Sarah Reid - From Fetish to Fit Out by sarah reid

FROM

FETISH TO FIT OUT Sarah Geraldine Reid

FROM

FETISH TO FIT OUT Sarah Geraldine Reid

Thesis submitted in partial fulfilment of the requirements for the Master of Architecture (Professional) degree, The University of Auckland, 2013.

THANK YOU To my parents pip and Charles For enduring at least a life time’s worth of complaining, and your positivity, even when I didn’t want it. Also, for believing that a good steak can fix anything! x

To Livvy, Toni and Karie For keeping me sane, or at least adding some variation to the crazy, and being inspiration enough to finally finish what I started! Thank you so much for taking a chance on me; you have been beyond amazing! x

And to Alex, Gracie, Holly, Kate, Raffa and Sarah If there were ever a reason to extend a degree by a year it would be you six! I can’t imagine having survived without you. x

PART ONE

ABSTRACT Commercial Interior Architecture is particularly reflective of contemporary culture due to its fast turnover and high level of public accessibility. But in order for such spaces to extend beyond the everyday and banal we must consider the sense of atmosphere that is evoked within the user.

This highly sought after and frustratingly elusive sense of atmosphere and identity often hinges on the consideration and treatment of materials and surface, which have the ability to simultaneously trigger our senses and draw on memory, evoking a powerful and deeply personal response. For this reason it can be seen to have strong links to the idea of the architectural ‘fetish’, a term explorative of (amongst other things) adjacent contradictions, the perception of value, and our physical and psychological relationship to material objects - as outlined by Hal Foster, William Pietz and Peter Pels especially. It is important to note that unlike Constant’s New Babylon – a city Wigley cites as being built on desire1, for the user fetish lacks both reason and conscious decisionmaking. Instead their experience is seemingly attributed to a supernatural quality or force, perhaps more akin to accounts of the Dutch Still Life paintings and Curiosity

Cabinets of the seventeenth century. While fetishising was once a relatively hidden act, it has been made increasingly public through print and social media, and the â&#x20AC;&#x2DC;tumblr generation.â&#x20AC;&#x2122; Consequently fetishism has become commercially desirable rather than negatively connotative. Retail is at a turning point resulting from the triumph of the online store. And so consider how it is we can foster and manipulate the overwhelming and experiential feelings of the fetish to enhance the design of interior spaces, changing the way in which and reasons why we shop, thus securing a future for the physical retail store? This question has been explored in terms of the fetish itself, the material objects with which it is concerned and the way in which their re-composition and montage can be used as a catalyst for change; each providing elements attributed to the creation of atmosphere in architecture. These ideas have culminated in a proposal for a Department Store for the twenty first century; located within the shell of an existing Auckland building, and with a predetermined expiry date. It is intended to question not only what the role of retail is within contemporary culture today; but how the perception of space and atmosphere differs and can be manipulated in a way that ensures the longevity of the retail environment.

Note 1.

Mark Wigley, Constantâ&#x20AC;&#x2122;s New Babylon: The Hyper-Architecture of Desire (Rotterdam: 101 Publishers, 1998), 10.

CONTENTS

PART TWO

PART ONE

Abstract 12 / Contents 15 / Introduction to Research 9/

THE FETISH Historic Origins 23 / European (Mis)interpretations 24 / In Contrast to Desire 21 /

29 /

43 /

The New Fetishised Still Life

THE MATERIAL OBJECT Commodities, Goods and Value 45 / Tables and other Furniture 46 / In Relation to the User

49 /

Furniture for Mediation

PART THREE THE MONTAGE Dutch Still Life Paintings 65 / The Curiosity Cabinet 67 / As a Catalyst for Change

61 /

73 /

Atmospheric Investigations

103 /

133 /

THE FIT OUT The Department Store 110 / Versus the Mall 118 / The Site

The New Theatre of Shopping 159 / Perceptual Montage

THE EXPERIENCE The Experience Economy 84 / Surfaces, Senses, and Memory 85 / The Immaterial and Atmosphere 88 / Media and Depiction 81 /

95 /

Spatial Blueprints

PART FOUR

173 /

Depiction of the Experience 181 /

187 /

Conclusion

List of Figures Bibliography

191 /

INTRODUCTION TO RESEARCH The future of the bricks-and-mortar retail space is questionable. ‘Tough times and internet shopping mean retailers must reinvent or die.’1 Arguably such reinvention lies in the ability of designers to offer an experience greater than simply a product or a service, thus differentiating the physical from the virtual store.

This research investigates the architectural fetish as a means to further the conception of interior retail spaces. In doing so this thesis aligns with the historical and anthropological accounts of the fetish over the subsequent and more philosophical ones. These were, to a degree, misinterpretations of their origins and are at least partially responsible for the ideas around idolism, self-interest and perversion with which the fetish continues to be more commonly associated. The fetish revolves around the material object; giving rise to architectural issues of functionalism, materiality, scale and surface. Of particular interest is the place of furniture, especially the horizontal ‘table’, within space, as analysed in a series of conceptual imagery entitled ‘Atmospheric Investigations’ (from page 74 to 77). Subsequent ‘Spatial Blueprints’ investigate how such furniture might extend its existing mediation between the object and its user in a more architectural manner (from page

96), while retaining their suggestiveness of re-composition and montage. The curating and arrangement of fetishised objects is visible in both seventeenth century Dutch Still Life paintings and Curiosity Cabinets. Thought to be the origin of the museum, they were often created with the intent to provoke an unconventional emotional response and question normality, rather than simply reflect a set of logical values.2 Subsequent montage and Pop Art were strongly reflective of contemporary culture and were intended as a catalyst for social change. This was achieved through both shock and the promotion of thinking about the way in which we live, as explored in ‘As a Catalyst for Change’ (from page 67). The longevity of its success was debatable, prompting the consideration of Archigram’s ideas surrounding ‘planned obsolescence’ later in the chapter. Intrinsic to the fetish, the material object and the montage, is the hugely personal way in which we mentally perceive and physically respond to their existence through their ability to appeal to our senses both physically and through memory. They conjure up a sense of atmosphere in a way that often defies logic as illustrated in a series of final vector drawings (from page 140) and in subsequent video stills in ‘Perceptual Montage’ (from page 159). Through the investigation of these ideas, this research proposes a concept for a Department Store for the 21st Century or ‘New Theatre of Shopping’. It is reflective of the need for change and essentially offers our tendency to fetishise as a means to mend a hole created by our intensive technological fetishisation in the first place. By definition the Department Store is a large retail establishment housing many departments, selling almost everything you could ever need. Regardless of its arguable lack of meaning; when compared to a mall, ‘Harrods’ for example, does come out favourably. It provides opportunity for a journey rich in change, diversity and discovery, unlike its soulless counterpart the mall, which is usually laced in rules and regulations in terms of design. The mall promotes conscious desire, while the Department Store instills subconscious fetishisation. This investigation is to be initially located within the former Wellesley Street Post Office Building on the corner of Auckland’s Wellesley and Lorne Streets, or the ‘Old New Art Gallery’ as it is more recently known. Currently in the process of being renovated into yet another iteration of itself, it will soon house a series of retail stores topped with office spaces. It seems bizarre that while a huge proportion of Lorne and High Streets remain empty at street level that another ten shops be constructed

in a manner no different to those that already exist. However if something more revolutionary were to be conceptualised and constructed it could perhaps work with the recent Britomart precinct that punctuates the opposite end of this once high-end strip, to revitalise what is now a stagnant part of the CBD.

NOTES

Robert Thiemann, “Frame #92,” http://www.frameweb.com/magazines/ frame/frame-92 (accessed July/22, 2013). 2. Peter Pels, “The Spirit of Matter: On Fetish, Rarity, Fact, and Fancy,” in Border Fetishisms: Material Objects in Unstable Spaces, ed. Patricia Spyer Routledge, 1998) 73.

PART TWO

THE FETISH

HISTORIC ORIGINS Interpretations of the word ‘fetish’ differ greatly throughout literature of various times and disciplines. While for many it holds largely negative connotations, William Pietz notes that only since the nineteenth century has it been considered so largely illicit.1 Instead he traces it back to its origins of the pidgin word ‘fetisso’, which coincided with the creation of intercultural spaces along the Western coastlines of Africa that were used for the trade and transvaluing of material objects between people of polarised social and value systems – Christian feudal, African lineage and merchant capitalist.2 Ultimately Pietz identifies a framework of common themes around which the fetish can be considered, consisting of the following four criteria: historicisation, territorialisation, reification and personalisation.

As outlined in figure 1, Pietz believes that a fetish is based around a material object within a singular time and, or space; the perceived value of which helps to create a sense of social organisation or system. ‘Such a crisis brings together and fixes into a singularly resonant unified intensity an unrepeatable event (permanent in memory), a particular object or arrangements of objects, and a localised space.’3

A MATERIAL OBJECT

WITHIN A SINGULAR TIME OR SPACE

THE PERCEIVED VALUE OF WHICH HELPS TO CREATE A SENSE OF SOCIAL ORGANISATION OR SYSTEM

FIG 1. DIAGRAM SHOWING PIETZ’S FETISHISM FRAMEWORK

It is not only interpreted and valued differently (both consciously and subconsciously) by individuals, but also has the potential to affect those individuals in return.4 This is exemplified by the ‘first encounter theory’ in which the native people of the area would take a found object when about to undertake an event of significant importance which when retained helped them to form a sense of social order. The object was chosen irrationally, and irrespective of material or any other kind of value.5

EUROPEAN (MIS)INTERPRETATIONS

to this area of Africa it was considered perfectly normal to value an item based entirely on personal and emotional response, the Portuguese Catholics and other European voyageurs struggled to find the logic behind it. For this reason they misinterpreted their attachment as a kind of witchcraft or idoltry. Epistemologically one can find links from the word fetish to the ideas of manufacturing, artificiality and fraudulence.6

While for those native

Sustained are some overriding truths within many of the foreign interpretations. That fetishism involves ‘haphazardly chosen material objects, believed to be endowed with purpose, intention, and a direct power over the material life of both human beings and the natural world’.7 Such power was believed to have control over an object’s owner and therefore the ability to create a sense of social organisation, which if opposed could cause consequences as extreme as death.8 However, confusion by the visiting Europeans over the apparent mix of religious types of the native people was worsened by further confusion surrounding the Africans’ tendency to mix religious and non-religious matters. This included aesthetics, objects, oath-values, and technological objects brought from afar. In turn, this has of course meant confusion over the word ‘fetish’ itself. ‘The term came to express a novel idea in the European theoretical reflection and to thematise a novel general problem: that of the nature and origin of the social value of material objects.’9

Those responsible for such misinterpretations arrived in Africa from Europe with preexisting ideas surrounding value, around which they based their perceptions. As the world moved on from the Enlightenment and became more concerned with science so did their values. ‘Material objects came to be reviewed in terms of technological

and commodifiable use-value, whose ‘reality’ was proved by their silent ‘translatability’ across alien cultures.’10 Their inability to apply these beliefs to the African ‘fetico’ led to their perception that ‘the fetish was thus simply a function of the infinite diversity of the human imagination unrestrained by reason’11 and that they lacked any kind of social order, instead succumbing to self interest through delusional ‘principles of chance encounter and the arbitrary, fancy of imagination conjoined with desire.’12

IN CONTRAST TO DESIRE

As is the case with many things evasive of definition, it is often of greater use to instead consider what they are not. As is now clear ‘fetish’ is no different. While ‘fetish’ is defined by the dictionary as being ‘an object that is believed to have magical or spiritual powers; an object of unreasonably excessive attention or reverences’ and ‘an abnormally obsessive preoccupation or attachment’13 (amongst other things), desire is more simply stated as being ‘a wish or longing.’14 Fetish is a conscious act of wanting something; and is logical and able to be relatively well understood.

Constant, who was a member of The Situationist International group, believed that ‘cities are actually filled with hidden centres of attraction, force fields and flows of desire.’15 Wigley states that the group became experts in such atmosphere, mapping it and in some cases intervening.16 Constant’s New Babylon was envisioned to be a city designed entirely in response to desire. Its fixed structure was conceived to be constructed from titanium and nylon, suspended from the ground, and able to evolve as needed. People were to be able to construct what they wanted, as they wanted, within a minimal and pre-existing framework.17 Every change made would directly impact those who occupied New Babylon, encouraging new behaviours, which then all changed again. ‘Constant rejects any distinction between design and desire.’18 The people of New Babylon were free to be able to change their lives and the conditions in which they lived, as they liked; they were in control of their own decision making

process. In contrast, and despite their many discrepancies, both Marx and Pietz clearly acknowledge that this is not the case with the fetish. Those involved lack control, their fate seemingly attributed to a ‘(super)natural quality or force.’ 19 Social systems in the New Babylon model would be logically built over time, as a result of the input of those within the community. Those in a space based on fetish however might be attributed to more personal and emotional ‘feelings’, lacking in logic and evidence, but so all-consuming that they are not questioned. It is this sense of consummation, emotion and wholehearted belief in a cause that can be envisaged as being key to the revival of the retail space. Such personal connection is not yet present in the world of online shopping, nor is it certain to be possible. The online world is fuelled by desire, as is the shopping mall in reality. One’s wants are made possible through their easily navigable format and the bleak and constant canvas on which products are displayed. The Department Store however, provides possibility for the fetish in all its illogical and otherworldly juxtaposition.

2. Constantâ&#x20AC;&#x2122;s New Babylon

NOTES

1. William Pietz, “The Problem of the Fetish, I,” RES: Anthropology and Aesthetics 9 (Spring, 1985), 6. 2. Ibid., 7. 3. Ibid., 13 4. Ibid., 11-13. 5. Ibid., 8. 6. William Pietz, “The Problem of the Fetish, II: The Origin of the Fetish,” RES: Anthropology and Aesthetics 13 (Spring, 1987), 24-25. 7. Ibid., 43 8. Ibid. 9. William Pietz, “The Problem of the Fetish, IIIa: Bosman’s Guinea and the Enlightenment Theory of Fetishism,” RES: Anthropology and Aesthetics 16 (Autumn, 1988),109. 10. Pietz, The Problem of the Fetish, II: The Origin of the Fetish, 42. 11. Ibid. 12. Pietz, The Problem of the Fetish, IIIa: Bosman’s Guinea and the Enlightenment Theory of Fetishism, 42. 13. The American Heritage Dictionary of the English Language, Fetish, Fourth Edition. 14. The American Heritage Dictionary of the English Language, Desire, Fourth Edition. 15. Mark Wigley, Constant’s New Babylon: The Hyper-Architecture of Desire (Rotterdam: 101 Publishers, 1998), 12. 16. Ibid., 13. 17. Ibid., 13. 18. Ibid., 14. 19. Hal Foster, “The Art of Fetishism: Notes on Dutch Still Life,” in Fetish, eds. Sarah Whiting, Edward Mitchell and Greg Lynn (New York: Princeton Architectural Press, 1992), 6.

THE NEW FETISHISED STILL LIFE Hal Foster’s ‘Fetishism: Notes on Dutch Still Life’ a historic Dutch Still Life depicts a scene which brings together a series of largely unrelated objects in a considered manner which gives or changes the impression of value. ‘The objects often seem caught in between worlds, not dead, nor alive, not useful, not useless’1 raising questions of godliness vs. greed, and order vs. disorder.’2 This is successfully depicted in Richard Kuiper’s ‘De Vlieg’ from the series Dutch Still Life in Plastic (figure 3). As explained in

Kuiper’s use of plastic gives an odd sheen to everything upon the table. This further questions the objects’ value, as we historically associate shiny objects with being especially valuable, as with jewellery, yet we know for a fact that plastic is cheap and largely disposable. Continuing on from this image is a series of collages, (some use Richard Kuiper’s photography as a base), which are intended to be a current take on the original Dutch Still Life Painting. We largely view imagery digitally; the computer monitor, tablet or smart phone screen forming a new kind of frame and in many cases being a symbol of status.

Familiar everyday objects now include fashion, jewellery and shoes, as well as various kinds of interior objects both decorative and functional. Yet similar contradictions to what once were still exist. Light fittings, both modern and vintage versus ornate candlestick holders and candelabras. A beautifully assembled pie versus un-muckedabout-with fresh produce. Decadent shoes versus a timeless white shirt. Value is ambiguous as ever. While the Still Life was once a flat image with little sense of depth, perspective, or location perhaps this is where the contemporary Still Life might differ. These images give clues as to what lies beyond the scene and the sense that someone might have recently occupied the space. For this reason these series of seven images share common elements in the form of surfaces, angles and objects which link the spaces portrayed. One can imagine a journey between the spaces, although their size and exact location remains ambiguous, and you must accept that you may be watched while doing so.

NOTES 1.

Hal Foster, â&#x20AC;&#x153;The Art of Fetishism: Notes on Dutch Still Life,â&#x20AC;? in Fetish, eds. Sarah Whiting, Edward Mitchell and Greg Lynn (New York: Princeton Architectural Press, 1992), 10. Ibid., 15.

FIG 3. Richard Kuiper’s ‘de vlieg’ from ‘dutch still life in plastic’

‘THE new FETISHISED STILL LIFE 1’

‘THE new FETISHISED STILL LIFE 2’

‘THE new FETISHISED STILL LIFE 3’

‘THE new FETISHISED STILL LIFE 4’

‘THE new FETISHISED STILL LIFE 5 AND 6’

‘THE new FETISHISED STILL LIFE 7’

‘THE new FETISHISED STILL LIFE 1’

Assembled from Richard Kuiper’s ‘De Vlieg’ from the series Dutch Still Life in Plastic’ With the addition of various contemporary objects and the suggestion of depth and perspective the image takes on perhaps an even greater sense of unease. Questions of materialistic value, time and timelessness, and the degree to which an object has had to be crafted are posed. Are detailed and sculpted candlesticks of more or less value than a generic mass made light fixture? A timeless well-made white shirt or a decadent pair of shoes? A crafted pie or un-mucked-about-with fresh produce?

‘THE new FETISHISED STILL LIFE 2’

Assembled from Richard Kuiper’s ‘De Kers’ from the series Dutch Still Life in Plastic’ The existing fruit and wilting flowers are infested by spiders and other creepy crawlies. On a similar scale they are now also adorned in equally delicate gold jewellery. Beyond the table setting one can see the hanging garments from Still Life 1. It is ambiguous as to whether the space is through a frosted window in the distance or being reflected from behind the viewer by a mirror giving the sensation of being watched from both sides.

‘THE new FETISHISED STILL LIFE 3’

Assembled from an image shot and styled by John Cullen, for herriotgrace.com Function versus ornament is considered on many levels. A painted animal skull watches over a table of fresh produce. In line with two stark bulb pendants, the copper detailed chandelier of Still Life 2 visible in the distance. Meanwhile a considered bottle labelled with an ‘X’ sits in the forefront of an old pewter jug, holding a sprig of mint. The distant boundary of the Still Life 2, just visible in the top right corner, perfectly aligns with the corner of the white section of floor. It could therefore be accessible, the lower section simply being insufficiently lit, or a scene reflected from behind in a mirror or frosted window, visible but not accessible.

‘THE new FETISHISED STILL LIFE 4’

Assembled from an image shot and styled by Tim Robison, for herriotgrace.com The continuation of the white floor section and glimpse of the table from Still Life

3 allow us to place these two scenes adjacent to each other. There is no indication of table legs making us question whether the white floor section below is also a plane seemingly floating in space. The disowned party shoe links back to Still Life 1 as does the recurring theme of light by fire and electricity simultaneously.

‘THE new FETISHISED STILL LIFE 5’

Assembled from images by Heidi Swanson & Michael Greydon for herriotgrace.com This composition features the crisp white perspectival wall from Still Life 1, with its hanging jewellery and shadow from adjacent hanging garments. Obscured behind sits a textured wall made from paper. What lies between we cannot tell. To the left of these is a space for the preparation of some sort of meat pie, the flesh of the skull in Still Life 3 perhaps? Its textured surface reads as a functional work space, like that of a butcher, which does not seem appropriate so close to the delicate and white garments adjacent.

‘THE new FETISHISED STILL LIFE 6’

Assembled from images by Heidi Swanson & Michael Greydon for herriotgrace.com In this image one finally learn that the ‘blackness’ of previous images does indeed hide a floor, indicated by the shadow from the extension of the meaty work space in Still Life 5. A ceiling must also exist from which the light fixtures and terrarium hang, however no indication is given to the thickness or material of the floor. It is also clear that the floor is definitely not the ground as this (or another floor level) is visible below. Despite its appearance the ‘outdoor’ space is definitely not outside and is similarly dark to all previous spaces.

‘THE new FETISHISED STILL LIFE 7’

Assembled from images shot by Michael Greydon for herriotgrace.com The final image is further disorienting with an extension from the previous leafy space. It is however rotated and seems to be viewed through a gap in the floor with edges being suggested by a slightly reflective lip similar to Still Life 6. Upon the ‘table’ above a bunch of pink flowers taped to the surface give the impression that maybe it is the table which is on its side and the frame through which the entire image is viewed is what needs re-orienting.

PART TWO

THE MATERIAL OBJECT

COMMODITIES, GOODS AND VALUE From the previously discussed historical and anthropological origins of the fetish

evolved two prevalent philosophical views – that of Freud and Marx. The former, was largely concerned with the sexual fetish, which is of limited relevance in the context of this research, while Marx’s ideas regard material objects and commodity as outlined in his text ‘Capital: A Critique on Political Economy’. ‘A commodity is in the first place, an object outside us, a thing that by its properties satisfies human wants of some sort or another.’1 Marx believed that one’s ability to create something that someone else desired would in turn provide the means to satisfy your own desires, thus creating a ‘system of needs.’2 Marx considers value to be a social, rather than physical construct, found within material forms that he defines in terms of the following value types; firstly its qualitative use-value, or the level of utility of the object, directly reflected in its level of consumption and use. Secondly is an object’s quantitative exchange value; the values evident in the use value of one object are exchanged for another which when considered algebraically (e.g. 1a = 4b) leaves us with a constant equal to both.

This constant is though to be reflective of the human labour embedded in an object. ‘A use value, or other useful article, therefore has value only because human labour in the abstract has been embodied or materialised in it.3 Human labour power was considered in terms of time needed under ‘normal’ conditions; with average skill, physical environment, technology, and social organisation present at that particular point in time, making the most complex objects of greatest human labour value and those with no embodied labour such as natural, unprocessed objects of none at all. Similarly if an object is of considerable labour value but lacks utility or is undesirable, it is thought to be of no value.4 The argument has significant holes, especially in that he is only able to define the value of an object relative to another, until the unknown in the equation is solved in the form of money (which is itself a material object).5 It is notable that the place of visual art is also significantly flawed, being technically of little use, and in many cases the result of little labour. In addition to all of this relatively logical and practical valuation, Marx goes so far as to identify an additional and more personal kind of value, which he argues, is perhaps the reason why things become commodities in the first place.6 Unlike use-value this sense of value is not attributed to particular physical qualities; it is entirely embedded, and considered by some to be the ‘soul’ of the object.7 ‘This I call fetishism which attaches itself to the products of labour, so soon as they are produced as commodities, and which is therefore inseparable from the production of commodities.’8

While there are obvious links between the capitalist ideas of Marx and the historic accounts of the African ‘fetico’, - in both cases the material object is responsible for the creation of an effective system of social order due to its perceived value - a vast point of difference seems to remain. In the case of Marx, value is defined in terms of its material, use and exchange values, which are largely determined by human input, and essentially form an overall class system within their society. Even Marx’s interpretation of ‘fetish’ is attributed to the social making of an object, rather than being an entirely personal and irrational response as was the case historically. This thesis seeks to uncover the reasons for which we engage in retail activity and its associated physical environments other than those of capitalism. Use value, exchange value, value associated with embedded labour and even, to a degree, material value are

all perceptible via online commerce, however the personal response one might have to an object in its physical and tangible form is not. For this reason especially, this research is aligned with the historical and anthropological interpretation and sense of value of the fetish as outlined by Pietz, rather than that of Marx.

TABLES AND OTHER FURNITURE

‘The unasked question, is really this one: what is furniture for?’9 One perspective is

that of functionalism. ‘For sitting on, lying on, sleeping on and putting things on.’10 The creation of the table emerged from the creation of the chair. Its fixed posture had lead to new ways of completing tasks which required a further extension of the body. ‘We squat therefore we need chairs; we need chairs therefore we need tables; we need tables therefore we need place settings.’11 Furniture, including tables, have affected social systems and lead to new ideas regarding etiquette, conversation, event making, and the presentation of food and other objects. They extend from the body to enable us to do things we might not be able to do in that position otherwise. Furniture is also an aesthetic debate. Some believe that ‘any plane surface within a certain range of dimensions, and suspended or supported at a particular height off the floor may be considered a table’12 but Kingwell notes that to be an incredibly narrow minded perspective. ‘A good table, a table worth having, isn’t just a handy surface or prop, it must also be striking, beautiful, elegant, or witty – or some combination thereof.’13 Furniture attempts to find balance in these two qualities, but more than that it is an object intrinsically linked with thinking and political ideas. Marx notes that as use-value it is easily understood, for example a wooden table retains the value of its material,14 however... ‘As soon as it steps forth as commodity [rather than a ‘good’]… it is transformed into a material thing. It not only stands with its feet on the ground, but in the face of all other commodities, it stands on its head, and out of its wooden brain it evolves notions more whimsical, than if it had suddenly begun to dance.’15

Marx is pointing to the fact that tables, as do most physical forms, have other measures of value more personal and of greater strength than use-value and material value, contributed to by this balance of aesthetics and function.16 When used for display purposes, one can imagine that such attributes can only add to the ‘fetish’ of the material objects that the table supports, intensifying the overall experience of the physical combination.

IN RELATION TO THE USER

furniture in terms of architectural space, of particular interest is the way in which we as a user relate to it, and furthermore the way in which it acts as a form of mediation between the material object and its owner or user. This is especially prevalent in the form of the planar ‘table’ whereby they are often used to display objects at varying levels in relation to the human eye. For this reason it is possible that they affect one’s perception of the objects that they support. Regarding the place of

Additionally, Kingwell suggests that furniture encourages the user to think about thinking. Pieces can be arranged in an almost infinite number of ways within a given space; each iteration inviting one to physically interact with the item due to its human scale. In this respect furniture has the ability to make one aware of the possibilities available – and not just in terms of furniture. ‘It seems to me that we are always doing this, physically or mentally, because we are looking for new ways to structure our allotted space, to make the most of it. We are, in effect, seeking new forms of meaning to create, new ways to think – and new thoughts to entertain.’17

Montage produces change through the questioning of normal spatial arrangements, as explored in the following chapter. This thesis is intended to both celebrate and exploit this relationship as a means to define space, continuing the attempt to balance the traditional issues of aesthetics and function so as to create a three dimensional ‘montage’ that can be occupied and explored.

NOTES

3. 4. 5. 6. 7. 8. 9.

10. 11. 12. 13. 14. 15. 16. 17.

Karl Marx, Capital: A Critique of Political Economy, 4th ed., Vol. 1 (Moscow, USSR: Progress Publishers, 1887), 26. William Pietz, “Fetishism and Materialism: The Limits of Theory in Marx,” in Fetishism as Cultural Discourse, eds. Emily Apter and William Pietz (New York: Cornell University Press, 1993), 141. Marx, Capital: A Critique of Political Economy, 28. Ibid., 28-29. Pietz, Fetishism and Materialism: The Limits of Theory in Marx, 139. Marx, Capital: A Critique of Political Economy, 47. Ibid., 52. Ibid. Mark Kingwell, “Tables, Chairs, and Other Machines for Thinking,” in Intimus, Interior Design Theory Reader, eds. Mark Taylor and Julieanna Preston (West Sussex, England: Wiley-Academy, 2006), 173. Ibid. Ibid., 174. Ibid. Ibid. Ibid., 175. Ibid. Ibid. Ibid.

FURNITURE FOR MEDIATION ‘furniture’ or ‘tables’ were designed as largely functional means of displaying individual items commonly found within a Department Store. Furthermore, they also form the basis for division of space both vertically and horizontally, and affect the available views throughout the space.

The following series of

It was important to not only privilege the singular object, but also allow them to be collated in a way that would create a unique surface or form of its own, flouting the usual physical relationship between a specific object and its viewer in a retail environment. This in turn affects that same viewer’s perception of the object and its value. Each form was kept almost sterile and ambiguous as to materiality, with the intention for that to later respond to sensory needs within each space depending on composition in relation to other pieces within the overall shell in which they are arranged. These issues of materiality were later explored in the form of a stop motion video (‘Perceptual Montage’, page 160 to 169) with the focus shifting from physical forms and detail to perception and the relationship between object and user as mediated by the designed forms.

THE FLORIST

a folded and perforated station for preparing and displaying flowers creating a facade of blooms and a cave of cut stems

THE BOOK SHOP

a hanging ladder, the vertical threads providing slots into which various sized books can slide on varying angles depending on depth

THE SHOE DEPARTMENT

a series of threaded rods on which individual shoes are propped which in turn suspends a planar surface

THE JEWELLER

an overhead mass from which small compartments are removed and transparent jewellery boxes are to slot into

THE CHILDREN’S DEPARTMENT

a transparent childrens’ play pen, elevated to adult eye level, allowing them to decide as what kind of toy (and child), they’d like from the shelf below.

THE WOMENâ&#x20AC;&#x2122;S FASHION HOUSE

a three dimensional frame occupying the space between floor plates composed of a series of hanging rails making up a complete outfit

THE PATISSERIE

a series of glass vitrines arranged as a set of stairs into which trays of treats are slid from the kitchen space below and are viewed from above by those traversing the access way

THE TOOL SHOP

a hanging screen scattered with leather straps into which manual hand tools are fastened with metal domes

PART TWO

THE MONTAGE

DUTCH STILL LIFE PAINTINGS A similar sense of illogical juxtaposition can be found in other forms which have over time, been linked to the idea of the fetish. The Greek word for ‘Still Life’ ‘rhyparography’, directly translates to mean the ‘depiction of irrelevant things’1 In his consideration of the Dutch Still Life paintings of the seventeenth century Foster, like Marx and the European voyageurs before him, found himself concerned with an object’s perceived value. More specifically the way in which the contradictory composition of a variety of objects could affect one’s perception of each individual object’s value initiating conversation regarding control and consumption.2

The intention of such complexity, which included mostly the display of craft and domestic wares, is argued to have been to document the pleasures of everyday life in its most concentrated form;3 to be a ‘delight to the eyes.’4 Alpers suggests that it was this that perhaps led to Dutch art of this period being the first to become a commodity in itself. Instead of being commissioned it was often created to sell in art stores and be used as decoration and invested in.5 Simultaneously, the presence of more morbid ‘vanitas’, acted as a warning towards excess in a way similar to the ‘splitting of the ego of the viewer’6 discussed in Freudian theory regarding the Sexual Fetish. ‘The objects often seem caught in between worlds, not dead, nor alive, not

Fig 4. Abraham van der schoor’s ‘vanitas still life’

useful, not useless’7 raising questions of ‘godliness vs. greed, and order vs. disorder.’8 In contrast, some believe that the true purpose of the realism of this period was to ‘teach moral lessons by hiding them beneath delightful surfaces’9 and therefore not to believe what is depicted. Others including Alpers perceive it as a means to record and access knowledge about the world in which we live.10 Rooted in a period of scientific discovery the invention of the microscope is though to have provided significant inspiration. ‘Indeed, material objects that till now were classified among atoms, since they far elude all human eyesight, presented themselves so clearly to the observer’s eye that when even completely inexperienced people look at things which they have never seen, they complain at first that they see nothing, but soon they cry out that they perceive marvellous objects with their eyes. For in fact this concerns a new theatre of nature, another world…’11

This change of perception, and implication of movement and experience in material objects previously considered familiar and lifeless resonates strongly with the design element of this thesis (as illustrated ‘Atmospheric Investigations’ from page 73.) For this reason one might consider the Department Store for the twenty first century and in response to the technological revolution a ‘New Theatre of Shopping’. The ‘furniture’ or display elements are to act as a ‘set’ of sorts, designed for the overall manipulation of the perception of those both involved and observing rather than standalone physical elements to be read at face value. In addition to this newly experienced change in scale, other scientifically inspired techniques were used which also manipulated the perception of the viewer, contributing to the overall sense of viewing something so familiar in a completely new and disjointed light. Firstly is the context, or lack of context, in which the objects are to be viewed. The absence of light in the background is reminiscent of the conditions in which microscopic lenses of the time could be used to view the subject most effectively and has the same effect on the objects composing an image. This was the approach taken in composing the stills which make up the stop motion video explorative of the fetish within the design element of this thesis (as deconstructed from page 159)12 Secondly, the presentation of multiple perspectives of the same or similar objects, a common element often linking them all, and when viewed simultaneously providing the viewer with a greater sense of knowledge, despite not being a resolved

image.13 In choosing not to depict this thesis’ design through section, in its later stages or mark the location of perspectives on a plan a similar effect is created. It is possible to understand the entire space, but only through the piecing together of common elements throughout multiple perspectival drawings (which can be found from page 141). Thirdly, through the exploration of perspectives within an image, made possible through the implementation of a section line of sorts, allowing one to see both an object’s overall complexion and its inner workings at the same time. This was particularly apparent in the presentation of food whereby it is usual to see both its surface quality and its contents, or underside.14 Lastly is the overall consideration of scale; the image as a whole and the tiniest of details are given equal priority resulting in a sense of confusion as to how you as the viewer fit in to such a scene. The works of Jan van Eyck’s are described as encouraging the viewer ‘to oscillate between a position reasonably far away from the picture and many positions very close to it.’15 In combination these techniques were used so as to create a visually complex experience when viewed and subsequently maximize the viewer’s attribution of knowledge. Alpers argues that the painters of the time believed this more important than the creation of a single, complete perspective. John Locke’s passage below illustrates this privileging of detail and difference as a means to both educate and create a sense of wonder in the viewer of an object. ‘If that most instructive of our senses, seeing, were in any man a thousand, or a hundred times more acute than it is by the best microscope, things several millions of times less than the smallest object of his sight now would then be visible to his naked eyes, and so he would come nearer to the discovery of the texture and motion of the minute parts of corporeal things… but then he would be in quite a different world from other people: nothing would appear the same to him and others.’16

Consideration of the fragmentation of an image, and our sensory perception and memories associated with each part as a contributing factor to the whole is relevant to our perception of a Still Life image. Understanding is achieved as a sum of all of its parts.17 The specific objects that were chosen to make up a Still Life painting were in some cases unlikely and arguably bizarre. They were composed of collections of individual rarities, assembled with the intention of providing the viewer with knowledge. They included mechanical and scientific inventions, crafted objects of liberal arts and natural oddities that epitomized difference within nature.18

THE CURIOSITY CABINET

Three dimensionally, the Curiosity Cabinet was implemented to provide similar knowledge.19 A space for the collection and curation of the rarity, or ‘…things that confuse the every day ‘normal’ such as natural mimicry, nature’s freaks, or exotic imports. The categorical mobility of the rarity is above all manifested in a specific performance: The arousal, in its spectators, of a sense of wonder, the feeling of being in the presence of the extraordinary, out-of-place, or radically different’.20

In his essay ‘The Spirit of Matter: On Fetish, Rarity, and Fancy’, Pels discusses the many likenesses between the ‘rarity’ and the ‘fetish’ especially in their differentiation from the commodity. They both hold a sense of specialty through uniqueness and singularity, whilst simultaneously contributing to something larger than themselves through curation pre-cursive of the museum. 21 Unlike the museum however, the items were chosen for their values specific to the curator, rather than as a means to represent a time or culture or otherwise.22 As Legêne argues ‘in museums we see only the dead bodies of fetishes.’23 They no longer contain any of the personal meaning that they once did, nor are they of any comparative value to those who now encounter them; and in being transferred from a cultural environment to a museum they are transferred from being unique objects to exemplary ones.24 Some considered the Curiosity Cabinet to be lacking a sense of order, making them difficult for the viewer to understand and wholeheartedly connect with. Just like the aforementioned Dutch Still Life, they lack logic and reference to context; instead it is thought that they were considered a personal collection, as opposed to public or educational.25 Just as each item was chosen individually for its ability to conjure a sense of wonderment and awe, within the cabinet in which their were displayed ‘rarities and curiosities… were selected so as to ‘defy classification in principle’ and ‘break the rules of the normal and predictable.’ They were a theatrical culmination of magical objects such as bezoar stones, and ‘unicorn horns’ (ever if they were really only that of the narwhal), antiques, art, mechanical innovation, and exotic objects from abroad.26 This particular interpretation stemmed from a science focussed culture following

fig 5. ferrante imperatoâ&#x20AC;&#x2122;s museum in Naples, from imperato 1599 origins of museums

the Enlightenment, but Curiosity Cabinets were spread over a lengthily period of time and various locations and so other cultures were also represented. Of note is the sixteenth century English version, which was considered a means to access a memory or oral speech. ‘An imaginary architectural trajectory through a ‘memory palace’’27 Yates’ ‘Rosicrucian Enlightenment’ linked memory to the ability to achieve a miraculously theatrical performance. Dutch collectors considered them a ‘theatre of wonders’28 reinforcing the consideration of the future Department Store as a ‘New Theatre of Shopping’ as previously discussed. In summary the Curiosity Cabinet acted in many cases as a means to challenge the way in which we consider reality and normality, through the presentation of partially familiar objects in the least familiar way, provoking an unexpected and personal response. In doing so this provides opportunity for us the viewer to reflect on and recompose our perceptions and expectations, not only in regards to the objects themselves but the wider world.

AS A CATALYST FOR CHANGE

Pop Art and the montage, as Schrijver argues, were created with similar intentions to the Curiosity Cabinet: to alter perceptions and expectations, thus politicising culture and encouraging change.29 They did so through the depiction of similar objects, people and spaces in an unfamiliar way with the hope of instilling a sense of shock or ambiguity in their increasingly complacent audience. Pop Art that was intended to shock presented a direct and calculated image of fragments which was specific in its intentions, however Hill argues that such an approach was of limited effect as it would only be seen with fresh eyes once. In architecture one expects a space to be composed of multiple material elements and is visited repeatedly, making shock of limited effectiveness. Montage, was used to pose questions, but was open enough to allow for individual interpretation by the viewer; something reminiscent of the ‘personalisation’ that Pietz believed was so inherent to the fetish.30

While this intention for creative work to act as a catalyst for change was not new, what was particularly notable however was the unprecedented level of exposure to society as a whole, achieved through the mechanical reproduction of art.31 It was in a sense the initiation of democratic mass media and contemporary culture as we now know

Fig 6. Poster for exhibition ‘this is tomorrow’. Richard Hamilton, just what is it that makes today’s homes so different

it.32 Hill suggests that the computer is in fact a ‘montage machine’,33 something which current forms of social media such as Tumblr and Instagram have only intensified. With the exception of the most radical examples, increased accessibility to content in many cases lowered the value of the actual commodity. It also gave rise to the idea of ‘obsolescence networks’ and the manipulation of consumption.34 ‘Archigram’s fascination for disposable items, individualisation and temporary enclosures perfectly suited a consumer society based on change, desire and the market.’35 The idea of disposability is essentially a ‘planned obsolescence’,36 which drove consumerism as it allowed for the formation of new desires. ‘Whether that planned obsolescence is built in through the fashionability of an article, the lack of replacement parts, or its incompatibility with the latest software is irrelevant, as long as a consumable good is not built to last a lifetime.’37

In a way Archigram were ensuring their future in the profession; not necessarily as ‘architects’ as such, but definitely as designers of new architectural possibilities and solutions through consumerism.38

NOTES

1. 2. 3.

4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

20. 21. 22. 23.

24. 25. 26. 27. 28.

Foster, The Art of Fetishism: Notes on Dutch Still Life, 99. Ibid. Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (London: John Murray (Publishers) Ltd, 1983), xxi-xxii. Ibid., xxii. Ibid. Foster, The Art of Fetishism: Notes on Dutch Still Life, 15. Ibid., 10. Ibid., 15. Alpers, The Art of Describing: Dutch Art in the Seventeenth Century, xxv. Ibid., xxiv. Worp as cited in Ibid., 6-7. Ibid., 83. Ibid., 85. Ibid. Ibid. John Locke as cited in Ibid., 91. Ibid., 96. Ibid., 101-102. Peter Pels, “The Spirit of Matter: On Fetish, Rarity, Fact, and Fancy,” in Border Fetishisms: Material Objects in Unstable Spaces, ed. Patricia Spyer (New York: Routledge, 1998), 108. Ibid., 103. Ibid. Ibid., 104. Susan Legêne, “From Brooms to Obeah and Back: Fetish Conversion and Border Crossing in Nineteenth-Century Suriname.” in Border Fetishisms: Material Objects in Unstable Spaces, ed. Patricia Spyer (New York: Routledge, 1998), 35. Ibid., 52. Pels, The Spirit of Matter: On Fetish, Rarity, Fact, and Fancy, 73. Ibid., 105. Ibid., 106. Ibid.

29. 30. 31. 32. 33. 34. 35. 36. 37. 38.

Lara Schrijver, Radical Games (Rotterdam: NAi Publishers, 2009), 172. Jonathan Hill, Immaterial Architecture (New York: Routledge, 2006), 47. Ibid. Schrijver, Radical Games, 95. Hill, Immaterial Architecture, 45. Schrijver, Radical Games, 99. Ibid., 129. Ibid. Ibid., 130. Ibid.

ATMOSPHERIC INVESTIGATIONS Tafuri and Benjamin discuss the way in which photography presents an aperture rather than a whole image. Tafuri suggests that it is up to the viewer to recompose the whole in order to refetishise the image.1 The following three drawings were created with the intention of ‘refetishising’ the montaged Still Lifes previous, in a way that places each object in relationship to one another while continuing to give little clues as to the space as a whole. Through continuous line weights and a limited perspective it is difficult to gauge whether objects sit in front or behind each other. Tables become floors and ceilings but it is unclear where the external shell is. The use of colour manipulates the order in which you read the objects, further distorting one’s sense of space and perception as to how one might move throughout it.

The images are intended to look occupied, as if someone has just departed the scene. For example in the first image a pair of blue shoes sit on the back table while a single identical shoe lies overturned in the foreground suggesting that perhaps in the time taken to view the image someone may have passed through and altered the scene. NOTE: 1. R. E. Somol, “Les Liasons Or My Mother the House,” in Fetish, eds. Sarah Whiting,

Edward Mitchell and Greg Lynn (New York: Princeton Architectural Press, 1992), 52.

PART TWO

THE EXPERIENCE

THE EXPERIENCE ECONOMY It is acknowledged that the economy as we know it is continuously evolving; not so long ago a ‘service’ was not considered an equal part. In their book ‘Welcome to the Experience Economy’ Pine and Gilmore propose the ‘experience’ as a fourth kind of economy in addition to the now more traditional commodity, good and service. ‘Goods and services are no longer enough to foster economic growth, create new jobs, and maintain economic prosperity. To realize revenue growth and increased employment, the staging of experiences must be pursued as a distinct form of economic output. Indeed, in a world saturated with largely undifferentiated goods and services the greatest opportunity for value creation resides in staging experiences.’1

Pine and Gilmore suggest that in order to create such engaging experiences one must consider a multidimensional approach exploring issues such as... ‘The multisensory nature of experiences, their level of personal meaningfulness, the way the experience is shared with others (if at all), the intensity and duration of various experiential elements, complexity

D I F F E R E N T I AT E D

EXPERIENCES COMPETITIVE POSITION SERVICES

GOODS UNDIFFERENTIATED

COMMODITIES MARKET

PRICING

Fig 7. PROGRESSION OF ECONOMIC VALUE

PREMIUM

(or simplicity), and untold other characteristics of how people perceive experiences.’2

Many of these characteristics are not unlike Pietz’s interpretation of the fetish, especially in the acknowledgement of the differing and deeply personal ways in which one responds. Consideration of the ‘experience’ has already begun to be explored in architecture, and retail design especially. The internet has succeeded in commoditising almost everything, allowing completely smooth and sterile transactions to take place from anywhere and at any time and ‘increasingly [turning] transactions for goods and services into a virtual commodity pit.’3 In contrast, the retail ‘experience’ allows one to identify with the company or brand as a whole, in a way that reflects who we are and who we want to be.4 Objects are no longer judged solely on their form and use but instead their potential effects on the people and places with which they are involved. In the same regards the architecture in which they are housed should no longer be designed in terms of just formal and functional properties but also for its ability to ‘prompt memories, discoveries and desires’, and significantly contribute to the overall experience.5 ‘The architecture of pleasure lies where concept and experience of space abruptly coincide, where architectural fragments collide and merge in delight, where the culture of architecture is endlessly deconstructed and all rules are transgressed. No metaphorical paradise here, but discomfort and the unbalancing of expectations. Such architecture questions academic (and popular assumptions) disturbs acquired tastes and fond architectural memories. Typologies, morphologies, spatial compressions, logical constructions all dissolve. Such architecture is perverse because its real significance lies outside utility or purpose and ultimately is not even necessarily aimed at giving pleasure.’6

Klingmann’s interpretation of experiential architecture is seemingly, although perhaps not intentionally, an attempt to recreate the two dimensional Dutch Still Life paintings and small scale Curiosity Cabinets previously discussed at an occupiable scale. The previous citation, by architect Bernard Tschumi, mentions the same adjacent contradictions, questioning of normality, lack of logic and overall desire to make the occupant feel something rather than simply please.

SURFACE, SENSES AND MEMORY

To return to the Dutch Still Life painting, one of the key techniques that allowed viewers to personally identify with, and interpret the value of the objects within the painted image was the depiction of surface; particularly the levels of sheen and therefore the illusion of perfection.7 Wigley extends on this creation of illusion stating that ‘The fetish is always understood as a surface effect that makes an object available for consumption and the seduction of such a surface economy is always opposed to the substantial structural and structuring properties of objects.’8 This encourages a dialogue between the physical and ideological properties of architecture and the ability for one to master the other, as was the case with the original geographical spaces for trade from which the ‘fetisso’ evolved.

In addition to its ability to mask and elude, surface is obviously integral to the perception of architecture by its user in the way that it appeals to both sight and touch. ‘The senses, in modernity, are detached from each other, re-functioned and externalized as utilitarian instruments, and as media and objects of commodification.’9 The heavily commoditised world in which we live has meant that we are trained to want and hyper-consume rather than to take the time to sense and interpret. ‘The richness of the user’s experience of any building depends on awareness of all the senses, but immaterial architecture may trigger a sense more often associated with the immaterial, such as smell, and question one more often associated with the material such as touch. The experience of immaterial architecture is based on contradictory sensations, and is appropriate to an active and creative engagement with architecture. The complexity of the whole experience depends upon the user’s interpretation of what is present and absent. To experience the full character of the juxtaposition requires, therefore, an understanding of the conflict, whether pleasurable or not, and speculation on an imagined space or object.’10

The interpretation of ones senses is also heavily affected by memory. Seremetakis considers memory as the link between all six of our senses and other related memories, yet complexly it can also be associated with a single sense and in some cases no other memories at all; regardless the evocation of memory through sensory experience is

involuntary and unpredictable.11 Memory is interrelated with perception, representation and objectification. ‘Reperception is the creation of meaning through the interplay, witnessing, and crossmetaphorisation of co-implicated sensory spheres.’12 It is also heavily influenced by culture as opposed to being solely intellectual and subjective, and is often activated by partaking in sensory activities or semantically rich objects. ‘This material approach to memory places the senses in time and speaks to memory as both meta-sensory capacity and as a sense organ in-it-self.’13 As memory is activated subconsciously it contributes greatly to the fetish, making the consideration of material and surface hugely important in the design of a space intended to create fetishised experience - the more memories activated the richer and more unexpected the experience.

THE IMMATERIAL AND ATMOSPHERE

‘Misty, sculptural, theatrical and experiential, atmospheric interiors represent a seismic shift for architecture. They celebrate wholly Romantic sensibility, in which the emotional response overshadows the rational line and the sensory dominates over the intellect.’14

The word atmosphere originated from the gaseous layer that surrounds the earth. Architecturally, ‘it is some kind of sensuous emission of sounds, light, heat, smell and moisture; a swirling climate of intangible effects generated by a stationery object.’15 Just as Pine and Gilmore argue that the ‘experience’ is greater than the goods and services of which it is composed, in architecture we can experience the overall sense of atmosphere more than the physical extents that contain and define it despite their interrelation. The Situationists were some of the first to attempt to architecturally exploit the potential of atmosphere. Wigley explains that they intended to do so by first eradicating spaces that weren’t intensely atmospheric, and then through the creation of ‘decors’ which were seen ‘to induce dreams like a drug. Changing the decoration constructs a new dreamworld’16 – even then the Situationists seem aware of the potential for the consideration of interior surfaces to dramatically affect our interpretation and

experience of an interior atmosphere. This opinion is one of many which form the basis for an entire edition of Architectural Design magazine entitled ‘Interior Atmospheres’. Editor Julieanna Preston sides with Michel Orsoni in her perception, arguing that it... ‘is created by the particular subject matter or place – it is given off from it – and corresponds to it like a sort of spirit that floats around, revealing, betraying a certain essence of the place or subject matter, but remaining ever invisible.’17

While it is undoubtedly invisible, we somehow perceive its questionable existence within the spaces in between the walls that surround it, and around the people who experience it and their perceptions and emotions. Less easy to define is how exactly it is constructed. ‘Does it mean that the room has been designed, stylized or even thematised?… Does atmosphere originate from material attributes given by interior finishes and décor? Or is it established by the skilful use of lighting and colour to affect drama?... How is atmosphere crafted?’18

In attempting to answer these questions Preston cites Zumthor’s argument that ‘it is crafted as an architectural quality that provokes a spontaneous emotional response, an impression sensed in a fraction of a second,’19 created from material presence; sensory reactions to lighting, sound, temperature; and a feeling of tension between interior and exterior spaces. Such ideas are particularly present in his Thermal Baths in Vals, Switzerland where the presence of steam was a key part of the design. Designer Philippe Starck extends on this, crafting interior spaces of extremes and superlatives; he believes that decorating is dead and instead such highly saturated spaces respond to a need for energy.20 For example in his ‘Le Lan’ Restaurant in Beijing, China he uses ‘blackness’ and the absence of light as a means to dramatise other colour, lighting and material choices. The use of mirrors then infinitely intensify the experience by distorting ones perspective of the ‘strange frontier of familiar objects restated in a material language that, according to Starck, are chosen not for what they are, but what you can do with them.’21 This description could be interchanged, almost word for word with that of the Dutch

FIG 8. PETER ZUMTHOR’S ‘THERMAL VALS’ (left) and fig 9. philippe starck’s ‘le lan’ (right)

Still life Painting discussed earlier in the thesis. Starck uses hugely similar techniques to evoke personal response in his spaces to those used by painters in the seventeenth century. Both explore the depiction and treatment of surface, the arrangement of the material object, contrast in lighting and questioning of normality, amongst other things, to draw on senses and memories and encourage us to both feel and respond in a subconscious and irrational manner.

MEDIA AND DEPICTION

Equally as difficult and debated as defining atmosphere, is the successful depiction

of it, and thus our ability to plan for and understand it preceding construction. It seems that there is a tendency to value the drawing and specification of the formal constraints that define a space, more than the immaterial qualities that compose our actual experience of it.22 It is this hierarchy that this research seeks to overturn, making formal qualities secondary to sensory qualities and subsequently experience and atmosphere. Hill argues that an investigation into the shortfalls of architectural drawing is necessary, including the way in which some architectural qualities are still unable to be drawn, and the suggestion that the drawings of other disciplines might be able to help us solve these problems and bring drawing and building closer together.23 Examples of this are slowly becoming more prominent, especially in investigative spatial installations. Lee Gibson’s ‘Lost in Translations’ explored how the digital navigation of space in gaming software could affect the way in which we design interior space.24 It provides opportunity to document not only light and surface, but also sound, in a way that allows for curiosity and discovery, as is the case in real life. Similarly, in her investigation into experiential architecture Klingmann explores the idea of choreography as a means to organise space as an alternative to the traditional plan. ‘Choreography as a planning strategy is quite contrary to principles of objects in an empty container to the planning of situations, giving rise to a social environment…’25 In order to execute this designers use storyboarding techniques usually used in generating moving image. In film a general idea is broken up into sequences and then shots which are sketched out so as to provide direction for the details still to come. It is a means of mapping aesthetics, activity, mood and

Figs 10 and 11. michael meadowâ&#x20AC;&#x2122;s the venetian /experiential sequence I and II

programme. This depicts dynamism both over time and throughout space, which in terms of architecture allows one to imagine how someone might move through the space and how they might feel at each point, in addition to how the space is formally composed. A plan might then act more as a means to diagram this overall collation of stills than to physically define the spaces. Philippe Rahm’s project ‘Interior Weather, Interpretive Architecture’ explored the way in which a combination of temperature, light intensity and humidity can dictate the use of a space. In this case it was successfully documented through a series of sequential stills, with drawings of corresponding architectural scenarios at each stage.26 These drawings used a colour spectrum to map metadata, but a similar and more aesthetically pleasing technique might be through the density and kind of hatching – arguably a form of architectural fetishism in itself.

Fig 12. STILLS FROM lee Gibson’s LOST IN TRANSLATION

FIG 13. STILLs FROM PHILIPPE RAHM’S INTERIOR WEATHER

NOTES

B. Joseph Pine II and James H. Gilmore, The Experience Economy, Updated ed. (Boston: Harvard Business Review Press, 2011), ix. 2. Ibid., xxi. 3. Ibid., 15. 4. Anna Klingmann, Brandscapes: Architecture in the Experience Economy (Cambridge, MA: MIT Press, 2007), 2. 5. Ibid., 3-4. 6. Bernard Tschumi as cited in Ibid., 55. 7. Julie Berger Hochstrasser, Still Life and Trade in the Dutch Golden Age (New Haven, London: Yale University Press, 2007), 257. 8. Mark Wigley, “Theoretical Slippage: The Architecture of the Fetish,” in Fetish, eds. Sarah Whiting, Edward Mitchell and Greg Lynn (New York: Princeton Architectural Press, 1992), 93. 9. C. Nadia Seremetakis, The Senses Still: Perception and Memory as Material Culture in Modernity (Oxford: Westview Press Inc., 1994), 9-10. 10. Hill, Immaterial Architecture, 73. 11. Seremetakis, The Senses Still: Perception and Memory as Material Culture in Modernity, 99. 12. Ibid. 13. Ibid., 9. 14. Helen Castle, “Editorial,” Architectural Design 78, no. 3, Interior Atmospheres (2008), 5. 15. Mark Wigley, “Die Architektur Der Atmosphar = the Architecture of Atmosphere,” Daidalos 68 (Jun, 1998), 18. 16. Ibid.25 17. Orsoni as cited in Julieanna Preston, “In the Mi(D)St Of,” Architectural Design 78, no. 3, Interior Atmospheres (2008), 7. 18. Ibid., 8. 19. Ibid., 9. 20. Ibid., 10. 21. Ibid. 22. Hill, Immaterial Architecture, 65. 1.

Ibid. Lee Gibson, “Lost in Translation/S,” http://www.leegibson.us/LOST-IN- TRANSLATION-S (accessed 04/28, 2013). 25. Klingmann, Brandscapes: Architecture in the Experience Economy, 206. 26. Philippe Rahm, “Interior Weather, Interpretive Architecture,” http://www. philipperahm.com/data/projects/interiorweather/ (accessed 04/28, 2013). 23. 24.

SPATIAL BLUEPRINTS The following three images are initial explorations as to how the previously designed pieces of ‘Furniture for Mediation’ (from pages 49) might be arranged within a largely arbitrary space to similar effect of the ‘Atmospheric Investigations’ (page 73 to 77).

An existing site was chosen in the form of the Wellesley Street Post Office Building or ‘Old New Art Gallery’ space as it is more commonly known. Focus was in this instance on the western, Lorne Street side of the building with its easily recognisable arched windows. Using ArchiCad’s vector hatching capabilities the blue background was continued as a means to allow the white lines expressive of material, form, light, humidity etc to accumulate into areas of lesser and greater density. These were indicative of areas of lesser and greater sensory experience and atmosphere. This approach was most effective in the first exterior elevation where the graphic contrast between inside and outside created spatial ambiguity. They lacked, however, the colour and playfulness that made the ‘Atmospheric Investigations’ trio successful and seemed to depict surface and texture without further extending to become suggestive of atmosphere as intended.

PART THREE

THE FIT OUT

101

THE DEPARTMENT STORE ‘The Department Store is a large retail establishment ‘…a collection of miscellaneous businesses under one roof and one management’1 ‘… selling everything from pins to elephants.’2

Department stores evolved from Paris’ ‘Magasins de Nouveautés’ stores and London’s Bazaar stores of the nineteenth century. The former catered wholly for women stocking fabrics, millinery, dresses, lingerie, and shoes. Like the department store we know now, they were epitomised by their occupation of multiple floors, vast open and interconnected spaces, and sense of architectural and interior consideration as a whole.3 What set the department store apart from its predecessors was its extension to provide an increased variety of goods; they were also of a more affordable cost, or at least covered a wider range of price points.4 They also instigated new social practices, such as decreased pressure for the shopper. One might argue that this was the point at which shopping became a leisure activity just as much as a necessity. Architecturally, the stereotypical Department Store originated in the 1876 extension of ‘Bon Marché’ which first opened in Paris in 1852 and was later extended by architect LB Boileau and engineer Gustaf Eifel. Their design included a three-storied

103

FIG 14. The ‘BON MARCHE’ department store, Paris, France (1876)

104

atrium, accessed via an impressive circular staircase and topped with a lantern roof light, which allowed people to watch other shoppers’ movements. Coleman argues that ‘the balustrading, elegant bridges and flying staircases, seduced the shopper into generating a desire to consume.’ Such a grand style became recognised as the Parisian Department Store’s trademark and is exemplified in other establishments including the Printemps store of 1883.5 Such layouts were made possible by building technology of the time and were influenced by contemporary exhibition halls and arcades. Iron framing meant that large uninterrupted floor plates of up to five and more storeys were possible, which fulfilled space requirements for extensive stock. Also notable is the use of arched window frames extending to two storeys in height for the ground and mezzanine, and first and second floors.6 This increased the sense of grandeur and the ability to observe activity within the space from the street, but also created a slight sense of ambiguity in terms of scale when viewed from the exterior, and in terms of one’s exact location when experienced from inside. Throughout their evolution in both Europe and North America, Department Stores continued to take advantage of advancing technologies such as passenger lifts, escalators, precast iron facades, steel framing, and glass curtain walls. These all allowed for increased building size and transparency. From the mid twentieth century onwards the overall status of the Department Store fell into demise with pressure from shopping centres and malls. Those that remain survive on their historic reputations or have reinvented themselves to express a particular point of view.7 Internationally ‘Harrods’ of London, ‘Bloomingdales’ of New York and ‘David Jones’ of Australia remain strong, while closer to home we find similar tradition in Auckland’s ‘Smith and Caughey’s’ and a contrasting reinvention in Takapuna’s ‘The Department Store’. The latter was conceived by prominent local fashion designers Karen Walker (of her self titled company) and Dan Gosling of ‘Stolen Girlfriends Club’; and Stephen Marr of his self titled hair and beauty salons. The three created a space for not only their own designs and services, but also hand pick a variety of friend’s and peer’s fashion, homeware, floral and food offerings to name just a few.8 This format makes for a beautifully curated and personal feeling and allows for increased control over the overall experience.

105

HARRODS OFBEAUTY LONDON +

FOOD

WOMENSWEAR

MENSWEAR

ACCESSORIES FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

HOMEWEAR

BOOKS

FLORIST

SPORT

FIG. 15

JEWELLERY

SHOES

FOOD HOMEWEAR

BOOKS WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

JEWELLERY

SHOES

TECHNOLOGY

CHILDRENS DEPARTMENT

JEWELLERY FLORIST

SPORT SHOES

HOMEWEAR

BOOKS

JEWELLERY

SHOES

HOMEWEAR

BOOKS

TECHNOLOGY

CHILDRENS DEPARTMENT

TECHNOLOGY

CHILDRENS DEPARTMENT

FLORIST

SPORT

FLORIST

SPORT

TECHNOLOGY

CHILDRENS DEPARTMENT

THE REFINERY

THE GENTLEMAN’S LOUNGE

LOST PROPERTY

TOM FORD BOUTIQUE

MEN’S SHIRTS + TIES

MEN’S UNDERWEAR + NIGHTWEAR

THE WINE SHOP

MEN’S ACCESSORIES

CIGAR SHOP

MEN’S DESIGNERWEAR + MEN’S CASUALS

MEN’S DENIM LAB

THE MEN’S SHOE SALON

SHOE REPAIRS GOLD BULLION

OPTICIANS GIFT WRAPPING

BANK

CONCIERGE

WATCH + JEWELLERY REPAIRS

LUXURY ACCESSORIES

DESIGNER ACCESSORIES

CAPUCCINO

LOWER GROUND FLOOR

DESIGNER ACCESSORIES HOSIERY CHEMIST

O DO R OO

MEN’S TAILORING

MEN’S FRAGRANCE

DOOR 4

LADUREE SAFE DEPOSIT

MEN’S INTERNATIONAL COLLECTIONS

BOULANGERIE + PATISSERIE

CHARCUTERIE, FORMARGERIE + TRAITEUR

DOOR 5

POLO RALPH LAUREN

THE COSMETICS HALL

GOURMET GROCERY

THE FINE WATCH ROOM

FRUIT + VEGETABLES PANTRY + CANDY

SUNGLASSES

THE BEAUTY APOTHECARY

THE FINE JEWELLERY ROOM

TEA + COFFEE LUXURY ACCESSORIES`

THE PERFUMERY HALL

LUXURY ACCESSORIES`

CHOCOLATES + CONFECTIONERY

DOOR

DOOR 6

THE COLOUR HALL

LUXURY ACCESSORIES`

LUXURY JEWELLERY

SCARVES, GLOVES + HATS DOOR 9

GROUND FLOOR

DESIGNER COLLECTIONS

THE SHOE SALON EVENINGWEAR

LINGERIE

INTERNATIONAL DESIGNER

MILLINERY

LUXURY COLLECTIONS

STUDIO 1

INTERNATIONAL DESIGNER

THE CHAMPAGNE BAR + RESTAURANT

CLASSICS

STUDIO 2

DESIGNER STUDIO

INTERNATIONAL DESIGNER

SWIM + SUNGLASSES

PERSONAL SHOPPING

FIRST FLOOR

THE TEA ROOM PIZZERIA TRAVEL GOODS + LUGGAGE ICE CREAM PARLOUR

TOWELS

BATHSTOP HARRODS GIFT SHOP

BED LINENS

HARRODS OF LONCON BED LINENS

HARRODS BOOKSHOP + GREETING CARDS

LUXURY LINENS

IN Q

THE WRITING ROOM ROOM OF LUXURY HOMEWARES

LUXURY GIFT + OBJECT ROOM

HALCYON GALLERY

GREAT WRITING ROOM

CRYSTAL + GLASS

SMYTHSON

ROOM OF LUXURY HOMEWARES

ENTERTAINING AT HOME

WATERFORD CRYSTAL, WEDGEWQOD, ROYAL DOULTON

LUXURY DINING

KITCHEN APPLIANCES THE GOURMET COOKSHOP

THE KITCHEN

GODIVA CHOCOLATE CAFE

VILLEROY + BOCH

SECOND FLOOR

THE CHILDREN’S READING ROOM

CAFE FLORIAN

THE ODYSSEY

THE BED STUDIO OSIM MASSAGE

MILLIONAIRE GALLERY

THE WONDERLAND

BANG + OLUFSON HARRODS TECHNOLOGY

FITTED FURNITURE

LOEWE TELEVISIONS

PORSCHE DESIGN AUDIO

APPLE SHOP

THE ENCHANTED FOREST

VODAFONE

BOCONCEPT FURNITURE

THE BIG TOP DESIGNER GALLERY

FENDI CASA

LIGNE ROSET FURNITURE

ROCHE BOBOIS NOUVEAUX CLASSIQUES

MONTREUX JAZZ CAFE

JONATHAN CHARLES FINE FURNITURE SOFT FURNISHINGS + FABRICS

RALPH LAUREN HOME ROCHE BOBOIS

CANDY STORE

MODERN UPHOLSTERY

TRADITIONAL FURNITURE

INTERNATIONAL LIFESTYLE FURNITURE TIMOTHY OULTON

THIRD FLOOR

THE RUG COMPANY

INDIAN OCEAN

ROJA DOVE HAUTE PARTUMERIE

URBAN RETREAT

EAST DULWICH DELI

TEAM SPORTS

MBT SHOES + SKETCHERS

REEBOK + FITFLOP SPORTS FASHION SHOES

THE PENTHOUSE PERSONAL SHOPPING

NIKE

SUNGLASSES SWEATY BETTY

ATHLETIC APPAREL

CYCLES UK

SWEATSHOP

SHOW + ROCK

RIDING + OUTDOOR

DESIGNER SPORTSWEAR

BARBOUR

CAFFE ESPRESISON LAVAZZE

WIGMORE TENNIS

URBAN SPORTS

GOLF EQUIPEMENT + APPAREL

SKI + SWIMWEAR

MONCLER

TECHNOGYM

FITNESS EQUIPMENT

POWERHOUSE FITNESS

BOGNER

FOURTH FLOOR

THE DINER YOOMOO FROZEN YOGURT

WOMEN’S SHOES

MEZZAH LOUNGE WAY IN WOMEN’S FASHION THE HARRODS TERRACE

WAY IN WOMEN’S FASHION

PET KINGDOM DIOR EXHIBITION

CHILDREN’S DESIGNER BOUTIQUES

MATERNITY CHILDREN’S DESIGNER 1

CHILDREN’S DESIGNER 2

GIFT + LAYETTE

DIOR CAFE CHILDREN’S LIFESTYLE BOUTIQUES

DISNEY CAFE

CHILDREN’S SUNGLASSES

NURSERY FURNITURE

DESIGNER BABY APPAREL

CHILDREN’S DESIGNER 3

JUNIOR COLLECTIONS

FIFTH FLOOR

CHILDREN’S SHOES

SUMMER ESSENTIALS

CHILDREN’S NIGHTWEAR + UNDERWEAR

SCHOOL UNIFORMS

VERSUS THE MALL

as a solution to population growth, increased traffic, congestion and lack of space in main centres. ‘From 1945, when there were only 45 malls across America, they grew over sixty-fold to 2900 in 1958.’9 They were usually created as suburban satellite centres.10

The suburban mall grew

One of the most instrumental of its kind was Seattle’s ‘Northgate’, which was built in 1950. Its architect John Graham was the original designer of the linear nature of the mall with long intersecting pedestrianised streets lined with individual stores, all of which was completely surrounded in parking spaces. This was eventually developed to form the ‘dumb-bell’ plan with the addition of magnet stores on either end of the streets as shown in figure 16.11 Victor Gruen was the first to completely enclose the suburban mall, doing so with the intention of creating happy centres of communal life in soulless areas of urban sprawl.12 ‘Southdale’ which was built in Minneapolis in 1956 stretched over 92,936 square metres spread over two levels, both of which were surrounded by parking. Alfred Taubman, also a first generation mall designer, more practically notes that the enclosure of the roof meant that stores could subsequently be more open, removing a level of resistance and encouraging impulse purchases.13 These developments were made possible in the way that multi-level department stores were, through improvements in building technologies and progressive air conditioning14 which kept the building at a constant temperature despite the region’s variance of between -30 and +40 degrees celsius.15 Town centre malls had also become predominant throughout this period. They placed additional value on integration with the urban fabric and extensive accessibility via multiple levels and routes amongst other things.16 Central Auckland’s Downtown ‘Westfield’ Mall has recently announced that it will work to align its proposed redevelopment with the construction of the Auckland City Rail Loop to be mutually beneficial.17 American developers learnt to consider the design of shopping environments in terms of their psychological influence, with the belief that ‘customers who feel comfortable will shop longer and spend more.’18 In Helene Klodawsky’s documentary ‘Malls R Us’ theologian Jon Pahl argues that there are links between the design of malls and sacred spaces, especially in the way in which they are largely homogenous and comply with

110

FIG 16. PLAN DIAGRAMS OF TYPICAL MALL LAYOUTS WITH 1, 2, 3 AND 4 MAGNET STORES

111

standard architectural patterns. In addition to this is the event-like way in which we are conditioned to consider visiting a mall from a young age. Religious symbolism can arguably be found throughout the mall, for example the presence of water representing purification and the presence of natural light, usually in the heart of the space with high ceilings where you feel smallest.19 ‘At some point you have to consider where are the limits and is life really abundant at a deep level if we’re just accumulating stuff?’20 The increasing size of the mall led to the emergence of slightly less regular designs so as to save on space and make walking throughout them less daunting to customers. Instead of being a series of covered streets they became more a web of linked centres or courtyards with increased changes in ceiling height and shape, lighting levels and view lines.21 Sci –Fi writer Ray Bradbury set out with architect Jon Jerde to create a mall of the future, one which you imagined rather than pre-existed. He considers Los Angeles to be a fake city, and the mall as the only place with enough concentrated energy to constitute a city. Jerde cites ‘The Aesthetics of Loneliness’ as inspiration, making links to travel and the enjoyment of losing oneself and leading them to consider their design closer to a park than a mall. ‘We travel to get lost, we travel for romance, we go to Paris to get lost. The fun of being in Paris or London is to walk in the streets and say ‘where the hell am I?’’22 Jerde considers the commodities as bait, and believes that the real interest in mall design is in the creation of social experience within the spaces in between.23 Particularly interesting in the case of the shopping mall is their tendency to have an extremely limited lifetime, especially in America. This is partly due to poor construction during their original boom, but also due to their being a form of experiential entertainment more than shopping necessity, as reflected in the increasing inclusion of theme parks, zoos, aquariums, and outdoor retreats.24 Each iteration is increasingly bigger and better as they all fight to outdo their geographic competitors; the consequences of which Peter Blackbird’s deadmalls.com makes abundantly clear.25 Consistent throughout the many types of mall design it seems, are three main characteristics. Firstly the need for natural lighting, often in the form of an atrium or glass vaulted roof; secondly a clear and logical layout which in turn ensures easily understandable way-finding for its users; and finally a consistent (and arguably stark) style throughout the entirety of the space.

112

FIG 17. ERIC KUHNE ASSOCIATES’ ‘BLUEWATER’ MALL KENT, U.K. (1994)

113

WESTFIELD 277 NEWMARKET, AUCKLAND BEAUTY + FOOD

WOMENSWEAR

MENSWEAR

ACCESSORIES FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

HOMEWEAR

BOOKS

FLORIST

SPORT

FIG. 18

JEWELLERY

SHOES

FOOD HOMEWEAR

BOOKS WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES SHOES

FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

JEWELLERY

TECHNOLOGY

CHILDRENS DEPARTMENT

JEWELLERY FLORIST

SPORT SHOES

HOMEWEAR

BOOKS

TECHNOLOGY

CHILDRENS DEPARTMENT

FLORIST

SPORT

JEWELLERY

SHOES

BED BATH N TABLE

TECHNOLOGY

CHILDRENS DEPARTMENT

HOMEWEAR

TECHNOLOGY

BOOKS

CHILDRENS COUNTRY ROAD DEPARTMENT

SPORT

FLORIST

CUE

THE CLEAN

CAPABILITIES

LAURA ASHLEY

BROADWAY

HUGO BOSS

DAY SPA POLO RALPH LAUREN

RODNEY WAYNE DELIXE NAILS COVA

ESPRIT

DEJUBA

MORTIMER PASS

GROUND FLOOR

STEVENS

MARCS

COUNTRY ROAD

WHITCOULLS

COLESTON CHOCOLATES

HARTLEY’S TRENERY

BARKERS

CRABTREE + EVELYN

SMIGGLE

VERONIKA MAINE

PROFESSIONAIL MISTER MINT

PASCOES

GUSTO + GRACE

ST PIERRES VODAFONE

COUNTDOWN SUPERMARKET

MICHAEL HILL

PANDORA

HARDY’S

SCARPA

HOT BODY

LIFE PHARMACY

LAB 48

EQUIP SUNGLASS HUT

THE STYLISH MAN

LOOKSMART

KOOKAI

SHAMPOO + THINGS

STARBUCKS

SWAROVSKI

MAX

PETER ALEXANDER

MINK OVERLAND

FOREVER NEW

OVERLAND MAN

AMAZON

RODD + GUNN

DOTTI PORTMANS

FIRST FLOOR

TANK

ST PIERE’S

MCDONALDS

JAIMIE’S CAFE

SHAMIANA

HAKOYA

SECOND FLOOR

THE DEPARTMENT STORE, AUCKLAND FIG.19

NORTHCROFT STREET

FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

GENERAL COFFEE

FOOD FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

JEWELLERY

SHOES

FOOD FOOD

JEWELLERY FOOD

WOMENSWEAR

SHOES WOMENSWEAR

SHOES

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

JEWELLERY

SHOES

HOMEWEAR

BOOKS

MENSWEAR TECHNOLOGY

BEAUTY + CHILDRENS ACCESSORIES DEPARTMENT

JEWELLERY JEWELLERY

WOMENSWEAR

SHOES

HOMEWEAR

BOOKS

TECHNOLOGY

CHILDRENS DEPARTMENT

TECHNOLOGY

CHILDRENS DEPARTMENT

FLORIST

JEWELLERY

SHOES

HOMEWEAR TECHNOLOGY

MENSWEAR

BLACK BOX ACCESSORIES

BEAUTY + ACCESSORIES BLACK BOX WOMENSWEAR

HOMEWEAR MENSWEAR

BOOKS

FLORIST

SPORT

BLACK BOX JEWELS BLACK BOX WOMENSWEAR

KAREN WALKER

KAREN WALKER JEWELLERY

BOOKS NATURE BABY

FLORIST

SIMON JAMES CONCEPT STORE HOMEWARES

BEAUTY + ACCESSORIES

HOMEWEAR

ANNIE O BOTANICAL STYLIST

BLACK BOX MENSWEAR

SPORT

SPORT BOOKS CHILDRENS DEPARTMENT

TECHNOLOGY

CHILDRENS DEPARTMENT

FLORIST

SPORT

TECHNOLOGY

CHILDRENS DEPARTMENT

FLORIST

SPORT

FLORIST

KAREN WALKER

SPORT TOPMAN

GROUND FLOOR

THE DRESSING ROOM

STEPHEN MARR HAIR DESIGN

LUCY AND THE POWDER ROOM

THE VITRINE

CHAOS + HARMONY

KATE SYLVESTER

I LOVE UGLY RUBY

BLAK LOVE

LIAM

TOPSHOP

FIRST FLOOR

SECOND FLOOR

CHANGING ROOM

When compared with the formerly discussed Department Store, the mall appears the more contrived of the two and the least encouraging of a sense of atmosphere. The common mall, favours logic in the form of way-finding, transparency and presentation, resulting in conscious decision making and ideally increased sales. While in some cases the Department Store does still takes these issues into consideration, it is to a lesser extent, perhaps with the concern of creating an overall identity with longevity rather than simply increasing sales in the short term. It provides opportunity for a journey rich in change, diversity and discovery, unlike its soulless counterpart, which is usually laced in rules and regulations in terms of design. The mall promotes conscious desire, while the Department Store instills subconscious fetishisation. For this reason I intend to take an approach similar to painters of the Dutch Still Life, and curators of the Curiosity Cabinet – one of defiance of what is considered ‘normal’ whereby the familiar is recomposed to become unfamiliar, prompting both contemplation and shock in the hope of stimulating change.

THE SITE

is not quite so integral to the design as is usual in the conception of architecture. It is intended that this Department Store for the twentyfirst century, or ‘Theatre of Shopping’ have the ability to pop up and down as necessary, in a variety of spaces, essentially having a pre-determined expiration date each time. Like Archigram’s use of ‘planned obsolescence’, this will ensure greater control over the popularity of the project and allow for the opportunity to instill a sense of shock on numerous occasions to numerous audiences in its lifetime rather than it undoubtedly losing effectiveness in one permanent location as is previously discussed in regards to the mall.

Site in this investigation

As was the case in Dutch Still Life Paintings and Curiosity Cabinets physical context is almost discouraged. Focus is instead placed on pre existing interior surfaces, the material objects on display for sale, and new surfaces derived from the installation of ‘furniture’ or surfaces which mediate object and user and the senses and connotations that they each evoke. The experience is to be rich and complex, irrational and unique for each of those who move through the space.

118

FIG 20. THE BUILDING FOLLOWING ITS 1992 MITCHELL & STOUT RENOVATIONS

119

The initial location is to be within the former Wellesley Street Post Office and Telephone Exchange Building on the corner of Wellesley and Lorne Streets; or the ‘Old New Art Gallery’ as it is more commonly known. The 3060 square metre building which occupies a 1032 square metre site ‘was originally designed by government architect John Campbell in an Edwardian and Baroque style.’26 The Post Office joined the telephone exchange on the site on August 14 1920,27 the rapid expansion of which required the building to be doubled in size in 1927. Post Office services were eventually moved to Civic Square’s (now Aotea Square) Bledisloe Building where they remain today, so as to allow the entire building to be dedicated to Telephone Services in the days preceding their automation.28 In 1992 the building was purchased by the Auckland Contemporary Art Trust who commissioned Mitchell and Stout Architects to transform it into a series of exhibition spaces, many of which were used by the Auckland Art Gallery.29 Following the restoration of the original Auckland Art Gallery, which doubled available exhibition space, the decision was made to on sell the Lorne Street building. At that point the exterior of the Historic Places Trust, Category 2 classified building was cited as being largely in original condition with the following few exceptions.30 On the exterior, suspended steel balconies were added overlooking Khartoum Place, while glazing has been updated, with some windows having been braced with steel plates. On the inside a large central light well was added, extending the full height of the building, which also houses a central escalator.31 “It’s also a striking building inside with a mixture of timber and exposed concrete finishing and has been renovated and maintained to a high standard by the trust, with modern building services including an escalator to the upper two levels, large lift, computer wiring, cart dock and sprinklers. The largely open space interior very much offers a blank canvas to a new owner and numerous future options given the property’s flexible CBD zoning. It could obviously continue to be used as an exhibition and arts complex, or it could be converted for office use on the upper levels and retail at ground level.”32

Figures 26 and 27 show how the building is currently being renovated after having recently been sold to an undetermined buyer. It is set to house a series of ten retail and hospitality spaces at ground level, with offices occupying the upper two levels.

120

Fig 21. Photograph from 12 June 1919 Auckland weekly news titled â&#x20AC;&#x2DC;new post office and telephone exchange for Auckland

121

The site is enviably located, on the main route from the CBD to the Universities Precinct, just one block from Queen Street and on a main axis to the now buzzing Britomart Precinct (fig 24). Interestingly, this axis presents itself similarly to a linear mall (with the exception of being uncovered) in the way that it is uniform, clearly navigable, and largely of pedestrian use. The successful development of this site would essentially place a ‘magnet’ at either end (with Britomart Precinct already existing) activating the mall-like axis and revitalising the stagnant strip of Lorne and High Streets. Despite the irony of choosing a Department Store to form this second magnet of a ‘mall’, it is in complete contrast to the existing retail environment and therefore more likely to be effective,

122

FIG 22. RENDER BY WARDLE ARCHITECTS OF THE BUILDING FOLLOWING ITS CURRENT RENOVATIONS

123

FIG 23. MAP showing site location within the Auckland cbd (Approximately 1:15,000)

124

125

UN T I H PR VER E EC SIT IN IE CT S

REE

E ST

TRE

EN S

LOR N

QUE

AUC ART KLAND GAL LER Y

SMIT CAU H + GHE YS

TFIE

WES

BRIT OMA RT P REC INCT

Fig 24. DIAGRAM SHOWING AXIS AND KEY ASPECTS OF SITE LOCATION

MITCHELL AND STOUT FIT OUT (1992) Fig 25. At APPROXIMATELY 1:150

BASEMENT

GROUND FLOOR

126

FIRST FLOOR

SECOND FLOOR

127

WARDLE ARCHITECTS FIT OUT (2013) Fig 26. At APPROXIMATELY 1:150

BASEMENT

GROUND FLOOR

128

FIRST FLOOR

SECOND FLOOR

129

NOTES

2. 3. 4. 5. 6. 7. 8.

9. 10. 11. 12. 13. 14. 15.

16. 17.

18. 19. 20. 21. 22. 23. 24. 25. 26.

27.

Gohre as cited in Peter Coleman, Shopping Environments: Evolution, Planning and Design (Oxford, U.K.: Architectural Press, 2006), 34. Whiteley as cited in Ibid., 34. Ibid., 33. Ibid. Ibid., 34. Ibid., 35. Ibid., 39. Culture Mag, “Space: The Department Store,” Culture Media 2011, http://www.culturemag.com.au/issues/2010_febmar/features/p1005.aspx (accessed 11/02, 2013). Coleman, Shopping Environments: Evolution, Planning and Design, 42. Ibid., 42. Ibid., 43. Malls R Us. Directed by Helene Klodawsky (New York: Icarus Films, 2008) Ibid. Coleman, Shopping Environments: Evolution, Planning and Design, 43. Barry Maitland, The New Architecture of the Retail Mall (London, U.K.: Architecture Design and Technology Press, 1990), 13. Coleman, Shopping Environments: Evolution, Planning and Design, 156. Anne Gibson, “Plan to Demolish Shopping Centre for Central Rail Link,” The New Zealand Herald, sec. Public Transport, 08 July, 2013. Coleman, Shopping Environments: Evolution, Planning and Design, 43. Klodawsky, Malls R Us. Jon Pahl as interviewed in Ibid. Maitland, The New Architecture of the Retail Mall, 16. Ray Bradbury as interviewed in Klodawsky, Malls R Us. Ibid. Coleman, Shopping Environments: Evolution, Planning and Design, 44. Klodawsky, Malls R Us. Colin Taylor, “Handsome Repository of City’s History for Sale,” The New Zealand Herald, sec. Property, 2 June, 2012. Ivan Clulee, Post Office Buildings in the Auckland Province (Auckland, New Zealand: Postal History Society of New Zealand Inc, 2011).

130

28. 29. 30. 31.

32.

Taylor, Handsome Repository of City’s History for Sale. Ibid. Ibid. Errol Haarhoff, Guide to the Architecture of Central Auckland (Auckland, New Zealand: Balasoglou Books, 2006)75. Real Estate agent Nigel McNeil of Bayleys Real Estate as cited in Taylor, Handsome Repository of City’s History for Sale.

131

THE NEW THEATRE OF SHOPPING The New Theatre of Shopping, as previously discussed, is envisaged as an experiential Department Store for the twenty-first century. As experience and atmosphere are largely attributed to materiality and the treatment of surface, and are more concerned with the perception of space rather than the things that actually define space, an existing building is appropriate.

The treatment of the ‘Old Wellesley Street Post Office’ building mostly deals with how to make it recede into the background or ideally disappear. Having been used previously as a gallery space, many of the existing walls are already painted out white. Additionally, previous drawings explorative of atmosphere (‘Atmospheric Investigations’ from page 73) indicated the success of block colours in changing the way an image and space is read, whether it be a painted wall, tiled surface or pane of coloured glass. A third, perhaps less obvious way, is through the preservation of the unfashionable, or unappealing. Sometimes if we don’t want to see something, we wont, as is arguably the case with the existing pedestrian stairs between Kitchener Street and lower Khartoum Place. For this reason, combined with the temporary nature of the intervention, these stairs are to be retained. A more grand temporary set of stairs, built from boxed in ply and tiled in colours similar to those existing are to be installed more prominently

133

through the heart of Khartoum Place. They are to be used for both access, and as a large communal table for the adjacent cafe allowing for intense observation between those present. This threshold between the inside and outside of the cafe, exemplifies the temporal nature of the fetish, reminiscent of the age old issue of wanting something that you can’t have. As soon as the fetish is consumed, or in this case purchased it is no longer fetishised. The pop up nature of the ‘New Theatre of Shopping’ reflects this issue on a larger scale. The integration of the individual objects for sale and the materiality and surface treatment of the display furniture employed means that as stock depletes, the overall atmosphere and therefore experience is lessened. So if one were to visit the store on opening night, it would feel entirely different than for the person who purchases the very last item, and subsequently closes that particular stop-over of the store. The single exception of this rule exists in the case of the florist, which is the only product type to be produced on site. As flowers only live for an extremely limited period of time, and all stock is required to be present within the building before opening. The blooms are grown hydroponically within the chilled existing lightwell of the building. They are able to be staggered in growth and ensure the station lasts for a period similar to the others. Perhaps the only other space within the building where this sense of time and expiration becomes clear is in the cafe, where the existing three sets of double doors open out into Khartoum Place. Weather permitting, one can enjoy their purchases from the cafe at the long communal table whilst watching (and being watched by) those climbing the stairs to Kitchener Street. This juxtaposition of inside and outside portrays the material object - in this case food - in its most perfect and subsequently ruined states. As there is no prominent ‘point of sale’ within the store (purchases instead take place discreetly via each department’s preferred form of electronic transaction) this place of observation from the inside to the outside is the only place that makes apparent that the store does like all retail stores, promote consumption. The bubble can be burst, and the fetish can be broken. Within the interior focus was placed on the exploitation of the relationships between people and the objects on display for sale. The furniture explorations (as illustrated in ‘Furniture for Mediation’ from page 49) were employed throughout the basement,

134

ground and first floors, as portrayed in the following series of drawings. They have in turn led to some further alterations to the existing building including the puncturing of the ground floor allowing access to the basement, the removal of a large portion of the first floor creating a significant double height space and the installation of tinted glazing surrounding the central light well of the space. The upper level was retained for the storage of stock such as alternative sizes of garments, shoes and rings, and the everyday runnings of the local businesses involved. Sharing this space would be the team required to run the logistics of this social experiment. Following the extensive management of the initial pack-in, they would spend the majority of their time in each stopover location preparing for the next stages in the storeâ&#x20AC;&#x2122;s journey - researching and securing tenants, organising new locations and their required customisation pre-arrival, and confirming travel arrangements of both themselves and the required display elements. For them the shop is a fetish in itself.

FOOD

WOMENSWEAR

BEAUTY + ACCESSORIES

MENSWEAR

FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

HOMEWEAR

BOOKS

FLORIST

SPORT

NOTE: THE COLOUR KEY BELOW CONTINUES TO BE APPLIED TO THE DRAWINGS THAT FOLLOW.

JEWELLERY

SHOES

FOOD HOMEWEAR

BOOKS WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES SHOES

FOOD

WOMENSWEAR

MENSWEAR

BEAUTY + ACCESSORIES

JEWELLERY

TECHNOLOGY

CHILDRENS DEPARTMENT

JEWELLERY FLORIST

SPORT SHOES

HOMEWEAR

BOOKS

TECHNOLOGY

CHILDRENS DEPARTMENT

TECHNOLOGY

CHILDRENS DEPARTMENT

FLORIST

SPORT

FLORIST

SPORT

JEWELLERY

SHOES

HOMEWEAR

135

TECHNOLOGY

CHILDRENS DEPARTMENT

BASEMENT PLAN AT 1:200

136

GROUND FLOOR PLAN AT 1:200

137

FIRST FLOOR PLAN AT 1:200

138

SECOND FLOOR PLAN AT 1:200

139

The APPROACH FROM WELLESLEY STREET AT 1:100, showing glimpses of the interior spaces instilling a sense of curiosity for those walking past

VIEW THROUGH EXISTING ARCHED WINDOW AT STREET LEVEL

On approach from Wellesley Street the potential customer is able to view obscured blocks of colour and joins in material through the existing arched windows that line the streets which are in contrast to the even and refined stone surface that forms the exterior of the building. The exaggerated size of these openings further obscure the scale of the interior and help to instill a sense of curiosity, encouraging them to enter and experience the â&#x20AC;&#x2DC;New Theatre of Shoppingâ&#x20AC;&#x2122; for themselves.

142

Entry from the corner of wellesley and lorne streets

On arrival from the primary entrance on the corner of Wellesley and Lorne Streets one enters into a large double height space. Lining the Lorne Street windows to the left are the six entrances to the basement bookstore below while to the right is a wall of brightly coloured blooms tucked into their floristsâ&#x20AC;&#x2122; stations. In the distance, are glimpses of the mirrored cafe counter above which, lurks traces of light reflected from the jewellery store located on the floor above.

143

Down to the basement bookstore

On closer inspection, the underground bookstore is only accessible via the bookshelf itself. The existing floor is punctured in six locations, a bookshelf and single bare light bulb hanging through each. The shelves are constructed from tinted glass, suspended from a series of threads at either end of their length. These are secured on the ceiling of the first floor above, as are the pendant lights which sit directly above a single wooden stool at the foot of the shelf.

144

Up from within the basement bookstore

The bookstore creates the unusual ability to access every book on the shelf, no matter the height. Upon descent however, it becomes apparent that the usual overwhelming feeling of looking up to a wall of books has in fact been intensified by the continuation of the dense group of threads to the ceiling two floors above. Additional shelves, not previously visible extend into the murky corners of the basement, however the only light bright enough to read by are the six single bulbs so prominently located.

145

FROM the florist to its CENTRAL hydroponic flower farm beyond

Having emerged from the darkness of the basement below, one is alerted by its prominent red wall to the adjacent central light well, and the hydroponic flower farm that it houses. The flowers are all single stemmed bulbs, emerging from individual holes in the perforated stainless steel floor plate. From its glazed extents one is able to access the inner nook of the floristâ&#x20AC;&#x2122;s stations seen on arrival where the perforation of the floor changes scale and you become surrounded by freshly snipped stems.

146

The inset FLORISTSâ&#x20AC;&#x2122; stations AND WELLESLEY STREET WINDOWS BEYOND

The upper level of the stations are accessible via steel ladders which help to support the single folded length of sheet metal from which they are built. Here the florists themselves are able to work at an elevated bench, collating individual stems as they are grown, into the lush bunches subsequently slotted into the station itself. Secondary access is possible via an elevated gantry which eventually connects after a change in level, to the mens and womenswear departments above.

147

Reflections in the mirrored cafe wall panels

At the far end of the ground floor, behind the suspended bookshelves and the bright red wall of the hydroponic flower farm sits the Department Storeâ&#x20AC;&#x2122;s in house cafe. The space was positioned to allow for maximum people watching, with mirrored surfaces extending up the far wall next to large communal tables. This ensures that while appearing relatively subtle, customers can view the full length of the ground floor, as far as the main entrance and observe the experience of others.

148

Outdoor seating in Khartoum place FROM inside THE CAFE

The Khartoum Place facade is punctuated by three pairs of french doors at ground level allowing the cafe to open out into the public open space beyond when the weather allows. Seating is available in the form of a single long platform, which helps to comprise the new temporary stairs, lined on each side by a series of identical stools. It is at this point that the juxtaposition of inside and outside is made apparent, as is the destructive effect of consumption on the fetish, illustrated by the litter left behind.

149

The shoe department from Khartoum place courtyard

The shoe store is tucked away in the back corner of the ground floor, but is highly visible from Khartoum place, especially when climbing the new stairs to Kitchener Street. It is comprised of five grids of threaded brass rods which double as support for individual shoes and also as a means to elevate a series of staggered polished marble platforms. Each shoe might be viewed from a variety of different angles and heights before one actually gets to it, by which point you may have seen something else.

150

WOMEN’S SUFFRAGE CENTENARY 1893 - 1993

Temporary retrofitting of the stairs to kitchener street

The existing stairs between Khartoum Place and Kitchener Street and the ‘Women Achieve the Right to Vote’ mural in which it is tiled contribute to a space that exemplifies the argument that the unfashionable often becomes invisible. For this reason in combination with the temporary nature of this project, it is unnecessary to remove the existing. Instead a prominent temporary platform and stairs are to be constructed to interlock with the existing, encouraging conversation as to the future of the space.

151

The childrenâ&#x20AC;&#x2122;s play pen FROM THE KITCHENER STREET ENTRY

Upstairs the childrenâ&#x20AC;&#x2122;s playpen sits adjacent to the Kitchener Street entrance. Parents can drop their children in one of two contained pens, but they do so knowing that their children will be watched by all coming and going from the store. The wired glass pens are elevated on steel legs to adult eye level and children are provided with all toys available for purchase, meaning that the observing adults can make judgements as to which children and therefore toys they might like or dislike.

152

The jewellery store AND UPPER LORNE STREET WINDOWS BEYOND

The jewellery store is composed of an overhead faceted ceiling, in which the jewels are individually concealed. Instead of peering down into a locked glass cabinet as is usual, one must instead reach up and open each point, until something of interest is found. Without curiosity and exploration, nothing is able to be seen. The space is highly visible from the double height entrance below, which when combined with the reflective nature of the ceiling, acts as a deterrent from dishonesty.

153

THE CENTRAL ELEVATED womenswear and menswear departments

Finally the mens and womenswear departments sit in the first floor space of the existing lightwell. Garments hang directly over the hydroponically grown flowers below, suspended on cold, moulded metal hangers. In order to touch and select an item one must reach over the safety rails and carefully retrieve it, making sure not to let it fall into the moist space below. This encourages customers to make their choice by sight rather than touch, in a situation incredibly similar to shopping online.

154

JUXTAPOSITION OF GARMENTS AND FLOWERS WITHIN THE CENTRAL CORE

Within the entire ‘New Theatre of Shopping’ the most successfully fetishised space arguably occurs within the existing central light well. Here the juxtaposition of garments and flowers contained within the same space and visible in the same line of sight, combined with the potential for physical undesirable interaction between the two product types create a tension that does not occur elsewhere.

155

The retreat from lorne street AT 1:100, showing glimpses of the interior spaces instilling a sense of curiosity for those walking past

PERCEPTUAL MONTAGE photographs are stills extracted from a stop motion animation created to depict the experience of those that visit the ‘New Theatre of Shopping’. It is intended to read as a series of individual perspectives, memories and subconscious associations collated in a form reminiscent of an Instagram video. The ‘blackness’ and absence of context dramatises materiality and surface as explored in ‘Dutch Still Lifes’ (page 63) and Philippe Starck’s ‘Le Lan’ (figure 9, page 87).

The following series of

When viewed at a rate of 12 images per second, the stills blend together giving the impression of the movement of both the surfaces depicted and one’s eyes. Single images such as the row of books and the fluorescent yellow threads of the bookshelf appear as if a single image as depicted in ‘The Bookshop Stills: Series Two’ on page 161 in a case of ‘perceptual montage’. The inclusion of seemingly unrelated images, such as a sprinkler head or mouse, give indication as to more complex sensory elements such as temperature and humidity, and the sense of enclosure. These suggestions allow for a greater understanding of the overall experience, which is strengthened during each viewing as more and more becomes clear - as would be the case in reality. The video in its entirety can be found in the CD pocket at the back of this thesis, or online at https://vimeo.com/78130152. 159

The bookshop stills: series one

Peering from the edge of the square holes punctuating the existing polished concrete floors at ground level, one can just make out the lower extremities of the bookshelf â&#x20AC;&#x2122;s threads. The density of the existing concrete is in huge contrast to the transparent shelves and the eye catching fluorescent threads by which they are supported.

160

The bookshop stills: series two

At either end of each shelf the fluorescent threads provide regular spaces for individual books to slot into. The transparency of the shelves means that the books which they support appear floating in certain lights and of greater importance. This also increases the sense of precariousness as one descend into the largely obscured basement below.

161

The florist stills: series one

The perforated stainless steel floor of the hydroponic flower farm allows single stemmed blooms to emerge from the nutrient filled water that flows below. The plate sits flush with the existing polished concrete floors which have been ground down within the lightwell on a slight angle to allow the water to effectively drain.

162

The florist stills: series two

The circular perforated plate meets flush with one of a more elongated pattern which forms a pathway through the heart of the flower farm. This second material extends to form the floor into which the floristsâ&#x20AC;&#x2122; stations are inset ensuring that the dripping condensation and dead plant matter can be effectively sluiced away.

163

The shoe store stills: series one

The highly polished surface of the five staggered marble slabs hover above the existing polished concrete floors of the ground floor. Despite both being of similar density the marble is undoubtably considered to be of greater value instilling a sense of importance and calculation in the shopper.

164

The shoe store stills: series one

The threaded brass rods which are inset into the marble slabs not only support the secondary plane, but also the shoes themselves. The shoes appear precarious however due to the perceived quality of the materials a sense of belief and trust is instilled in the customer.

165

The childrenâ&#x20AC;&#x2122;s department stills: series one

The square and regular form of the childrenâ&#x20AC;&#x2122;s department, combined with the material choice of wired safety glass gives the impression of a cage, rather than a playpen. The gridded pattern of the wire might evoke thoughts of walls of animals caged for scientific testing in a laboratory.

166

the childrenâ&#x20AC;&#x2122;s department stills: series one

Small pink hands pressed up upon the panes of wired safety glass evoke a sense of being unwillingly trapped in a way not unlike a mouse in a cage with its pink ears and gleaming eyes. Adding to this is the reflective nature of the glass, emphasising the fact that they are there to be observed rather than for their own benefit.

167

The JEWELLER stills: series one

Each mirrored peak making up the faceted ceiling floating above oneâ&#x20AC;&#x2122;s head has the ability to enclose an item of jewellery. The extremity of each peak is affixed on a small hinge, hiding a black cushioned bed for the precious pieces of jewellery which they house. contd...

168

The JEWELLER stills: series TWO

..contd. This is made apparent relatively quickly - all it would take would be seeing someone else open one. It is always unclear however, exactly what, if anything, is inside. Finding the perfect jewel is much like a real life game of memory, clearly visible to those occupying the double height space below.

169

PART FOUR

171

DEPICTION OF THE EXPERIENCE and depiction of the ‘New Theatre of Shopping’ was of increased importance as a result of previous exploration into the limitations of traditional architectural drawings in conveying an architectural experience (from page 88).

THE USE OF MEDIA

In choosing to print drawings directly onto adhesive window decals as shown in the following images it made it possible to simplify the existing building back to its most simple linear definition - as was the intention with the building in reality. Block colours were subsequently of greater contrast to the slightly tinted glass windows and became of greatest focus. Due to the nature in which the clear film dries over time, it meant that even after a week there were still pockets of warm, foggy air in between the drawings and the glass, adding another layer to the drawings. It would be hugely interesting to explore how this effect could be manipulated to successfully display the potential thermal qualities of the spaces of which they were suggestive. The experience of the crit was altered from what is generally perceived to be normal, as those watching found themselves becoming distracted by what lay beyond the lines on the glass. Text was reflected, as is usual in the placement of signage on shop windows , questioning the ‘correct’ way to view the drawings and indeed which side of the glass the presentation would actually take place on.

173

View from the exterior of the geyser building

174

mirrored text prompted the questioning of ‘inside’ and ‘outside.’

175

Drawing details as affected by the exterior surfaces beyond

178

Drawing details as affected by the exterior surfaces beyond

179

CONCLUSION This investigation set out to explore possibilities for the future of the physical retail store; an issue posed by the ongoing and significant growth of the online shopping industry. Our relationship to the ambiguous ‘fetish’ was presented as a plausible starting point with the intention of it becoming a means to create further engagement with atmosphere in architecture. The exact definition of the fetish remains blurry at best. What has become clear in regards to the fetish however, is its undeniable rooting in personal interpretation and misinterpretation as influenced by one’s wider culture. These many interpretations, conscious or otherwise, have provided the greatest insight into the concerns of this thesis. Had there been a clear truth it may have gone so far as to hinder the search for an outcome. In the context of the core subject matter of the fetish, the material object, personal beliefs and culture equate to values; something also intrinsic to the understanding of the retail industry. Throughout the history of commerce we as consumers have come to place significant value on an item’s use, the materials from which it is constructed, the amount and skill of labour embedded in it and the more illogical

181

personal response one has to an object. These are of course still of value today, and will almost certainly continue to be so. But of increasing value is the experience through which we purchase something. It is this creation of experience that has the potential to positively differentiate the physical from the online store, and lends itself to the exploitation of ones previously mentioned tendency to personally, physically and emotionally respond to a material object. Through the exploration of the fetish, and curation of material objects throughout history it has become very clear that such an approach is not new within the creative industries. Both the Dutch Still Life paintings and Curiosity Cabinets of the seventeenth century were created with the intention to spark emotion in their viewers using the familiar in an unfamiliar way. Their use of texture and surface, and the sensory responses and memories associated with them is not always as effective when emitted from a computer screen and online store however. This research has ultimately suggested that one way in which we might approach retail in the future is to exploit the uncontrollable nature in which we as individuals respond and often become attached to the material object. In many of the specific investigations of which this thesis is comprised these feelings have been heightened. This was achieved through the intense repetition of specific and relatively bespoke items in a way which, in combination with the ‘furniture’ with which they are displayed, they form the architectural definition of the overall space. Using the fetish as a guiding principle for design based methodology, this thesis has produced a playful concept for a ‘New Theatre of Shopping’. Furniture and montage have been identified and implemented in a series of suggestive gestures as not only spatial constructs, but furthermore, perceptual boundaries of the experience of shopping. In taking this approach a sense of ‘perceptual montage’ has been achieved. It encourages the shopper to the reconsider what is and should be considered a ‘normal’ shopping experience, acting as a catalyst for future change and mending the hole initially created by the over-fetishisation of technology, by exploiting our undeniable tendency to fetishise.

182

LIST OF FIGURES

Two - the fetish

FIG 1. DIAGRAM SHOWING PIETZ’S FETISHISM FRAMEWORK, AUTHOR’S OWN. (22) FIG 2. Constant’s New Babylon. (26) Mark Wigley, Constant’s New Babylon: The Hyper-Architecture of Desire (Rotterdam: 101 Publishers, 1998) 93. FIG 3. Richard Kuiper’s ‘de vlieg’ from ‘dutch still life in plastic’. (31) Richard Kuiper, “Dutch Still Life in Plastic,” http://www.richardkuiper.com/index2.html (accessed September 03, 2013).

‘THE NEW FETISHISED STILL LIFE’ 1 - 7. AUTHOR’S OWN. (32 -37)

PART TWO - THE MATERIAL OBJECT

‘FURNITURE FOR MEDIATION’ 1 - 8. AUTHOR’S OWN. (50 - 57)

PART TWO - THE MONTAGE

FIG 4. Abraham van der schoor’s ‘vanitas still life’ (62) Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (London: John Murray Publishers Ltd, 1983) FIG 5. ferrante imperato’s ‘Dell’historia naturale di Ferrante Imperato Libri’, naples (1955) (66) Oliver Impey and Arthur MacGregor, eds., The Origins of Museums: The Cabinet of Curiosities in Sixteenth and Seventeenth-Century Europe (Oxford: Oxford University Press, 1985)186. FIG 6. poster for exhibition ‘this is tomorrow’. Richard Hamilton, just what is it that makes today’s homes so different (68) Lara Schrijver, Radical Games (Rotterdam: NAi Publishers, 2009), 148.

’ATMOSPHERIC INVESTIGATIONS’ 1-3. AUTHORS OWN. (74 - 77)

187

PART TWO - THE EXPERIENCE

FIG 7.

‘PROGRESSION OF ECONOMIC VALUE’, AUTHORS OWN (82) adapted from B. Joseph Pine II and James H. Gilmore, The Experience Economy, Updated ed. (Boston: Harvard Business Review Press, 2011) 34.

FIG 8. zumthor’s ‘thermal vals’ (87) Julieanna Preston, “In the Mi(D)St Of,” Architectural Design 78, no. 3 Interior Atmospheres (2008) 7. FIG 9. philippe starck’s ‘le lan’ (87) Julieanna Preston, “In the Mi(D)St Of,” Architectural Design 78, no. 3 Interior Atmospheres (2008)7. FIG 10. michael meadow’s the venetian /experiential sequence I (89) Anna Klingmann, Brandscapes: Architecture in the Experience Economy (Cambridge, MA: MIT Press, 2007)206. FIG 11. michael meadow’s the venEtian /experiential sequence II (89) Anna Klingmann, Brandscapes: Architecture in the Experience Economy (Cambridge, MA: MIT Press, 2007)206. FIG 12. STILLS FROM lee gibson’s LOST IN TRANSLATION (91) Lee Gibson, “Lost in Translation/S,” http://www.leegibson.us/LOST-IN-TRANSLATION-S (accessed 04/28, 2013). FIG 13. PHILIPPE Rahm’S ‘Interior Weather, Interpretive Architecture’ (91) Philippe Rahm, “Interior Weather, Interpretive Architecture” http://philipperahm.com/data/ projects/interiorweather/ (accessed 04/28, 2013)

‘spatial blueprints’ 1-3. (AUTHORS OWN). (96 - 99)

PART THREE - THE FIT OUT

FIG 14. the ‘BON MARCHE’ department store, paris, france (1876), (104) Peter Coleman, Shopping Environments: Evolution, Planning and Design (Oxford, U.K.: Architectural Press, 2006)34 FIG 15. HARRODS OF LONDON DIAGRAMS (AUTHOR’S OWN) (106 - 109) adapted from Harrods “Store Guide” http://www.harrods.com/content/the-store/store-guide/ (accessed 10/04, 2013) FIG 16.

PLAN DIAGRAMS OF TYPICAL MALL LAYOUTS WITH 1, 2, 3 AND 4 MAGNET STORES (AUTHORS OWN). (111) Adapted from Barry Maitland, The New Architecture of the Retail Mall (London, U.K.: Architecture Design and Technology Press, 1990)13

FIG 17. ERIC KUHNE ASSOCIATES’ ‘BLUEWATER’ MALL KENT, U.K. (1994) (113) Civic Arts: Eric R Kuhne & Associates, “Bluewater Resort,” Civic Arts, http://www.civicarts. com/bluewater.php (accessed September 03, 2013).

188

FIG 18. WESTFIELD 277 NEWMARKET, AUCKLAND (AUTHOR’S OWN) (114 - 115)) adapted from Westfield 277 Newmarket “Find A Store” http://www.westfield.co.nz/ newmarket/directory/search/store (accessed 10/04, 2013) FIG 19. THE DEPARTMENT STORE DIAGRAMs (AUTHORS OWN) (116 - 117) Approximate layout from personal site visit FIG 20. THE BUILDING FOLLOWING ITS 1992 MITCHELL & STOUT RENOVATIONS Mitchell & Stout Architects, “New Art Gallery,” http://www. mitchellstoutarchitects.co.nz/new-art-gallery/ (accessed September 03, 2013). FIG 21. photograph from 12 june 1919 auckland weekly news titled ‘new post office and telephone exchange for auckland (121) Sir George Grey Special Collections, Auckland Libraries, AWNS-19190612-37-2 FIG 22. RENDER BY Wardle architects OF THE BUILDING FOLLOWING ITS CURRENT RENOVATIONS (123) FIG 23. map showing site location within the auckland cbd (at approximately 1:15,000) authors own. (124) FIG 24. DIAGRAM SHOWING AXIS AND KEY ASPECTS OF SITE LOCATION (AT APPROXIMATELY 1:15,000) AUTHORS OWN. (125) FIG 25. DRAWINGS OF MITCHELL AND STOUT FIT OUT (2002) AT APPROXIMATELY 1:150 (126 - 127). Adapted from Consent Drawings by Wardle Architects (2013) FIG 26. DRAWINGS OF WARDLE ARCHITECTS FIT OUT (2013) AT APPROXIMATELY 1:150 (128 - 129). Adapted from Consent Drawings by Wardle Architects (2013)

‘THE NEW THEATRE OF SHOPPING’ PRESENTATION DRAWINGS. (ALL AUTHOR’S OWN.)

BASEMENT PLAN AT 1:200. (135)

GROUND FLOOR PLAN AT 1:200. (136)

FIRST FLOOR PLAN AT 1:200. (137)

SECOND FLOOR PLAN AT 1:200. (138)

- THE APPROACH FROM WELLESLEY STREET AT 1:100 (140 - 141) - VIEW THROUGH EXISTING ARCHED WINDOW AT STREET LEVEL. (142) - ENTRY FROM THE CORNER OF WELLESLEY AND LORNE STREETS. (143) - DOWN TO THE BASEMENT BOOK STORE. (144) -

FROM WITHIN THE BASEMENT BOOKSTORE. (145)

- THE FLORIST TO THE HYDROPONIC FLOWER FARM. (146) - THE INSET STALLS OF THE FLORIST. (147) - REFLECTIONS IN THE MIRRORED CAFE WALL PANELS. (148) -

OUTDOOR SEATING IN KHARTOUM PLACE. (149)

189

- THE SHOE DEPARTMENT FROM KHARTOUM PLACE COURTYARD. (150) - TEMPORARY RETROFITTING OF THE STAIRS TO KITCHENER STREET. (151) - THE CHILDREN’S PLAY PEN. (152) - THE JEWELLERY CAVE. (153) - WOMENSWEAR AND MENSWEAR DEPARTMENTS. (154) - JUXTAPOSITION OF GARMENTS AND FLOWERS. (155) - THE RETREAT FROM LORNE STREET AT 1:100. (156 - 157)

‘PERCEPTION OF THE EXPERIENCE.’ (STILLS TAKEN FROM STOP MOTION VIDEO) ALL AUTHOR’S OWN UNLESS STATED OTHERWISE.

THE BOOKSHOP STILLS: SERIES ONE. (160)

- THE BOOKSHOP STILLS: SERIES TWO. (161) - THE FLORIST STILLS: SERIES ONE. (162) - THE FLORIST STILLS: SERIES TWO. (163) - THE SHOE STORE STILLS: SERIES ONE. (164) - THE SHOE STORE STILLS: SERIES TWO. (165)

- THE CHILDREN’S DEPARTMENT: SERIES ONE. (166) Note: Rabbits in Cages taken from: http://www.ikerkuntza.ehu.es/

- THE CHILDREN’S DEPARTMENT: SERIES TWO. (167) Note: Mouse in Cage taken from: http://sevaniskin.com/ - THE JEWELLER STILLS: SERIES ONE. (168) - THE JEWELLER STILLS: SERIES TWO. (169)

PART FOUR

SERIES OF PHOTOGRAPHS FROM FINAL CRITS AND ‘STUDIO 13’ EXHIBITION OF DRAWINGS INSTALLED ON THE WINDOWS OF THE GEYSER BUILDING, PARNELL. ALL AUTHOR’S OWN. (174 - 179; 184 - 185; 198 - 199)

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The drawings themselves were of a planned obsolescence, and were removed following the exhibition...

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...Unlike those printed on paper, they cannot be retained

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