aJPE[G]allery - MONOLOGUE - SILVIENA 0335921

interior architecture monologue

ajpe[g]allery the unto ld st o ri es

silviena 0335921

CONTENTS Chapter 01: INTRODUCTION

1

1.0 Introduction to the Project

2

1.1 Medium - Process + Development

3

Chapter 02: BACKGROUND 14

2.0 Background Research 15 2.1 Program + Narratives 16

2.2 Site Proposal: Location, Population + Potential

20

2.3 References: Case Studies + Precedents

27

Chapter 03: ANALYSIS 33

3.0 Demography 34 3.1 Project Analysis 36 3.2 Branding + Image 39 3.3 Benchmark 42

3.4 Market/Competitive Analysis

44

3.5 Competitor(s) 47

chapter 01: INTRODUCTION

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chapter 01: introduction

[ 1.0 ] [ introduction to the project ]

The issue that I have discovered from my topic, photography, is about the photographs taken by the photographer. Photographs taken by both professional and amateur photographers can be posted for audiences through social media such as Instagram, VSCO, and more. But then, photographs that are posted on the social media outcome will have different texture and colours outcome in different digital media. The difference in the range of the audience can be seen through likes and comments on their posts. For professional photographers, they can broaden their audiences even more by having an exhibition. Professionals would be able to hold their exhibitions from their incomes and sponsorship. On top of that, they can have a successful exhibition due to the number of audiences they have. Meanwhile, for amateurs, it is rather hard for them to hold their own exhibition.

By sighting the photographs, audiences will use their senses to admire the artworks and the story behind them. Seeing them through phones, tablets, laptops, computers, and other media is not as pleasing as seeing them directly in the printed medium. By having this medium, even amateur photographers could exhibit their artworks and gain more audiences through this exhibition held in the space. This could let anyone have the opportunities to exhibit their untold stories and memories through photographs printed with the same quality and shown in the same digital display. This leads audiences to feel, experience, and relate to the photographs. By creating a space where even amateurs could exhibit their artworks, anyone could share their untold stories or memories through photographs by having it exhibited in this medium called the “rotating rack”.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] PROBLEM STATEMENT

Having a photography exhibition for professional photographers might be a common case, but not for amateur photographers. Professional photographers have the advantages of having more audiences, incomes, and sponsorship to have a personal exhibition. Meanwhile, that is not the case for amateur photographers.

SOLUTION

By creating a space where amateurs could exhibit their artworks, anyone could share their untold stories or memories through photographs by having it exhibited in this medium called the rotating rack.

PURPOSE

This is to let anyone have the chance to exhibit their untold stories and memories through photographs printed with the same quality and shown in the same digital display. This leads audiences to feel, experience, and relate to the photographs. Therefore, by creating a space where everyone could exhibit their artworks, anyone could share their untold stories or memories through photographs by having it exhibited in this medium called the “rotating rack”.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] FUNCTION

The A1 sized framed photographs that will be exhibited here will stay for two weeks as the topics of the photography will be different every two weeks. After two weeks of the exhibition, photographers could take home their printed photographs or they could choose to have them placed in the library for visitors to get to see them. There will be three mechanisms in this medium which are rotation during the exhibition, extension and spring for the installation of the photographs. This rack will rotate in two different ways including clockwise and anticlockwise rotations, it will rotate every three minutes. The photographs will rotate using this automatic sliding mechanism. Visitors could choose to stay in one place, move around, or stay seated to see the artworks, these could lead them to a new experience as well.

Another feature in this rack is that there will be a barcode given for each photograph for visitors to scan it and get information about it. The barcode that will link them to the website for the information will be shown in the rotating rack side by side to each of the artworks. The reason why I made a designated website for the photo exhibition is that audiences or visitors could only get to know the information of each photograph if they went to the gallery themselves.

MATERIALS

The materials used in this medium will be mainly stainless steel with matte finishing.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 1ST PROGRESSION

Fig. 1.1.1 Perspective View

Fig. 1.1.2 Top View (Scale 1:100)

As shown in figure 1.1.2, the top view of the medium represents the “eye” of the camera which is the lenses.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 1ST PROGRESSION

Fig. 1.1.3 Elevation View (Scale 1:100)

This rotating rack work as a medium for the photo exhibition, where in the rotation system is similar to how a camera lens works.

Fig. 1.1.4 Isometric View (Scale 1:100)

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 2ND PROGRESSION

Fig. 1.1.5 Perspective View

Fig. 1.1.6 Top View (Scale 1:100)

Shown in figure 1.1.6 which is the top view of the medium that shows more detail of the components inside the camera lens designs.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 2ND PROGRESSION

Fig. 1.1.7 Elevation View (Scale 1:100)

Fig. 1.1.8 Installation (Scale 1:100)

Shown in figure 1.1.8 is how the rack moves for the installation of the framed photographs. This is to ensure the ease of people during the installation due to the big sized framed photographs and ensure the quality of the photographs itself during the installation process.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 2ND PROGRESSION

Fig. 1.1.9 Exploded Isometric View (Scale 1:100)

The design and mechanism in this rack itself representing how a camera lens moves during the zoom in and out process and focus, it also represents how lights come through in the camera lens with different settings made.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 3RD PROGRESSION

Fig. 1.1.10 Isometric View 1 (Scale 1:100)

Fig. 1.1.11 Top View (Scale 1:100) 10

chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 3RD PROGRESSION

Rotation

Fig. 1.1.12 Elevation View (Scale 1:100)

During the exhibition, the A1 framed photographs will have two rotations which are clockwise and anti-clockwise. It will rotate every three minutes.

Extension

Spring

Fig. 1.1.13 Installation (Scale 1:100)

There will be vertical mechanism movements for two parts of the medium for the installation of the framed photographs where this can be extended to a certain height for easy installation.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] 3RD PROGRESSION

Fig. 1.1.14 Isometric View 2 (Scale 1:100)

The design and mechanism in this rack itself represents how a camera lens moves during the zoom in and out process and focus, it also represents how lights come through in the camera lens with different settings made.

For the full experiences of the visitors, the medium was made for each of the visitors to be able to come and see the exhibition differently. First of all, by standing still to see all the exhibited photographs. Secondly, by going around the medium itself to see all the photographs with a different perspective of view. And lastly, visitors would be able to just sit still and enjoy the exhibitions as long as they would like to. There could be conversations going on as well between the visitors of the exhibition.

The medium itself will be a two-level exhibition that leads to different kinds of experiences for each level. On the lower level, visitors could see the photographs “in” and “out”. On the other hand for the upper-level visitors could only see the photographs “out”.

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chapter 01: introduction

[ 1.1 ] [ The rotating rack ] FINAL LOOK

Fig. 1.1.15 Elevation View

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chapter 02: BACKGROUND

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chapter 02: BACKGROUND

[ 2.0 ] [ BACKGROUND RESEARCH ]

Abandoned photography is the topic that I decided to work on. The mindset that led me to do this topic is the thought of photography taken by unpopular photographers and people who have interests in photography. Nowadays, from my experience so far, both popular and unpopular photographers post their works on a social network called Instagram. From this social network, how they expand their work for the audience to see is through hashtags. But this came to my mind, the audiences could only see the art of photography through their screens, what kind of feelings and point of view did the audiences have? On top of that people have different types of electronic devices to view the photography works which means the outcome colours of the works are different from each of the audiences’ devices. It is not like they really want to print the works out, because different kind of ink and paper factors in the final outcome of the works.

In my opinion, photography could be anything and it can be captured everywhere. It can be photographed with anything, including phones and cameras from the cheapest to the most expensive. What are important are the stories, memories and the feelings of the photographs when they took them. In this case, anyone who has interests in photography and photographs can have their works exhibited in this gallery. The works they submit to be exhibited does not have to be perfect as long as the stories and feelings can be delivered to the audiences. People could express their memories and feelings through photographs. Every photograph deserves to be appreciated when it has stories behind them. Therefore, the main of aJPEGallery will be the untold memories and stories that they would like to share through photographs.

Therefore, the main focus of aJPEGallery will be the untold memories and stories that they would like to share through photographs.

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chapter 02: BACKGROUND

[ 2.1 ] [ program + narratives ] A. PHOTO EXHIBITION

Exhibition of the photographs through the rotating rack which is the medium. There will be topics chosen every two weeks for the exhibitions. Other than the physical prints of the photographs, there will be photographs to be exhibited through a display screen.

B. DEPOSITORY

Area where anyone can submit their photographs regarding the topics that have been prepared by the gallery. Submitted photographs will be kept here until the installation for the exhibition week. Not only photographs, visitors and users could also submit their unwanted, old, or broken camera and other medias used for taking photographs. These items given by them will be shown to other visitors in the collection display.

C. LIBRARY AND ARCHIVES

Where exhibited photos and photo submissions of those people who are not chosen to get their photographs exhibited to be kept here for visitors and those who missed the past exhibition and also an appreciation to the photographs that are not chosen for the exhibition from the gallery and the visitors.

D. TALKSPACE

An area where invited guests will be having a talk seminar with different topics to share their stories, memories, skills, and knowledge with visitors.

E. COLLECTION AND MATERIALS DISPLAY

Displaying the old or junk parts of unused and broken cameras. Including the camera lenses that were used in phone cameras. Displaying the materials used in making the camera, and also showing the mechanical function of the camera interactively.

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chapter 02: BACKGROUND

[ 2.1 ] [ program + narratives ] F. LENS REFRACTION SHOWCASE

An attractive light showcase through different types of lenses used in a camera lens design. Letting visitors experience being inside the “camera lenses”.

G. PHOTO STUDIO

Studio made for visitors to come and take their new stories and memories alone or together with the people they come with. There will be one or two photographers coming for a certain day to take a photo of visitors in this photo studio. Visitors could choose which photographer style they like the most and would like to take a photo of themself with that style. This will be creating new memories for themselves. Other than that, this could be opportunities for amateur or beginner photographers to start their career in this field.

H. PRINTERY

Printing services including self-printing for visitors with their photographs saved in their media and providing different kinds of media printing services.

I. SHOP

Selling products or merchandise from guests that were invited during an ongoing event of the talk seminar. There will be items sold in this shop that are related to photography, such as frames, camera films, camera’s body parts such as lenses and many more.

J. CAFE

A small corner cafe selling drinks for visitors to purchase before going around the spaces. Drinks that they could enjoy while exploring each of the activities provided in the space.

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chapter 02: BACKGROUND

[ 2.1 ] [ program + narratives ] USERS’ EXPERIENCES

As the owner of the photographs

People who have known about this place would directly go to the depository to submit their photos according to the topics of the week or month for the exhibition and topics that are in the library and archives. After submitting, the photographs will be going through the process of deciding where to place the photographs, either they will be exhibited or will be kept inside the library and archives. All the photographs are ensured to be shown to the visitors.

As the visitor of aJPEGallery

Visitors will come to the gallery for the exhibitions, library and archives, and other programmings that are happening inside the space. After coming for exhibitions, visitors get to know that they could even share their own stories and memories with other people. As a result, they are interested in sharing their photographs as well and would like to submit their photographs to the depository.

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chapter 02: BACKGROUND

[ 2.1 ] [ program + narratives ] SWOT ANALYSIS

Strength

A new way of exhibiting photographs is one of the uniqueness of this gallery. As well as the fact that anyone could participate to have their photographs exhibited in this gallery.

Weakness

By opening this gallery, it is needed for the gallery to have good marketing to be known to the public.

Opportunities

This could be an opportunity for people who would like to start their career in this field. Also for those who would like to share their stories through photographs.

Threat

The challenges I might have to deal with is the participation of the people submitting their photographs to the depository.

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chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] A. LOCATION

81 & 83, Jalan Tun H S Lee, City Centre, 50000 Kuala Lumpur, Wilayah Persekutuan Kuala Lumpur B. SITE ANALYSIS

Jalan Tun H.S. Lee architecture responds contextually on how it is influenced by the surroundings and respecting what is already there unlike Constructivism or Deconstructivism that deliberately work against established geometries and fabric. Historic landmarks include the Guan Di temple (1887), Sin Sze Si Ya Temple (1864) and Sri Maha Mariamman Temple (oldest Hindu Temple-1873) showing cultural diversity and potential of a tourist destination Its strategic location near Chinatown makes the street part of Chinatown’s Walk, becoming a major tourist spot with high traffic and accessibility.

Originally named High street and then it is called Jalan Bandar and eventually named Jalan Tun H.S. after the country’s first finance minister (1957-1959) Colonel Tun Sir Henry Lee Hau Shik.

Jalan Tun H.S. Lee is home to about 200 shop houses where some are sensitively reused for cafes and guesthouses while others are gutted, sealed and left to rot.

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chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] C. HISTORICAL TIMELINE

1864 (Sin Sze Ya Temple)

Before 1870s

Cantonese and Hakkas who had come to the city because of the tin trade.

1870s Civil was erupted within the chinese community.

1873 (Sri Maha Mariamman Temple)

1880s Pre-war shophouses are the main property types.

1887 (Guan Di Temple)

1900s

British involvement after clearing up of civil war. Higher number of colonial shophouses.

1930 (Lee Rubber Building)

1950s

Originally named High Street and subsequently named Jalan Bandar.

1960

Malayan banking set up its first branch known as Mansion House.

1988

Street named Jalan Tun H.S. Lee after the country’s first finance minister.

2000 More commercial buildings built along the street.

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chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] D. ACCESSIBILITY

Public Transportation - Nearby Stations

1) Tram - Masjid Jamek - 350M (4 minutes walk)

2) Bus - KL1939 Hab Medan Pasar (TSS) - 120M (1

minute walk)

3) Bus - Jalan Yap Ah Loy - 70M (1 minute walk)

4) Bus - KL103 Maybank - 60M (1 minute walk)

5) Bus - KL102 Central Market (Timur) - 100M

(1 minute walk)

6) Bus - KL111 Central Market - 400M (5 minutes

walk)

7) Bus - KL1819 Dataran Merdeka - 450M (5 minutes

walk)

8) Bus - KL1934 Muzium Tekstil Negara - 220M

(3 minutes walk)

9) Bus - Bangkok Bank 2 - 170M (2 minutes walk)

Car Park Lot

1) Central Market Parking - 400M (5 minutes walk) 2) India Visa Kuala Lumpur Parking - 230M (3 minutes walk)

Pedestrian Walkway 22

chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] E. SURROUNDINGS

In this area, within the radius range of approximately 500 meters with the chosen site as the midpoint, the uses of building include as a commercial, mixed uses, traditional trades, heritage building, institution, place of worship, market streets, and photo studio and printing. The heritage buildings that users could visit around the area include Merdeka Square and Masjid Jamek of Kuala Lumpur. For market streets, there are Kasturi Walk and Petaling Street Market. There are three photo studios and printing shops around the neighbourhood.

F. POPULATIONS

The estimated number of residents in Downtown KL is 3,099 where the average population density is 21 people per hectare.

The actual sleeping night-time population is less than 10% of the day-time population. The residential population is low and comprises of either high-end apartments housing professionals, or low-cost, migrant-housing for general workers and labours. Majority of households are in a north-south central corridor with concentrations in Masjid India, Leboh Ampang/Jalan Gereja Precinct and Chinatown. The lack of residents leads to minimal night-time activity, fewer ‘eyes on the street’ and a poor sense of community.

G. POTENTIAL

By choosing these shophouses as my project site, I could be able to get more advantages from the users, surroundings, and the building itself. Since the site itself is located in the middle of Kuala Lumpur City Centre. Therefore other than locals, I will be able to have foreigners such as tourists, international students and workers as my target users. Since the site is surrounded by a lot of heritage buildings and market streets where foreigners will definitely come to visit. The easy accessibility to the chosen site is one of the things that makes me choose it. By having bus stops and car parks around the area within two to five minutes walk.

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chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] H. SWOT ANALYSIS

Strength

Located in the middle of the Kuala Lumpur Creative and Cultural District (KLCCD). Located in a safe walk area.

Weakness

There is only one public access to enter the building through the front door and to overcome this there can be two openings for going in and exit.

Opportunities

Having the current old building and its facade helps to interconnect with the topic of the project.

Threat

Multiuser pathways for both pedestrian and vehicular that might be dangerous and pollution noise.

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chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] I. BUILDING ANALYSIS

The style of the shophouses chosen is considered as an early 20th-century three-storey shophouses with the unique facade.

Having shophouses that have been built and still standing for such a long time is astonishing. It also shows that the buildings could be occupied for any use. And through that time the uses of the buildings have been different. In the year of 2013, the use of the building is for kopitiam by occupying only the ground floor of the shophouse. In 2017, the building is empty with no one occupying it for any uses. In the beginning year of 2020, it was occupied as a cafe. The shophouses have a very detailed design of the facade despite the fact that it was built ages ago.

The total area of the building is 1.170 sqm. The facade of the shophouses is facing east where the interior space could get morning sun rays coming in, leading the interior space not getting hot afternoon sun rays coming inside. The style of the shophouses chosen is a Grecian-Spanish style shophouse. The 3 storey Grecian-Spanish shop lots were built during the second world war which was during the ruling of the British Colonies. Functional shops on the ground floor were separated from the residential spaces upstairs. The inspiration for these buildings were from Straits Chinese and European tradition.

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chapter 02: BACKGROUND

[ 2.3 ] [ site proposal ] J. AEIOU ANALYSIS

Activities

- - -

Visiting an exhibition.

Watching a showcase.

Attending an event or talk session.

Environment

- - -

Calm ambience Soothing Limited people are restricted to avoid crowdness.

- - -

Conversations Empathy Reminiscing

Objects

-

Photographs

Users

Interaction

- Groups of community - Photography entusiast - Photographers - Locals and tourists with stories to share and tell through photographs.

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chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] A. PACE GALLERY HEADQUARTERS

Fig. 2.4.1 Pace Gallery’s research library at 540 West 25th Street, New York (Source: theplan.it)

Fig. 2.4.2 Space Circulation

The straightforwardness of the space circulations leads to the calm feeling with a clean and sleek look. The way visitors come in and go around the space will be in order as well with this circulation.

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chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] A. PACE GALLERY HEADQUARTERS

Fig. 2.4.3 Natural Lighting

Having natural lighting coming into the space itself for lighting and ventilation purpose is important. In this space, the natural lighting came from the ceiling and how the architect built the ceiling window itself is located in a place where visitors could enjoy the framed artworks hanged on the wall.

Fig. 2.4.4 Furniture

Using white as the color of the cabinets bring out the colors from the different books and albums that are placed inside. Leading the focus of the visitors to the different kind of books and albums for them to pick it up and read it.

From this, I would to create a space in my project that could use the advantages of having natural lighting coming inside the space fully. Having a good space circulations for the comfort of the visitors. As well as having the photographs as the main focus in some area inside the space.

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chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] B. IRASUN

Fig. 2.4.5 Lunaphotofestival Booktalk (Source: irasun.co.kr)

Fig. 2.4.6 Multipurpose Area

In IRASUN, the space for them to sell the books and having booktalk events are in one area. Which leads them to move ... everything to the sides of the room for the chairs to be placed in the middle of the space.

Showing that even a small area of space could be a place of sharing stories, knowledges, experiences, and more, it leads to the thinking of anywhere could be a place of sharings and interactions.

...

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chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] ...

B. IRASUN A

B

...

...

Fig. 2.4.7 Mood Differences A - Poor Space Quality, B - Good Space Quality ...

To have audiences to listen attentively without getting bored or sleepy, a good quality of space is needed as it affects their focus. Imagining ourselves inside a space where it is too dark on top of that with a poor air ventilation when it is needed for us to listen attentively. Our focus will be disturbed due to the poor quality of the space. Therefore, having a good quality of space based on the purposes and activites held inside the room is important for users to be comfortable while using it.

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chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] C. HYUNDAI MOTORSTUDIO BUSAN - REFLECTIONS IN MOTION

Fig. 2.4.8 A work display done to let visitors experience the materials and changing movements (Source: nest-one.com)

Fig. 2.4.9 Display Layout

The display was designed for visitors to be able to interact with the materials used in making the cars in an interactive way, where people could play around with the materials itself through the work display. It is also made circular that leads for visitors to go around the display itself to see the materials.

Fig. 2.4.10 Display Elevation View 31

chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] C. HYUNDAI MOTORSTUDIO BUSAN - REFLECTIONS IN MOTION

Fig. 2.4.11 Floor Materials (Source: nest-one.com)

The floorings of Hyundai Motorstudio Busan are made from the eco-friendly materials recycled from the vehicle waste. This is one of the sustainability aspects of this place.

From this, I would like to create a space for visitors to be able to interact with the objects inside the gallery interactively. Letting visitors go through a full experience of photography through the programming inside the space. Having sustainability aspects is one of the things I would like to have as well in aJPEGallery.

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chapter 03: ANALYSIS

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chapter 03: ANALYSIS

[ 3.0 ] [ demography ]

Having a diversity of people with a wide range of interests, backgrounds, and experiences as the customers will bring a successful event to aJPEGallery. Not only locals but also foreigners, each of them can share their experiences regarding the city of Kuala Lumpur in this space. They can share their points of view regarding the occasion that has happened in their life. Since each of us lives a different life no matter how similar we are.

Below are the demographics of Kuala Lumpur City Centre: A. EMPLOYMENT DENSITY

Employment density provides insight into the dynamism of the local economy, which consists primarily of retail, fashion and tourism services. The population density provided by resident data should essentially justify the excavation event in the area after business hours.

25,000 20,000 15,000 10,000 5,000 0

MALE

FEMALE

MIGRANT

Fig. 3.0.1 Employment Density Graph (Source: thinkcity)

Job density is highest along the central axis of the spine from Jalan Ampang to Chinatown and west along Leboh Pasar Besar.

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chapter 03: ANALYSIS

[ 3.0 ] [ demography ] B. POPULATION DENSITY

The sleeping night-time population is less than 10% of the day-time population. The estimated number of residents in the KL city centre is 3,099 with an average population density of 21 per hectare. The residential population is small and consists of highend apartments inhabited by professionals or affordable residential buildings for immigrants for handymen and workers. Most of the furniture is located in the central north-south corridor centred on Masjid India, Leboh Ampang or Jalan Gereja and Chinatown.

A lack of residents minimizes nighttime activity, reduces visibility into the street, and reduces a sense of community.

2,500 2,000 1,500 1,000 500 0

MALE

FEMALE

Fig. 3.0.2 Population Density Graph (Source: thinkcity)

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chapter 03: ANALYSIS

[ 3.1 ] [ project analysis ] A. SWOT ANALYSIS

Strength

This gallery could be a place where information and knowledge regarding the city of Kuala Lumpur are shared through photographs.

Weakness

The gallery needs to have a good marketing strategy to be known to the public as it is a start-up business.

Opportunities

aJPEGallery provides a space for amateur or beginner photographers to get their photographs acknowledged by the public.

Threat

Low interests from the public and misdoubts from photographers. Therefore to avoid and overcome the matters, the gallery is needed to have a business plan for this.

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chapter 03: ANALYSIS

[ 3.1 ] [ project analysis ] B. AEIOU ANALYSIS

Activities

The main activity of aJPEGallery will be the photo exhibition. Where all the photographs were taken by anyone who has submitted their photo to the depository of the gallery. Covering the topics given by the gallery regarding the city of Kuala Lumpur.

Environment

aJPEGallery is located in an area where a lot of communities pass by, including pedestrians, public transportation, traveller (both locals and foreigners), and workers. Thus, the environment outside the gallery will be a rowdy but good-natured crowd. The gallery would like to have the environment inside to be calm and could bring the customers comfort. Hence, to achieve that environment there will be limited restrictions number of people inside the gallery. Other than that, it is also needed for social distancing inside the gallery due to the pandemic.

Interaction

There will be a variety of interactions going on inside and outside aJPEGallery. Firstly, photographers who submitted their photos, while taking that photo. The photographers are inside the society of Kuala Lumpur, whether it’s with the people, surrounding environment, and others. They are interacting with the things they captured with their camera. Secondly, the exhibited photographs, customers are interacting with it and unknowingly the customers are interacting with the photographers by looking at the photographs. Thirdly, between the customers and photographers directly by sharing a conversation in the talkspace inside the aJPEGallery.

Last but not least, for customers who came to take their portrait taken by the photographers in the photo studio. Photographers interact with the customers by capturing the best angle of the customers’ portraits including their facial expressions. By looking at the customers’ facial expressions, photographers could get a glimpse of what are the customers’ feelings.

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chapter 03: ANALYSIS

[ 3.1 ] [ project analysis ]

Objects

The main and important object inside the gallery will be the photographs exhibited and kept in the library and archives. In view of the fact that by having these photographs then only the business can go on.

Users

Everyone is welcome in aJPEGallery. Not only for photographers or photography enthusiasts, since this place also provides information regarding the city of Kuala Lumpur, local and foreign citizens get to know more about what is going on in this city through photographs. As not all people around the world are present when there are happenings going on in this city. Not the big happenings, but casual or habitual happenings that are going on within a community.

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chapter 03: ANALYSIS

[ 3.2 ] [ branding + image ] A. SLOGAN/MOTTO

The untold memories.

B. DESCRIPTION

aJPEGallery is a place that engages customers to share their stories and memories through photographs.

C. MISSION STATEMENT

It is our goal to have a diversity of people to share their stories with each other, and through that, it will lead them to learn about each other through the photographs.

D. BRAND LOGO

Fig. 3.2.1 aJPEGallery Logo

Based on figure 3.2.1 which is the logo of aJPEGallery, the logo was made to portray a ‘camera’ with a smile on its’ face to show that everyone is welcomed in this place. Instead of a flat design, the logo was made three dimensional to show that it is a building which is the gallery.

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chapter 03: ANALYSIS

[ 3.2 ] [ branding + image ] E. WEBSITE

Main Website - http://ajpegallery.webflow.io/

Exhibition Website - http://ajpegalleryexhibition.webflow.io/

Creating a website for customers to access it in or out of the gallery. There will be two websites made which are the website made particularly for the rotating exhibition, wherein the barcode that is placed beside the photo frame, that barcode will link them to the website for the information will be shown in the rotating rack side by side to each of the artworks.

The other website will be the main website where all can access it without scanning any barcode. What is inside will be related to the other programming inside the gallery. Therefore, without going to the gallery, customers get a glimpse of what is going on inside the gallery. Other than that, the website will be used for customers coming to the gallery itself. Such as, having to get the order number of the self-photo shoot, self printery, and more.

Since the gallery is expecting not only the youngsters, the gallery will still provide manual orders for the elderly or those who got some cases regarding their phones and such.

Fig. 3.2.2 Website’s Look 40

chapter 03: ANALYSIS

[ 3.2 ] [ branding + image ] F. SOCIAL AND MEDIA PLATFORMS

Providing social and media platforms for aJPEGallery will help the business to grow each day, week, month, and year. There are also the advantages and disadvantages of having a social media platforms for a business.

Advantages - Attract customers, get customer feedback and build

customer loyalty.

- Increase market reach, including international markets.

- Able to do market research and reduce marketing costs.

- Could increase revenue by building customer networks and advertising.

- Develop your brand.

- Exchange ideas to improve the way you do business.

- Being able to recruit skilled staff for example through job

networking sites like LinkedIn. - Increase traffic to your website and improve its search

engine ranking.

- Being able to keep an eye on your competitors.

Disadvantages -

- -

- -

-

If you don’t have a clear marketing or social media strategy, the benefits may be reduced.

Needs daily monitoring.

If you don’t actively manage your social media presence, you may not see any real benefits.

May get unwanted or inappropriate behaviour on your site.

Online exposure could attract risks such as negative feedback, information leaks or hacking.

False or misleading claims made on social media (by your business or a customer) can be subject to consumer law.

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chapter 03: ANALYSIS

[ 3.3 ] [ benchmark ]

From the research that has been done, there is this festival called Kuala Lumpur Photography Festival. The Kuala Lumpur Photography Festival (KLPF) is the biggest imaging event in Malaysia and possibly Southeast Asia. As travel and photography always go hand-in-hand, the KLPF also include activities in the travel section. Each year photographers and travellers converge at the KLPF to attend the seminars from industry leaders, interact with experts, build new relationships, experience new products and win attractive prizes.

A. COST

KLPF

Each photographer is required to pay RM20 upon submission and each payment is valid for submission up to 10 images.

The organiser will refund the submission fees to the photographers who are not selected for the exhibition.

B. PROCESSES

KLPF

This exhibition is open to all interested photographers (in Malaysia and other countries). By submitting their work, the photographer confirms that the submitted images are original work created solely by the photographer, that the photographs do not infringe on the copyrights, trademarks, moral rights, rights of privacy/publicity or intellectual property rights of any person or entity, and that no other party has any right, title, claim or interest in the photograph. By submitting to this exhibition, all photographers agree to abide by each and all the rules under the terms and conditions.

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[ 3.3 ] [ benchmark ] C. STRATEGY

KLPF

New programs are introduced from time to time to add value the festival. From year 2010, the organisers introduced the KLPF Photo-creator of the Year Award, a biennial event to recognise and promote emerging photographers from Malaysia. Since 2012, the travel section is given more prominence with dedication to travel, that is, the (FITE) Free Independent Travel Exchange.

Packed with interactive programs, the FITE is the platform for travel industry operators/organizations to engage with travellers.

The first KLPF was held on 14-November 1997 and has since become an annual event to look forward to. The KLPF & FITE is open to the public and admission is free. Whilst the Covid-19 pandemic brought unprecedented challenges in the year 2020, the festival continued to thrive with an online presence.

D. SERVICES

KLPF

- - - - -

Conduct photography workshops and courses Photography equipment test and review Travel talks and seminars Organize travel (local and overseas) for photography events Organize the annual Kuala Lumpur Photography Festival

E. OPPORTUNITIES AND GOALS

aJPEGallery

aJPEGallery opportunities are to let customers have more experiences inside the gallery itself other than exhibition visits.

KLPF mostly focuses on the exhibition itself, on the other hand, aJPEGallery provides a variety of programmes for customers other than the photo exhibition. What aJPEGallery can pick up from KLPF is the experiences they had on holding exhibitions and events.

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chapter 03: ANALYSIS

[ 3.4 ] [ market analysis ]

These are the projects regarding photography exhibition that will be placed in the positioning map along with aJPEGallery.

The first one would be the Kuala Lumpur Photography Festival, which is the main competitor of aJPEGallery. Secondly, it is #ThisIsKualaLumpur. #ThisIsKualaLumpur presents a diverse and multidisciplinary cross-section of Kuala Lumpur’s thriving photography community to the Urbanscapes goer. Expect an enthralling photo project that includes a group exhibition, insightful talks, day and night photography walking tours around Downtown KL.

Lastly, we have KL20X20. The aim of KL20X20 is to celebrate all that has been achieved in the city and its inhabitants over the last decades in making Kuala Lumpur one of the most vibrant cities in SE Asia. Not least, the importance of the arts both grassroots and mainstream initiatives, have propelled the formation of many collaboratives and groups in creating new and interesting works. Within the photography circle, we feel that this has taken a backseat in recent years with mainly derivative works, and hence, we at KL-Ga aim to restore the role of photography to the forefront with KL20X20.

For #ThisIsKualaLumpur and KL20X20, it is an exhibition with a time period held on an event space such as REXKL and The Zhongsan Building. Wherein #ThisIsKualaLumpur exhibition went on for 11 days in the year of 2017. Meanwhile, for KL20X20, the exhibition went on for 10 days in the year of 2020.

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chapter 03: ANALYSIS

[ 3.4 ] [ market analysis ]

Fig. 3.4.1 aJPEGallery

Fig. 3.4.2 Kuala Lumpur Photography Festival

Fig. 3.4.3 #ThisIsKualaLumpur

Fig. 3.4.4 KL20X20 45

chapter 03: ANALYSIS

[ 3.4 ] [ market analysis ] Knowledge

Entertainment

Image/Look

Experience

Fig. 3.4.5 Positioning Map LEGENDS aJPEGallery KLPF #ThisIsKualaLumpur KL20X20 46

chapter 03: ANALYSIS

[ 3.5 ] [ competitors ]

aJPEGallery main competitor will be Kuala Lumpur Photography Festival also known as KLPF. The ground behind this is that KLPF is an event business that does a photography exhibition, where there are events where anyone is permitted to submit their photos according to the event’s title or topic, also having a variety of topics for each of the exhibitions. For aJPEGallery, the main topic will be around Kuala Lumpur itself, to have a connection to the site selection as well. The topics will include architecture, locals, food, and more of the city of Kuala Lumpur. If the first branch which is located in Jalan Tun H S, Kuala Lumpur is successful, there might be a chance for the business to open another branch in another city. For example, Johor Bahru, wherein the topics there will be focusing on the city of Johor Bahru. So, every aJPEGallery in every city will have different topics, different feelings, and different programmings applied.

KLPF is a temporary exhibition where they rent a space to hold the exhibition, meanwhile, aJPEGallery is a permanent exhibition space with different kinds of topics chosen for every month.

On top of that, exhibited photos still can be accessed by customers in the library and archive. Each of us has our own strengths and weaknesses, and in the end, it is all about how we run the business, set the goals, and how do we achieve those goals.

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ajpegallery

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