viewers. In terms of depicting the atmosphere of a “field”, materials such as fake grass, blue geometric foam cubes, and spotlights have been used as what Laparelli would describe as a third phase in designing their Prada fashion shows, which is a theatrical method of setting up the “staging” process.
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OMA AMO w/for PRADA, 032c, 2017 OMA AMO w/for PRADA, 032c, 2017 OMA/AMO, Prada Men’s Spring/Summer 2012 OMA/AMO, Prada Men’s Spring/Summer 2012
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Rose Ong 743424, Task 00
OMA/AMO X PRADA S-11: FIELD
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Led by
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A. INTRODUCTION. ROSE ONG. STORE MSD ALPHA60.
A. INTRODUCTION. ROSE ONG. STORE MSD ALPHA60.
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Task 00 - Hybrid Drawing of Prada SS 2012 by OMA
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B. REAL (P. 10–27)
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B. REAL. ROSE ONG. STORE MSD ALPHA60.
STACK The notion of “stacking”, to pile in or on, is an evident mode of arrangement in everyday objects. Books, to be placed on top of each other, or piled horizontally cover to cover, creates a form that is larger than the book itself. The repetition of an object is the key here. Focusing on the products of Alpha’s 60, the idea of how shoes can be stored and/or displayed will be explored.
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Theaster Gates, Armory Arts Week New York, 2012 Li Hongbo, Roman Youth, 2013
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Archigram, Peter Cook, 1961 Elevator of Museo Gustavo de Maeztu, Spain, 2019
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RETAIL APOCALYPSE The idea of ‘luxury’ has played a significant role in the transformation of clothes and ever-changing trends have been emerging and dissolving across cultures. Largely influenced through culture and the economical state, what deems significant, sentimental or even luxurious has now been promoted as what seems like a sacred element in retail design today.
The idea of display in contemporary stores for shoes have been maximized through repetition. Thus, the idea of maximized displays equating to higher sales have been highly evident across retail today. For instance, the evolution of the role of shopping in the economy through the past century, the innovation of escalators has been a vital part in increasing revenues through the increased circulation within displays.2 What if products were displayed in a manner where it is a sacred form of art, similar to a century-old fossil in an art gallery? The notion of ‘less is more’ is evoked for users to experience clothes in a more singular, focused manner. Drawing inspiration from Retail Apocalypse, the act of display on such products can potentially be redefined.
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Retail Apocalypse, Valerio Oligati Celine Flagship Store, Miami, 2018 Retail Apocalypse, Herzog & de Meuron, Prada Aoyama, Tokyo, 2000-2003
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PRESERVATION Preservation methods of increasing the longevity of a product is often merged into a display mechanism, while showcasing the significance of its existence. Techniques such as sous-vide and encasement are explored upon. Such methods involve the elimination of air particles, maintaining the products at a lower risk of decay while increasing its livelihood.
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Nike Air MAGs Limited-Edition Plutonium Display Case, 2015 Julianne Rose, Sous-Vide, 2006
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STORAGE SYSTEM Drawing inspiration from Bari’s descriptive concepts on clothes and our intimate relationship to them, the life of clothes has been constant throughout the living of humankind.1 Essential to Renaissance artwork, they have been depicted as an essential element since the millennia of time, as a form of expression, status, wellbeing, to name a few. They have evolved throughout decades, from a constricting form of identity to the present moment of self-expression. Like artifacts in a museum, the proposal focuses on the preservation methods of clothes, while using a stacking mechanism to display for visual merchandising. The “capsule collection” aims to preserve the longevity of clothes while paying homage to its makers and its origins.
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Shahidha Bari, Dressed: The Secret Life of Clothes, 2019 Drawing of Alpha60’s “Kari” Shoe
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EU 36 US 6 22.8cm
EU 42 US 10 26cm
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STORAGE SYSTEM By honoring it through an elevated platform encased beyond a screen of glass, equal from all angles, the proposal aims to showcase products as a form of art. Creating singularity and focus, allowing viewers to view these objects on a pedestal or through a series of platforms highlighting its verticality of sacredness, the emphasis of the product, its materiality and origins, as well as its form is highlighted as a whole. The lifespan of clothes has indeed been commonly taken advantage of, creating more unnecessary waste and mindless discardment. Through creating awareness on the notion of preserving, they can be honored and respected, potentially defining the ethical selection of clothes and reducing additional future waste.
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Hybrid Drawing - Preserve/Display
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COVER Silicone backing to seal duct
CASE Pressure-resistant reflective metal and toughened glass
OPEN Post-decompression function will allow door to slide open
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TRACK Main bridge of control to maneuver platforms, receives impulses from base plate
DISPLAY Lightweight illuminated platform
BRACE Assists the movement of platforms during ascend/descend
NOTCH Extruded center to clip into structure below
CLIP Magnetized cut-out for notched connection above
SLIDE Frame and connections move through the brace for added support
FRAME Receives impulses from track controls for movement and acts as main support structure for platform
BASE Main plate for direct connections from control system, sends impulses to track
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Render Diagram - Preserve/Display Isonometric of Framework - Preserve/Display
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1. Interface
Touchscreen control area, apply functions to: - Pressure chambers - Lock/unlock - Visual merchandising stack options (pedestal/multiple)
2. Chamber
To control the pressure in the capsules by using a vacuum chamber system to regulate: - Low pressure in capsules when preserving - Resupply clean air into chambers during decompression
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3. Manometer
Display air pressure in capsules 2
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Vent duct to draw air in/out of capsules to pressure chambers, controlled by vacuum gauge 4
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Sensor-controlled pressure valves to control air pressure of capsules
6. Connection
Floor box beneath to install wiring to connect controls to the stack mechanism in capsules
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Elevation Diagram - Preserve/Display
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C. VITRUAL (P. 28–43)
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NET ART ANTHOPOLOGY_RHIZOME Conceptions of the role of the Internet have evolved, as we adapt and grow as beings capable of exploring new ways of archiving information online. The perception of our role as users has indeed been a constant state of change as the rise of interfaces and platforms overwhelm our options to document our knowledge and experiences.
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1. MTAA, Simple Net Art Diagram (SNAD), 1997 2. Abe Linkoln (Rick Silva), Complex Net Art Diagram, 2003
The boundaries between audience and author have been diminished through the vast and complex infrastructure of the Internet, perhaps evoking the connection between the lack of privacy and authorship to the betterment of accessibility and benefit across users? The term “rubberbanding� by Canizares can be depicted in the way we try to make sense of how connections are linked across the web.
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IMAGE ATLAS Image Atlas performs as a search engine that categorizes top image results from the term given across search engines that are geographically localized. The cultural differences on what a term may be understood as, can be identified on a single interface - transcending not only regions but also permeating non-consensual, location-based algorithms.
The representation of such realities based on cultures is reconciled by the virtual medium, creating a space in which all experiences can be gathered to be closely studied. However, the constraint of imagery on-screen is that they are embedded as a flat plane, regardless of its appearance as a three-dimensional object. The screen often becomes a limitation in how we can perceive an object from all of its angles simultaneously. Virtual reality however, allows sensors to track a user’s movement in navigating a space, allowing the illusion of a more immerse imagery experience, simulating reality. Can virtual reality be a more efficient tool in archiving imagery?
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1. Image Atlas, Taryn Simon & Aaron Swartz, 2012
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THE CLOUD OF RESILIENCE Introduced by Space Popular, the Cloud of Resilience is a form of a virtual archive database targeting global mortality rates. The data can be visualized and explored through a virtual platform as a way to commemorate the dead. Each point of location of death is created through coordinates in the system, while allowing interaction between members that wish to connect with the event of the deceased, creating what seems to be a virtual memorial space.
1-3 Space Popular: The Cloud of Resilience, 2013
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The tools utilized or proposed have been common themes in the ongoing platforms in which we interact with daily, consciously or unconsciously. The notion of “geotagging” has been commonly used today to archive geographical identification metadata to our “posts” or visual imagery. The idea of creating a stronger narrative to our experiences through geotagging is perhaps the way we are wired to associate our location to our experiences as a form of memory organization.
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PERSONAL ARCHIVE
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1. Screenshot of archived imagery on “Photos” in iPhone 2. Screenshot of archived imagery on “Photos” in iPhone
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INTERFACE MODE Utilizing the HTC Vive virtual reality headset and controls, a physical boundary of 15m2 is measured to create an artificial environment to conduct the narrative.
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1. HTC Vive_Headset & Controls_Axonometric View 2. HTC Vive Headset_Front Elevation 3. HTC Vive Headset_Side Elevation 4. HTC Vive Controller_Front Elevation 5. HTC Vive Controller_Side Elevation
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VIRTUAL STORAGE The boundaries between reality and digital space has been inevitably merged, themes of simultaneity as a daily occurrence between events conducted within our living environment, combined with the unconscious tracking of such actions or events in our memory or in a virtual environment has provoked a narrative on the blur between the two ecosystems. The fragments of objects, associated with locations, through an event or a daily activity, has formed our experiences that shape who we are and our identities. Whilst memories are often in jeopardy of being forgotten, the virtual space holds promise in withholding an assemblage of information in various mediums.
Picon suggests the term “eternal present�, as our connection to the virtual as an archival dimension that traces information simultaneously evokes a sense of eternity. Through a more individualistic approach reflecting how our experiences are mapped with global position systems, the virtual storage system seeks to explore the symbiotic entanglement that connects humans, the environment, and technology. The fragments of experience which contribute to an identity is traced, recorded, and performed as an assemblage of connections that continuously interacts with the subject, eg. the shoe.
3500mm
3500mm
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1 1. Plan of VR set-up, 1:20 2. Render (geotagged visual imagery) in setting 1 3. Render (geotagged visual imagery) in setting 2 4. Render (geotagged visual imagery) in setting 3 5. Render - Virtual Reality Memory Simulation
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43° 31’ 39.3624” N 172° 36’ 17.2554” E 11M
2 36° 12’ 17.3628’’ N 138° 15’ 10.548’’ E 12M
37° 48’ 49.0644’’ S 144° 57’ 47.0088’’ E 45M
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D. MIX (P. 44–61)
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DE-VIEWER The project explores the general attitude of perceiving computers as tools as opposed to a medium, which was prevalent in the late 80s. The installation consists of a projected painting on canvas which utilizes an eye-tracking system which analyses the spectator’s gaze, calculating the exact co-ordinates on the canvas and sent to a graphics program that distorts the painting in reaction.
This early exploration of how computers can be perceived as a medium of interaction evokes ideas on representing visual information which can be manipulated based on the navigation of sight, one of the most dominant senses in which we often use to investigate content today.
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1. De-Viewer, 1992 2. De-Viewer, 1992 3. De-Viewer, 1992
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floating.numbers In 2004, the first multi-touch table was produced as an interactive table which streams a continuous flow of floating numbers that are sensitive to touch. The numbers are intended to represent historical, philosophical and mathematical meanings in a raw form. Once individual digits are revealed through touch, various mediums of meanings such as text and images materializes the significance of the numbers, using combined interaction and interface to engage users with a dialog of the communication and conversation of ideas.
The idea of offering an autonomous behavioral system generated in realtime allows users to be part of a nondeterministic system. Contrary to a contemporary system which is overwhelmed with AI-based algorithms, the ability of free selection is often overlooked. As our behaviors adapt and change to our living environment and the culture embedded in it, it’s important to question how we could further explore the way we materialize information.
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1. floating.numbers, 2004 2. floating.numbers, 2004 3. floating.numbers, 2004
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VIRTUAL EFFECTS The psychology of media content on attitudes and behavior is explored. As described by Burns, objects are tangible products of cultural processes of creation, interpretation, circulation and use – they are carriers of meaning. The accelerated changes in media technology through the advancement of channels of communication have evoked on the notion of how media fosters distinctive cognitive habits and social dynamics.
“It is by our use of things and what we say, think, and feel about them – how we represent them – that we give them meaning.” — Burns1
Communication technologies have the potential to alter our “sense ratios” or patterns of perception. The virtual content of science fiction in television, for instance, is not just a sensory shift from eye to ear but a rearrangement of the social stages of our roles, and a resulting change in our sense of appropriate behavior.
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1. A Companion to Popular Culture, Gary Burns (eds), John Wiley & Sons, 2016 2. Her, Spike Jonez, 2013 3. Meat Dress, D+S, 2006
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1. Lee advertisement, 1940s 2. Vintage Pepsi, date unknown
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DESIRE OF IDENTITY “Is the plethora of technological advancements a direct result of anthropomorphic inevitabilities or are simply trying to realize objects, vehicles, and environments we saw in science fiction representations in the mid-20th century? Is it possible that media and literature are equally responsible as engineering for our current architectural reality?” — Canizares1
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1. Galo Canizares, Stranger than Fiction, 2017 2. NBA, Michael Jordan, 1988 3. Shahidha Bari, Dressed: The Secret Life of Clothes, 2019
The pressure of omnipresent multimedia productions is difficult to overcome. In a consumer-driven system, there is push from many directions for the desire of an identity through the content of the media we consume.
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EXCERPT: DRESSED “His distinctive splayed-jump pose was captured in a dramatic photo shoot for LIFE magazine in the run-up to the 1984 summer Olympics in Los Angeles. Both the US men and women’s teams won the gold medals that year. Nike seized upon Jordan’s remarkable physique, gave him a silhouette, turned it into a graphic and gave it a name: ‘Jumpman’. Strikingly, the pose combined a balletic grand jeté with a slam-dunk, not true to Jordan’s habitual jumping style on court, but visually arresting: legs spread in flight, the hi-top sneakers unmistakable, laces visibly lifted by his enormous elevation, his torso taut, an arm outstretched to its farthest reach, a hand seamlessly conjoined to a ball upheld like a sun. It is an enlivened, kinetic animation of Leonardo’s Vitruvian man, perfectly proportioned, everlastingly striving. It is what we long to be, even when we are small, sluggish, and imperfect. It is the promise of the human form realised.” — Bari3
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1. Screenshot of Instagram “Discover” Page 2. Screenshot of Instagram “Discover” Page
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VIRTUAL ON REALITY The effects of media on culture, catalyzed by the ubiquity of communication technologies, have evoked questions on how we assess material objects. The more we delve into exploring the relationship between media and technology and its effects on culture, it becomes clearer that our questions about media reveal questions about ourselves.
The narrative aims to explore the desire to create a persona through material products in a provocative form of an exhibition display. Are we valuing and assessing a product based on its intrinsic craftsmanship or do we allow the subconscious mind that is exposed to such virtual content to determine what we perceive as aesthetic?
It seems that intellectual activity has been key in of such content, and the way we conceive these notions through the accessibility by technological mediums points to weakness of the intellect – the limitation based on knowledge, which is always and by definition selective according to one’s agenda. It’s perhaps with good reason that such notions are often left unexamined.
The “by-products” of popular culture are used to depict an exaggerated form of lifestyle that is desirable, or ideologies that influence popular culture, to highlight such relationships on our conceptions on everyday materials and objects, such as shoes.
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1. Front Perspective - Display Exhibition 2. Section - Display Exhibition 3. Render - Display Exhibition
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E. DEVELOPMENT (P. 64–119) E1. SITE (P. 90–109)
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PRECEDENT STUDY - ACNE SEOUL By Sophie Hicks, the stripped back concrete structure of Acne Seoul creates a form of anticipation of what is being concealed within the semi-transparent polycarbonate facade. The interior of the store reveals a Swedishinspired concrete framework that creates a monotoned aura with the polished steel joinery, while the display of the Acne products acts as a form of decoration in contrast to the overall minimalism of the store.
The positioning of services away from the interior to the rooftop, invokes the idea of minimalizing disruption within the envelope of the store, while using the mechanical system as a form of display which creates a clear contrast of facade to interior. An idealized perfection within the store is reflected upon.
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1. Acne Studios, Seoul, Sophie Hicks, 2015 - Exterior 2. Acne Studios, Seoul, Sophie Hicks, 2015 - Ground Floor Interior 3. Acne Studios, Seoul, Sophie Hicks, 2015 - Level 1 Interior
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1. Acne Studios, Seoul - Plan 2. Acne Studios, Seoul - Section
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MATERIALITY The concrete structure concealed within the store can be perceived as a play in the hierarchy of materiality, whereby such heavy and robust structures are often highlighted in the exteriority of contemporary works. Instead, the light polycarbonate sheets are first in sequence of perception from exterior to interior, creating a theatrical revelation.
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1. Acne Studios, Seoul - Perspective Detail 2. Acne Studios, Baker Tote Bag
The approach of Hicks towards Acne Seoul can be seen as a product of Acne itself, reflecting upon its brand identity of cultivating simplicity yet being unconventionally intense.
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PROGRAM The notion of merging multiple programs within a retail environment goes beyond the commerce/consumer viewpoint. In order for such programmatic relationships to thrive, notions of everyday living has to be analyzed and reflected upon. Virgil Abloh questions why stores look the same, yet their identities are different - hence producing OffWhite spaces that are not only a reflection of the brand but also the culture embedded within each location.
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1. OffWhite Miami, Virgil Abloh x AMO, 2020 2. OffWhite Tokyo, 2016
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PROGRAM The idea of reflecting programmatic relationships within a space is a key question towards the development of creating a space that functions beyond its conventional purpose. The collaboration of the 24hr. Kitchen by 2x4 and Samsung reflects a space where a continuous flow is created to merge the qualities of time with the program of an art exhibition and a kitchen. Its contents are reflected upon conceptual values of morning, afternoon, and night.
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1. 24hr. Kitchen, 2x4 & Samsung, 2014 2. OffWhite Milano Temporary Showroom, 2016
The temporary installation of the OffWhite Milano Showroom reflects the surrounding streetscape utilizing reflective surfaces to merge culture within its program - while it may not create a direct programmatic relationship, it blurs the relationship between function towards design while taking consideration of its surrounding environment.
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FRAMING A framework for storage is explored. Spatial interconnections guided by such frameworks provide a form of organization as well as way-finding for the content or products contained, while potentially holding storage for the infill of information.
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1. Uniqlo Tokyo, Herzog de Meuron, 2020 2. Bloomberg Center at Cornell Tech, Morphosis, 2017
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EX MACHINA
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1. Ex Machina, Alex Garland, 2014 2. Ex Machina, Alex Garland, 2014
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1. Frederick Kiesler, Contemporary Art Applied to the Store and its Display, 1930 2. Frederick Kiesler, City of Space, 1925
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1. Schaudepot at the Vitra, Herzog & de Meuron, 2016 2. Schaudepot at the Vitra, Herzog & de Meuron, 2016
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1. BEST Inside/outside Building, SITE, 1984 2. BEST Inside/outside Building, SITE, 1994
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1. BEST Rainforest Building, SITE, 1979 2. BEST Rainforest Building, SITE, 1979
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DIETER RAMS The “10 Principles for Good Design” by Dieter Rams: 1. Is Innovative 2. Makes a product useful 3. Is aesthetic 4. Makes a product understandable 5. Unobtrusive 6. Is honest 7. Is long-lasting 8. Is thorough down to the last detail 9. Is environmentally friendly 10. Is as little design as possible
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1. PC3SV radio, Dieter Rams, 1956
A render study of the PC3SV radio (1956) is conducted, highlighting the values of Rams. The radio’s on-off switch is merged with the volume control, an unconventional but valuable approach during the 50s.
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1. PC3SV radio, Render - Perspective 2. PC3SV radio, Render - Front Perspective
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1. Alpha60 Fitzroy, Google street view - Front Perspective 2. Alpha60 Fitzroy, Google street view - Alley
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179 BRUNSWICK ST The initial proposal for the Alpha60 store in Fitzroy aims to explore the relationships between users and their memories. The retail space allows users to reveal the fragments associated with the usage of their products, creating visual information that is then archived and at the same time displayed in the gallery space.
ARCHIVE ARCHIVE ARCHIVE ARCHIVE ARCHIVE ARCHIVE
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1 1. Draft Proposal 1.0 - Shopfront Render
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SCREEN The use of screens within the draft proposal represented through a gallery space was an exploration that required more depth in the organization of space in relation to the exhibited content. Though the use of screens have close potential in the emulation of a virtual reality scene, the use of the site in response to the gallery exhibition seeks further refinement. Further analysis is conducted to refine the draft proposal.
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1. Draft Proposal 1.0 - Screen Render
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PROPOSAL 1.1 Navigating towards the core of the intended function of the store in analyzing memories, methods of acquiring such data is further delved into in order to establish a stronger relationship towards the store for the Mid-Semester proposal. A mobile device dock interface is proposed as an initiative in deriving memories from users, which data can then be analyzed to form new memories. However, the use for such device has already been overwritten with existing technological advances, such as Bluetooth or wireless connections via the Internet. A new mode of extraction is probed from the initiative.
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PROPOSAL 1.1 The shopfront is also further explored upon to reflect the use of screens, in response to Proposal 1.0.
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PROPOSAL 1.1 The designated zones in attempt to further refine the spatial configuration of the site in response to the previous initiative has been explored, reflecting upon AI processes.
ENTRY
Data Extraction
Data Analysis BRUNSWICK ST
However, such organization has been deemed incoherent as part of the overall strategy of building upon a flexible and public space that accommodates more than individualistic use. Thus, further research is conducted.
Data Analysis
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ENTRY
Data Extraction
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Superimposed Data
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ed Data Gallery
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PRECEDENT STUDY - GERHARD RITCHER In response to feedback of previous proposals, further research is conducted to emphasize on the concept of memories through data extraction, utilizing screens to form a gallery within the site which can potentially create a network of broader schemes. “I am suspicious regarding the image of reality which our senses convey to us and which is incomplete and limited,” — Richter
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Eight Gray, Gerhard Ritcher, 2002 Eight Gray, Gerhard Ritcher, 2002
Eight Gray (Acht Grau) explores the illusionist nature of painting through painterly practices that incorporates the experience of reality and photographs injecting a measure of objectivity while eliminating the processes of apprehension and interpretation. A monochromatic field containing mirrors produces an endless sequence of reflections of interior and exterior views, exploring the depths of pictorial and actual space. This notion of immersion can be is deducted from Ritcher’s project through the use of materiality and light.
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PRECEDENT STUDY - PRADA AOYAMA As described by Jacques Herzog, the facade glass panes of the Prada Aoyama store is deemed as an interactive optical device. The curvature of the glass allows distorted reflections through movements of circulation.
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1. Prada Aoyama, Herzog & de Meuron, 2003 2. Prada Aoyama, Herzog & de Meuron, 2003
The concept of “a building as an organism” as described by Jacques Herzog seeks further exploration in relation to the proposal - “the store as an AI”.
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RESEARCH The organizational strategy of tiling, stacking and repetition of data is observed through personal archives.
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Screenshot of iPhone - “All Photos” Screenshot of iPhone - “All Photos”
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Screenshot of iPhone - “Places” Screenshot of iPhone - “Places”
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DATA ANALYSIS Metadata from mobile devices as a form of memory storage is analyzed to be merged with the real. Data such as photos, music, cookies & locations are essential background processes that we interact with daily, hence forming our memories.
If such data is extracted, could they be matched with the associated range of products? Could inanimate objects cultivate personalities through the data we obtain from them, such as from its user preferences and usages.
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Diagram - Data Extraction > Data Analysis > Data Superimposition
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STORE AS AN AI The Shopfront is seen as an AI where the entry is reflecting the idea of a screen, merging realities of virtual and real.
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Render - Shopfront
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MID-SEMESTER PROPOSAL The Alpha60 store’s spatial configuration draws on the idea of an open field, where screens are part of the architecture. Combining the programmatic qualities of a gallery with retail, the screens are expressed as framed paintings for viewing and interacting with.
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First Floor Plan, 1:100 1. Entry 2. Stair 3. Lift 4. Seated gallery viewing (ground floor) 5. Till below 6. Mezzanine gallery of screens
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SECTION The first floor mezzanine allows a balcony view of the surrounding gallery, with screens fixed onto the balustrade as a form of collective display.
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Site Section, 1:200 1. Entry 2. Lift 3. Till 4. Seated gallery space viewing 5. Gallery of screens
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MEMORIES
MIRROR/SCREEN
Occurrences within our memories, associated with objects and locations, through an event or a daily activity has formed our experiences that shape who we are and our identities. Whilst memories are often in jeopardy of being forgotten, the virtual space holds promise in withholding an assemblage of information.
Through the analysis of the data stored virtually, the ALPHA60 AI processes images that are familiar, while predicting a “suggested product” based on the user’s photos, cookies, interests in music genres, and locations - altering a memory through the superimposition of the product on the screen. The notion of an “eternal present” is evoked through the reflection of the mirror, allowing users to be the main subject of the frame in their own memories - except that they are now altered with ALPHA60’s data.
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DIGITALIZING MEMORIES
Photos are scanned, and chosen by the AI based on frequency of similar data highlighting the interests of the user and their identity. A scene of the selected memories will then be created into a “wearable frame”.
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MATCH
The data analyzed will then be matched with the product that the AI has determined the highest probability of similarities to the user. Each piece of the ALPHA60 product contains a personality based on the collective analysis of users which the AI has analyzed overtime.
Diagram - Process of Data Analysis to Superimposition Axonometric Render Drawing - Framing Memories
MIRROR
The final framing scene is then merged with the data of the AI, creating a frame of familiarity while the user’s reflection is then merged upon - creating an altered state of memories which the user can reflect on with the analyzed product.
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GALLERY OF MEMORIES Following the analysis of memories on an individualistic level, the AI then intersects each analyzed frame and proceeds to create an archival of memories which is displayed collectively through the superimposition of analyzed data upon one another. Through the hybridization of each user’s memories, the collective display then becomes unfamiliar again, creating a new form of connection between users. The field of screens proposed from assisting with analysis on an individualistic level to a collective analysis allows a symbiotic entanglement to form between humans, their fragments of experience (associated with their environment and objects), and the digitalization of ALPHA60.
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MIRROPANE SCREEN Two way glass mirror fixed to LED Screen Bracket supports fixed to wall structure
MERGED REALITIES
The real (reflection) is superimposed with the data collected by the AI which is presented onto the screen.
COLLECTIVE DISPLAY
The data from each individual screen is then sent to the main screen display unit, forming a central gallery space. Screens fixed to mezzanine balustrade & floor.
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Detail Section - Framing Memories
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Following the Mid-Semester proposal, it has been pointed out that the framework of the AI data analysis in response to memoryprojection can be rather restrictive. The decision-making process of users are inhibited by algorithms, much like the current machine learning processes embedded in our media interfaces – creating a lack of choice and enforcing unwanted “echo chambers”. Social and ethical issues arise when the role of Artificial Intelligence has been motivated by capitalism through creating outcomes that are designed to encourage consumer behavior. However, it has been suggested that such framework can be developed into a different direction of speculation that offers value to the user through data collection to forecast and speculate on “dreams” as opposed to the past (memories), which can potentially exhibit richer outcomes and connectivity.
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A broader understanding of the AI within its framework of data collection must be assessed in an attempt to facilitate the identity of users into a future scenography, where the brand acts as a form of expression. The relationship between data curation and speculated scenes needs to be clarified further, while questioning how the brand represent such value to its users. The key questions interrogated for further exploration are: How do memories of the past guide future decisions? How can the balance of personalization through data collection and the restrictions of brand be achieved?
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MACHINE HALLUCINATION The film aims to explore machine intelligence through analyzing millions of New York City photos sourced through the web, and then processed visually.
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Machine Hallucination, Refik Anadol, 2019
What’s been described as a “reshuffled memories of a human dream” is a product of an algorithm that has processed photographs of synthetic architectural memories to narrate “invisible cultural collective memories of New York”. Audio output of the city’s sounds are also projected, creating an euphoric state of the machine’s understanding of the city combined with virtual data storage recorded.
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FUTURE YOU The motion capture artwork offers reflection to a potentially synthetic self, adapting to real-time movements and suggesting a “superior” version of users. Creating a variety of artwork typologies for each user, the project offers a level of personalization while projecting visuals of fictional matter.
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Future You, Universal Everything, 2019
An observation made through the references is that the digital representation of ourselves and our locations are often nowhere near how they actually look — fictional, disorientated forms with lack of accuracy in scale is represented as a “future” state.
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ACTIVATION ATLAS To further understand the process of virtual storage within an AI system, Activation Atlas iterates the process of how neural networks are activated through image classification. A randomized set of a large number of images is fed through the network, collecting a random spatial activation per image. The activations are then fed through a map to reduce them to two dimensions, then plotted with similar activations placed near each other. A grid is drawn to average the activations that fall within a cell, while the density of the number of activations is reflected upon the size of the grid - as seen in the image below.
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Activation Atlas, Google Brain Team, Open AI, 2019
While the process involves a large set of images to reflect its organization process of classifying images according to location and features, it may not be ideal to reflect upon a personalized storage system as per user in the Alpha60 store. Nevertheless, this approach may be useful on reflecting upon the idea of a virtual storage system for archiving of images, for the translated use of memories to dreams.
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VIRTUAL DATA In this first iteration of processing the idea of virtual memory of photos, locations, and cookies into aspired dreams, an iOS screen is reflected upon how the store may prompt a subject through its notifying feature upon entry of the Alpha60 Store.
However, it has been critiqued that the iOS feature may be out-of-date in the context of 2040 and will require further experimentation in speculation such interfaces within our devices.
2:30 PM
Allow “ALPHA60” to Access: Photo Album Cookies Locations
Don’t Allow
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Illustration - iOS Notification through iPhone Diagram - Stored Data
OK
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35° 22’ 20.1895” N 139° 35’ 36.2649” E 734M MOTOHAKONE 11/03/2020
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35° 22’ 20.1895” N 139° 35’ 36.2649” E 734M MOTOHAKONE ALPHA60_”ANITA COAT” SELECTED
“LACEY DRESS”
“ANITA COAT”
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“CECIL APRON”
“KARI SHOE”
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MEMORY ALTERATION In an attempt to recreate a dream from an existing memory, an example narrative is created from a photograph captured at a specific location, Hakone, in this instance - which allows the AI to draw connections on associated interests such as hiking and data from cookies on outdoor clothing shopping to recreate a dream on Mount Fuji.
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The Alpha60 assets are featured as part of the Dream while presented as selections for subjects before the AI reveals an element of surprise of the desired scene.
Render - Existing Memory Render - Altered Memory with Asset Selection Render - Dream with Alpha60 Asset
35° 21’ 38.2968” N 138° 43’ 44.5800” E 3777M MOUNT FUJI ALPHA60_DREAM
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OPEN AI - IMAGE GPT Open AI has performed multiple research projects using artificial general intelligence (AGI) safely and in a way that benefits the general society. The GPT-2 research, for instance, is a training model that is based off language and text, such that machine intelligence can be used to perform rudimentary reading comprehension, translation, question answering and summarization without specific task-training.
Drawing on this concept of a coherent language model, Image GPT uses the same model to train on pixel sequences to generate coherent completions and samples. The outputs of the Image GPT model is studied to further understand how the Alpha60 AI can adopt similar processes to generate speculated dreams through personalized data.
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Screenshot of Experimental Results Graph, Open AI, Image GPT, 2020 “Favorites� Completions Results, Open AI, Image GPT, 2020
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“Landscapes” Completions Results, Open AI, Image GPT, 2020 “Architecture” Completions Results, Open AI, Image GPT, 2020
Original
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INPUT Sample images from personal archives are explored upon, drawing on forms and backgrounds of generic photos that can potentially be assessed by the Alpha60 AI.
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-41° 17’ 12.6652” N 174° 46’ 22.7980” E 09/2020
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Diagram - Study of Images for Alpha60 AI Processing
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DATA FREQUENCY:283_location:density=HIGH_identity:BUILT ELEMENTS
DATA FREQUENCY:129_location:density=LOW_identity:CULTURAL
DATA FREQUENCY:97_location:density=MEDIUM_identity:NATURAL(fragments)
DATA FREQUENCY:58_location:density=LOW_identity:NATURAL(terrain)
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VIRTUAL NETWORK DIAGRAM In this early iteration of the existing layout of the store, the various connections from personal storage to AI projections are established. However, the layout of interfaces requires further refinement through organization of screens based on its content.
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Virtual Network Diagram - Iteration 1
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AI System (built-in) Individual to Combined Visuals Interactive Touchscreen with camera tracking Wide Screen (fixed to balustrade) Wide Screen (fixed to back wall)
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MELTING MEMORIES Refik Anadol’s project reflects on the notion of remembering, offering insight into the the process of memory retrieval into data collections into contemporary art - using data sculptures, screens, and LED media.
The concept of Refik Anadol’s work can potentially be adopted into translating memory to dreams, with the same framework of extracting data from an archival storage of images.
The data paintings allow visitors to experience aesthetic interpretations of motor movements inside a human brain, using algorithms that run by data sets on neural mechanisms.
Another form of translation from Anadol’s concept is also evoked within the inbetween moments of the store, before transcending the threshold of dreamstate, projecting images that are not fully processed that reflect on the collective data of visitors within the store.
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Melting Memories Diagram, Refik Anadol, 2018 Melting Memories Exhibition Photo, Refik Anadol, 2018 Melting Memories Process, Refik Anadol, 2018
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INTERFACE The extraction of personal data from mobile devices is explored, evoking questions on authorship and consent - how such extraction methods can be conducted ethically through the subject’s awareness. A more fragmented version of the screen, our personal devices, can potentially be designed as a 2040 state to be the main medium between real and virtual of the concept.
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“Westworld” Screen, 2016 “Her” Tablet, 2013 Render - Alpha60 App Interface
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179 BRUNSWICK ST, FITZROY In 2040, the ALPHA60 store has been introduced as an AI building, utilizing data storage to promote dreams and aspirations through algorithms and screens. Visitors can now consciously dream with ALPHA60.
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As the contemporary city succumbs to the rise of digital interfaces such as billboards & digital signage, consumers become more engulfed with the overwhelming output of information that is primarily driven by capitalism. The ALPHA60 storefront is extended to the street in an attempt to inversely reflect the idea of what Rem Koolhaas refers to as, “Junkspace” maintaining its existing brick fabric and identity; what Herzog would refer to as “remaining in its time”. A form of “screen” is projected at the end of the canopy, allowing passersby to interact with the store externally.
Render - Shopfront Perspective View Elevation - Shopfront
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A PASSING
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The extended shopfront obstructing the street forms a canopy for consciously seeking their reflections through reflective surfaces - th reality screen with a one-way mirror is merged to inversely reflect the surprise/shock; potentially curiosity towards the obvious “clothing” st
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G DREAM
r pedestrians to walk through. Drawing on the notion of passersby he desire to know how one is presented at a given moment - the AR e process of dreams, muting the worn assets of pedestrians, evoking tore.
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VIRTUAL STORAGE Digital culture has prevalently shaped our lives and the built environment that we live in, from the way we communicate and engage with smart devices through to our constant attachment and reliance on such electronic entities to acquire information and connect with each other. This effect is only amplified through the use of personal devices and its algorithms of tracking and recording through digital cookies, global positioning systems, and other forms of metadata navigated by artificial intelligence. Drawing inspiration from the contemporary processes of data processing & algorithms, the Alpha60 app has been introduced as a medium between the real and virtual.
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Render - Alpha60 App Interface
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INTERFACE The 2040 device is designed to be sleeker than the current mobile device, thinner on the edges while still maintaining its versatile rounded-corners. The microphone and camera has then be minimized into a microscopic scale on the top end of the device. Realistically, the folded idea of the device is strayed away from as its versatility is not ideal for constant flipping. A single screen is presented with the Alpha60 Dream Application.
To tackle the problem of data consent, the Alpha60 App acts as a consent form for data to be released – prompting subjects to be aware of the notion of virtual storage, while providing the opportunity to explore their dreams through their memories. Upon the sign-in process, clear legibility in the variety of data that will be shared exclusively with the Alpha60 store that is closest in proximity.
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RECOG
Upon entry, facial recognition system and motion sensors fixed to t facial features with data stored — determining if the subject is a new o subject’s device with an introduction of the Alpha60 Dream App. The data recognition of the AI. If it is a returning subject, their existing Dre the subject’s device, determining a change in Dream.
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Hybrid Section Detail, 1:25
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GNITION
recurring subject: sophie cross-referencing with change in data: commencing
the ceiling detects a subject walking through and cross-references or recurring member. If the subject is new, the AI will then prompt the scanned facial data will then be part of the user’s profile, as a form of eam data will then be cross-referenced with the change in data from
LEVEL 1 CONCRETE FLOOR SLAB CEILING DATA SERVER CAMERA: FACIAL-RECOGITION SYSTEM MOTION TRACKING SENSOR LED STRIP FIXED TO WALL OPENING ONE-WAY MIRROR CEILING FINISH
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APP INTERFACE
DA
D₁
DETECTED STORE
D₂
179 Brunswick St, Fitzroy Melbourne, Australia
RECALIBERATE LOCATION
Filter Applie
CONNECT TO STORE Photo Album P. 166
Cookies Music By confirming, you agree to the Terms and Conditions and understand that the data shared with
CONFIRM
D₃
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ATA
Photos
EXTRACTION
Photo Metadata location.............................japan format...................................tiff author...................................sophie
EXIF Data date...........................................12/5/2019 time.............................................15:22:36 color mode......................color camera...................................apple iphone iso speed rating.....200 exposure............................1/60s
Cookies
ed: FASHION
Brands type 1.........................................kathmandu type 2.......................................nique
Lifestyle type 1.........................................outdoor type 2.......................................business
Music P. 167
Music Interests artist......................................mac miller album........................................blond genre........................................hip hop year............................................2018
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Input
DATA COLLECTION
D₁
location.............................japan format...................................tiff author...................................sophie date...........................................12/5/2019 time.............................................15:22:36 color mode......................color camera...................................apple iphone iso speed rating.....200 exposure............................1/60s
D₂
type 1.........................................kathmandu type 2.......................................nique type 1.........................................outdoor type 2.......................................business
D₃
artist......................................mac miller album........................................blond genre........................................hip hop year............................................2018
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Machine Learn
alpha60 color......
alpha60 lifesty
cultural intere
activity: hiking, s
scene: nature, sn
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ACCURACY
Output
Alpha 60 Data
ML
Median
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ning Algorithm
.............blue, yellow
Output content: dream
yle....smart casual
themes: snow, moutains, lake
est: japanese, american
alpha60 assets: anita coat, kari shoe
snowboarding
now, urban
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PROCESSING
DETECTED DREAM SCREEN: 2 EVALUATING DREAMS
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STOP
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DREAM SELECTION
DETECTED DREAM SCREEN: 2
THEMES
Torii
Snow
Mountains
ASSETS
Lacey Dress
Anita Coat
Kari Shoe
EXPLORE DREAM
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VIRTUAL Data storage of Photos, Cookies, and Music are analyzed by the AI through the app, extracting information such as Photo Metadata and EXIF Data, - which determines the specific location & time for instance of the photo data. Data such as cookies are filtered with a “fashion filter” - determining lifestyles of subjects. Music data reflects on the interests of subjects, and also their interests in a particular year. The Collection is then cross-referenced with layers of Alpha60 data through a Machine Learning algorithm through nodes and neurons, processing inputs to determine specific outputs. Alpha60 data such as specific backgrounds and themes are implemented and intertwined into the generated output. To find the most accurate learning model through training these models, the algorithm is run several times for each subject to achieve the best accuracy, as ML is never 100% accurate – producing a median set of outputs.
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Render - App Interface: Selection
The dream outputs in the form of themes and Alpha60 assets allow subjects to make selections, being part of the process in the generation of dreams by the AI.
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DREAM 1 Basing the narrative on the subject’s interest in Japanese culture, traveling, and hiking — Mount Fuji has been used as the main scene for the dream output, featuring the Anita Coat.
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Exploring on different scenes through iterating a variety of dream outputs by the Alpha60 AI was an attempt to consolidate the idea of translating data collection to dreams.
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Three frames per subject has been iterated to illustrate the process from existing memory, to memory alteration transitioning into dream, and a fully-processed dream-state.
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Render - Existing Memory Render - Altered Memory (Transition from Memory to Dream) Render - Dream with Alpha60 Asset
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
DREAM 2 Basing the narrative on the subject’s interest in Hollywood culture, film-making — the Awards has been used as the main scene for the dream output, featuring the Everly Shirt.
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Exploring on different scenes through iterating a variety of dream outputs by the Alpha60 AI was an attempt to consolidate the idea of translating data collection to dreams.
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Three frames per subject has been iterated to illustrate the process from existing memory, to memory alteration transitioning into dream, and a fully-processed dream-state.
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Render - Existing Memory Render - Altered Memory (Transition from Memory to Dream) Render - Dream with Alpha60 Asset
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
DREAM 3 Basing the narrative on the subject’s interest in astrobiology, specimen-study & current occupation — Space has been used as the main scene for the dream output, featuring the Kari Shoe.
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Exploring on different scenes through iterating a variety of dream outputs by the Alpha60 AI was an attempt to consolidate the idea of translating data collection to dreams.
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Three frames per subject has been iterated to illustrate the process from existing memory, to memory alteration transitioning into dream, and a fully-processed dream-state.
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Render - Existing Memory Render - Altered Memory (Transition from Memory to Dream) Render - Dream with Alpha60 Asset
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
TRANSITIONAL MOMENTS Ideas found within a dream state is unpacked into the physical spatiality of the store. Ambiguity, as a main quality of dreams, is used to reflect the transitional moments upon entering a dream - where the feeling of identifying what is real and what is not is perceived.
The display frames of the “real” asset is mixed with frames of LED screens projecting a glimpse of the AI’s processing of images and data within the store, creating a sense of ambiguity. The screen will project a sense of depth within a frame, allowing it to look three-dimensional, whereas the garment is available to touch and feel.
VIRTUAL DATA PROJECTION
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Render - Data Processing Screen Render - Alpha60 Anita Coat Display
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REAL GARMENT DISPLAY
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INTERACTIVE SCREE THAT ALLOWS SUBJE PERSONAL DEVICES V TO CREATE MORE VI SUBJECTS WILL THEN “SCENE” AND ALPH INFORMATION ALONG DREAM.
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Plan - Ground Floor, NTS
Street Canopy Entry Foyer: Identification Garment Display & Machine Dreaming Dream Stations
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
ENS WITHIN A PORTAL ECTS TO CONNECT THEIR VIA BLUETOOTH IN ORDER IVID & SPECIFIC DREAMS. N CHOOSE THEIR DESIRED HA60 ASSET, CURATING WITH THE AI TO CREATE A
A WALL OF DISPLAY CASES OF GARMENTS ARE MIXED WITH SCREENS, CREATING AMBIGUITY BETWEEN REAL AND VIRTUAL, REFLECTING ON THE NOTION OF A DREAM-LIKE STATE. PROJECTED INFORMATION ON SCREENS WILL BE THE BEGINNING OF THE AI’S INPUT INTO FILTER SUBJECTS’ DATA INTO DREAMS, HOWEVER NOT COMPLETELY. AS SUBJECTS MOVE CLOSER IN PROXIMITY, THEIR INFORMATION WILL BE PROJECTED INTO A ML INTERPRETATION OF A DREAM.
AN EXTENDED FOYER OF THE SHOPFRONT FORMS AN EXTERNAL CANOPY ON THE STREET, MINIMIZING NATURAL LIGHT FROM ENTERING THE INTERNAL ENTRY AREA WHILE FORMING A THRESHOLD FROM REALITY TO DREAM-STATE. PEDESTRIANS WALKING ALONG BRUNSWICK ST WILL BE PROVOKED WITH AN “INVERTED DREAM” WHERE AN AR SYSTEM MUTES THE GARMENTS THAT THEY ARE WEARING AS THEY LOOK INTO THE REFLECTION OF THEMSELVES.
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FACIAL RECOGNITION SYSTEM AND MOTION SENSORS FIXED TO THE CEILING PERFORMS A THOROUGH SCAN OF THE SUBJECT WALKING THROUGH. DATA OBTAINED WILL THEN DETERMINE WHETHER SUBJECT IS NEW OR A RECURRING MEMBER, PROMPTING THE ALPHA60 APP.
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THE SYMBO TO SL BETWE
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Passive Dream Stations Suspended Dream Stations
Copyright © Parallel Workshop Pty Ltd.
Architecture | Interior Design Parallel Workshop Pty Ltd
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Plan - Level 1, NTS
The drawings, designs, and specifications and copyright therin are the property of Parallel Workshop Pty Ltd, and must not be used, copied, or reproduced wholly or in part without the express written permission of Parallel Workshop Pty Ltd.
ACN 611 137 458
Do not scale drawings. Use given dimensions only.
A: 3121 E: T:
Any discrepency indrawings or specifications shall be referred to Parallel Workshop Pty Ltd.
<0000>--
10 Elizabeth Street, Richmond VIC info@parallelworkshop.com.au +61 03 90020100 21/10/2020 8:55:17 PM
DRAWN BY: Author
Proje ct
<Project name> <Project address>
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Owner
CHECKED BY: Checker
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
STAIR TO LEVEL 1 METAPHORICALLY OLIZES THE NOTION OF MOVING UPSTAIRS LEEP, TO DREAM. IT FORMS A THRESHOLD EEN MEMORIES AND DREAMS.
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PASSIVE SCREENS DETECT A SUBJECT’S MOVEMENT, CASTING A REFLECTION OF THEIR CHOSEN ASSET WITH OTHER SUBJECTS.
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A SERIES OF SUSPENDED SCREENS DETECTS THE SUBJECT’S PROXIMITY THROUGH THE APP VIA BLUETOOTH, ALLOWING DREAMS TO BE CASTED AS THEY MOVE ALONG WITH THE ROLLER LOUNGE CHAIRS. DREAMS START TO MERGE COLLECTIVELY IF ANOTHER SUBJECT IS DREAMING ADJACENTLY.
Issued By
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GENERAL ARRANGEMENT FIRST FLOOR PLAN
Sheet Status
DESIGN DEVELOPMENT NOT FOR CONSTRUCTION
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Site Section - NTS
Street Canopy Entry Foyer: Identification Dream Stations Passive Dream Stations Suspended Dream Stations Passive Dream Screen
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H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
CPU AV-3
CPU AV-4
AV-3
DC-1
AV-0 AV-3 DC-0 CPU AV-2 AV-2 CPU
AV-2
AVR AV-1 AVR
AV-1
CPU
AV-1
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AV-1
AV-1 AV-1
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
Virtual Network Diagram AR CONNECTION HDMI BLUETOOTH DC-0 DC-1 DC-2
CAMERA & MOTION SENSOR DATA SERVER IN-BUILT CEILING DATA CENTER SERVER RACK
CPU
AI-INTEGRATED CPU
AV-0 AV-1
AR SYSTEM TWO WAY SCREEN - 118” x 55” AR SYSTEM LED SCREEN - 82” x 47”
AV-2 AV-3 AV-4 AVR
BUILT IN CAMERA WITH FACIAL RECOGNITION SYSTEM INTERACTIVE TOUCHSCREEN INDIVIDUAL DATA PROJECTION
DISPLAY LED SCREEN - 43” x 59” BUILT IN MOTION SENSOR SYSTEM
AR SYSTEM LED SCREEN 5 PANEL COLLECTIVE DATA PROJECTION - AI CONTROLLED
SUSPENDED LED SCREENS 55” (25)
BUILT-IN BLUETOOTH RECEIVER INDIVIDUAL/COLLECTIVE DATA PROJECTION
VIDEO WALL ROOM WITH AV2
AV-1 OUTPUT
DC-2
AV-1
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AV-2 OUTPUT
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
ENTERING A D
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Transcending the threshold of reality into a dreamscape, subject rec to explore the various screen interfaces to experience a dream withi soft, emissive light. The light cyan changes to a more saturated blue a
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Render - Entry Threshold
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
DREAMSCAPE
cognition have been analyzed by the Store AI. Subjects are now open in the store as they walk towards the curved back wall, which casts a as the foot traffic of the store increases.
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A PORTAL OF SCREENS On the ground floor, screens are positioned as portals into dreams, embedded within a built-up frame to reflect a threshold of entering into a virtual space. Subjects have now transcended the threshold from their memories into the speculation of Dreams by the Alpha60 AI, connecting through a fragmented version of the screen, an app through their personal devices.
Using the Alpha60 Dream App to be part of the AI Dream experience, Alpha60 assets are introduced to transition a memory state into a speculated dream experience.
In an attempt to reflect the AI’s contribution of organizing and analyzing the memories of subjects, the recessed ceiling LED strip is connected through from the back wall’s server rack into the main dream space – while creating a diffused light effect for an immersive experience.
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Render - Ground Floor Screen Wall
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Section - Screen Portal, Ground Floor, 1:20 Section Detail - Screen Portal Components, 1:10
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
RECESSED LED STRIP FIXED TO CEILING MOUNTING ALLOW FOR 15MM GAP
13MM PLASTERBOARD
3MM ALUMINUM EDGE TRIMMER LED STRIP LIGHT 16MM TOP HAT FIXED TO STUD WALL ALUMINUM FRAME FIXED TO CONCRETE STRUCTURE 4MM CORRUGATED ACRYLIC SHEET
LED STRIP LIGHT REFLECTIVE MIRROR PANEL P. 195
TIMBER STUD WALL
3MM STEEL SHEET
REINFORCED CONCRETE STRUCTURE
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LUCID D
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The stair to Level 1 metaphorically represents the notion of moving up to dreams, revealing a suspended screen wall where subjects are with others. The curtain creates a soft boundary for a more private other functions. While digitalization has blurred physical partitions th beginning to be part digital. The narrative attempts to explore how the 1.
Render - Level 1: Suspended Screens
H. FINAL PROPOSAL. ROSE ONG. STORE MSD ALPHA60.
DREAMS
pstairs to sleep, to dream â&#x20AC;&#x201C; forming another threshold from memories able to intimately experience their dreams individually or together experience, while providing versatility for the space to open up for hrough the creation of electronic boundaries, we are also gradually e digital can instead, be more human through the notion of dreaming.
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Section Detail - Suspended Screens, 1:20 Hybrid Drawing - Lucid Dreams
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Rose Ong 743424, S2 2020
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Led by Ben Waters (Siii) Jas Johnston (ExLaB MSD)
STORE. A collaboration with the fashion label ALPHA60 Melbourne School of Design, exploring future of what a fashion ‘store’ can be. Universitythe of Melbourne ALPHA60 Semester 2 2020 ROSE ONG 743424 Lucid Dreams msd.unimelb.edu.au/alpha60 Semester 2 2020 1
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