INTERIOR ARCHITECTURE MONOLOGUE - AJPEGALLERY by Silviena

interior architecture monologue

ajpegallery the untold stories

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silviena 0335921

CONTENTS Chapter 01: INTRODUCTION

1.0 Introduction to the Project

1.1 Medium - Process + Development

Chapter 02: BACKGROUND 13

2.0 Background Research 14 2.1 Program + Narratives 15

2.2 Site Proposal: Location, Population + Potential

2.3 References: Case Studies + Precedents

(COMING SOON) Chapter 03: ANALYSIS

3.0 Demography

3.1 Project Analysis

3.2 Branding + Image

3.3 Benchmark

3.4 Market Analysis/Competitive Analysis

3.5 Competitor(s)

3.6 Bibliography

chapter 01: INTRODUCTION

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”.

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”.

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.

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.

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)

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.

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.

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.

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. 11

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”. 12

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.

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. 15

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.

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.

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.

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.

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. 20

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 21

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. 22

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.

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.

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. Interaction - Conversations - Empathy - Reminiscing

Objects

- Photographs

Users

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

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.

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. 27

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.

...

chapter 02: BACKGROUND

[ 2.4 ] [ REFERENCES ] ...

B. IRASUN A

...

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.

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 30

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.