STORE, MSD, ALPHA60 CHEE KIT WAN THE EXTENDED JOURNEY TO THE DRESSING ROOM S1 20
Melbourne School of Design, University of Melbourne Alpha60 CHEE KIT WAN 1147525 The Extended Journey to the Dressing Room msd.unimelb.edu.au/alpha60 Semester 1 2020 1
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CONTENTS A. TASK 01 REAL (P. 2-18) B. TASK 02 VIRTUAL (P. 19-47) C. REFERENCE TASK (P. 48-53) D. TASK 03 MIX (P. 54-70) E. PRECEDENT STUDY (P. 71-79) F. POINTCLOUD EXPORT (P. 80-93) G. FINAL PROJECT (P. 94-119)
A. TASK 01 REAL (PP. 2-18)
P. 2
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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2.
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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1. The Lenin Tribune DIY making kit (El Lissitzky, 1920) 2. Shirt from SS20.1 Collection (ALPHA60) 3. BigRep ONE (BigRep, 2014)
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
FOLD SHIRT 3D PRINTER Task 01 attempts to generate an experimental appraoch to the storage and the exhibition system for cultural materials. The experiment would focus on the relationship of an asset selected from ALPHA60’s collection (Shirt), a conceptual driver (Fold) and the fabrication method (3D Printer). The act of folding, in definition, converges itself into three main mechanical gestures, i.e. 1) To bend over on itself so that one part of it covers another. 2) To be bent/rearranged into a flatter/ compact form, to make easier to store/ carry. 3) To gently drape.
Folding has the intention of transfiguring/ disfiguring, e.g. when shirt is folded, it becomes a more compact form of itself, while losing its original wearability. Conversely, folding is most commonly found in paper, e.g. the Lenin Tribune by Lissitzky, which was what is known as the beginning of “paper architecture”. Users are allowed to fold (transform) their own miniature version of the moving speaker’s podium from the Russian Civil War. In this case, folding also forms space, form surface into volume. Although contradictory, can the methodology of paper-folding be re-interpreted to fit into the context of shirt-folding? How does 3D-printing help facilitate this approach?
P. 5
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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Other than being worn, the shirt has always been in a folded form. The life cycle of a shirt, has always been about fitting into the shipping carton, to the retail display case, to the dresser drawer of the closet, and the suitcase. (Diller Sccofidio +Renfro, 1994) In other words, ever since its creation, the shirt has always been folded into its iconic rectangular, flat shape; Folding forms part of its identity.
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In Bad Press, the shirt protests against the act of ironing. “The regimented ironing pattern was devised so that a minimum of energy would be expended in pressing a shirt into a flat shape with the goal of fitting it economically and efficiently into a range of orthogonal storage systems.� (Diller Sccofidio +Renfro, 1994) The creases become the emblem of efficiency, refinement and domestic perfection.
1. Bad Press: Dissident Ironing (Diller Scofidio + Renfro, 1993)
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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An almost-cliche phenomenon in a store would be how the shirts are always neatly folded and properly arranged. The shirts, it seems that they have the sheer will of defying the daily harassment of customers who pick, unfold, shove, wrap, fit and chuck them. Of course, they have the storekeeper... This is an attempt to showcase the notion of shirt-folding, the quick 3-seconds operation of a storekeeper folding a draping piece of shirt after a customer. The fascinating yet mundane act of shirt-folding, the set of pre-thought arm gestures which akin to the array of instructions found in an origami booklet, creates an opportunity of a streamlined approach to containing, exhibiting and preserving the life cycle of a shirt. The possibility of printables on a 3D printer can then be immediately exploited to generate iterations of 3D-printed origamis, which can be used to house the shirt. The product can then be exhibited in the form of a mannequin. The near-limitless possibilities of additive manufacturing, with printable materials like polymer, can be used to generate simple hinges to facilitate the process of folding. Once folded, the
mannequin can act as a container for the shirt, a protective layer. “if something can be folded, it can be unfolded and re-folded.� (diller + scofidio, 1994) The set of imprinted instructions along with the pre-existing folds and creases on the mannequin can then facilitate the transactions for both the storekeeper and the customer. Storekeeper- the mannequin can be easily folded for storage, unfolded for presentation. Customer- the mannequin can be easily folded for purchase, unfolded for use. To fold is to be bent or rearranged into a flatter or compact form, to make easier storage and carry. Thus, the concept of folding can also be expanded spatially, in the form of a portable, foldable, accessible store.
2. Conceptual hybrid collage of an experimental storage system for shirt (First Iteration)
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A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
STORAGE METHODS (PRECEDENT STUDIES)
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A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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1. Kodak Recomar 33 compact folding bed camera (Eastman Kodak Company, manufacturer.) Collapsible structure creates opportunity for folding mechanism.
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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2. Film Archive Centre (LAC Media Archives and Services) Storage system which object is compressed into minimum before stored.
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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3. Barry Hall Melbourne Public Library (Rudd, Charles 1849-1901 photographer) Storages are concealed as part of the structure, dissolving itself into the “wall”.
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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4. Storage for James Miller and Company Pty Ltd, (Sievers, Wolfgang, 1913-2007 photographer.) Storage systems.
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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5. Stage Lift (unnamed source) Ideation of storage as exhibition.
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
Folding is to bend over on itself so that one part of it covers another; Folding is to be rearranged into a flatter/ compact form of itself. To understand folding, one must first understand the life cycle of a shirt. A shirt has always been and always will have to be folded at every stage of its lifetime, i.e. to be folded to fit economically into storage, from the warehouse to the flagship store, from a carrier bag to the inside of a wardrobe, from the dryer to the suitcase for travelling. Folding becomes part of its identity. Its soft, velvety nature allows a shirt to be “disciplined” at every stages of its life. The act of folding is simple, only simple, when a surface is creased and has a memory of being folded: To FOLD-THE-FOLD. The storage system attempts to streamline the act of shirt-folding, which would contain, exhibit, display, and protect the shirt, instore and out-of-store.
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The system involves a collapsible mechanism which would allow itself to be concealed into any surfaces (e.g. walls and floors), for storage. Attached to it, is a customisable folding panel which acts as the “mannequin” of a shirt. The set of imprinted instructions along with pre-existing hinges and folds can then facilitate the storage process for both the storekeeper and the customer. A detachable mannequin means the storekeeper can securely store the shirts on-site, while customers can securely store it off-site. Every components of the mechanism are to be individually 3D-printed to ensure its customizability and adaptability to different site environments. The use of polycarbonate filament might be useful in this case for increase structural durability. With the modularity of the system, it can be easily adapted to support different modes of exhibition, generating a matrix of collapsible storage units which can be reduced into nothingness.
Transcript for FOLD-THE-FOLD-THE-FOLD-
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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1. 1. FOLD-THE-FOLD-THE-FOLDConceptual hybrid collage of an experimental storage system for shirt
A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
EXPERIMENTAL MODEL (FOLDING-3D PRINT)
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A. TASK 01 REAL. ALEX WAN. STORE MSD ALPHA60.
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2.
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1, 2, 3. Four Bar Origami Vertex (BYU_CMR) The experiment involves a thick-folding method, where carefully designed linkages allow a degree of motion, allowing solid objects to be folded. Illustrated represents sector angles of 120, 100, 80 and 60 degrees, forming a 360 degree vertex.
B. TASK 02 VIRTUAL (PP. 19-47)
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B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
MIXED-REALITY (PRECEDENT STUDIES)
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B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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1. Repair, for Australian Pavillion at the Venice Biennale 2017 (Baracco+Wright architects and Linda Tegg) Mixed Reality technology as tools for coexistence, of environment for spatial superimposition and juxtaposition.
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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2. The Weather Project (Olafur Eliasson) Virtual World can be manifested digitally in a familiar environment ; it can also be manifested physically in an unfamiliar dimension, to be “out-of-place�. Virtual world aims to supercede the natural formation of life, generating an alternate meaning to spatiality and conventions.
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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3. The Third Hand (Stelarc) Mixed reality, a form of augmented reality where physical and the virtual coexist in harmony with each other- as an extension to our peripheral vision, to our body and mere existence.
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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4. 4. Technical Drawings of Microsoft Hololens and Rendering of the Shirt (First Iteration)
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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5. 5. Conceptual hybrid collage of the virtual storage system for shirt (First Iteration)
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
TECHINICAL DRAWINGS (MICROSOFT HOLOLENS) -RESTARTED
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B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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2.
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1. Front Elevation 2. Right Elevation (Not-to-Scale)
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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3.
3. Top Elevation (Not-to-Scale)
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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4.
4. Axonometric Drawing (Not-to-Scale)
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
ASSET RENDERS (SHIRT) -RESTARTED
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B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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2.
1, 2. Asset Renders (PointCloud)
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4.
3, 4. Asset Renders (WireFrame)
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5, 6. Asset Renders (Vray)
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
VIRTUAL STORAGE (PRECEDENT STUDIES)
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B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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1. Everything All At Once (15Folds) QR code as a form of informational storage engaging with the use of AR technology which converts “tagged” , virtually stored artefacts into spatialsensitive digital objects onto users’ devices.
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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2. Nude Descending (Gjon Mili) Photographic sequence as a method of virtual storage. To store a physical object virtually, is to convert its “physicality” into digital data, this includes the storage of “movements”, “motion”, “time”?.
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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3. The Naked City (Guy Debord) Situationist’s notion of psychogeographical drift (derive) which aims to map out the individual experience of a city/ an space, as a way of recording/ storing subjective interpretation of occurance in the form of a map, converting the physical world into virtual data.
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
VIRTUAL STORAGE (EXPERIMENTATIONS)
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B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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1. 1. Conceptual hybrid collage of the virtual storage system for shirt (Second Iteration)
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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2. Equilateral Triangle (Vesica Piscis) The goal of the task is an attempt to achieve equilibrium in the three elements, i.e. folding-shirtmixed reality. “How to fold a shirt in a mixed reality?”, “What is shirt-folding in mixed reality?”, “Why is shirt folding the mixed reality?”, “What is the shirt folding in a mixed reality?” The elements actually form a complete sentence structure: “Shirt (noun), Folding (verb), Mixed Reality (context/location).
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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P. 41 3. Misses’ Shirt (New Look 6885, 1980) Investigating the identity of a shirt since its invention, it is an object representing class, neatness, sophistication and uniformity. The representation of shirt is always creaseless, even when it is not worn, it is folded into a perfectlyedged, rectangular form. What if a shirt in its natural state, does not subject to rectilinear folding methods? What defines neatness? Was the adaptability of shirt neglected when it has to be stored?
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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6. 4, 5, 6. Superimposition (Mili/Eliasson; Baracco+Wright architects & Linda Tegg /unknown source; Stelarc/15Folds ) Mixed-reality involves simultaneously two-or-more realities, most commonly, the integration of the digital and the physical. In this case, mixedreality is the superimposition of two different contexts, backgrounds, subjects, organisms, atmosphere, timeline, etc.
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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7. In and Out (Dior Homme Paris SS14, P. 43 Villa Eugenie) Fashion as a performative culture, a process which involves the viewer and the performer, the audience and the exhibitionist. It involves a constant exchange of who is in the suit, e.g. audience also narcissistically imagining themselves in that suit. Fashion show comes right after the production of new attires before releasing it to the consumers, can this midpoint be disintegrated? What is the boundary to be blurred? Ultimately, clothings are for those who purchase...
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
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8. The Best Toy Ever (unknown source) The Microsoft Hololens represents one-form of mixed reality, i.e. integrating digital into the physical. However, mixed-reality experience does not have to be reserved to the use of an electronic device. Ultimately, it is a reality that we choose to observe, the superimposed reality that we choose to accept.
B. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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9. 9. Conceptual hybrid collage of the virtual storage system for shirt (Third Iteration)
B. TASK 02 VIRTUAL. ALEX WAN. STORE MSD ALPHA60.
Ever since its invention, the shirt has always been an object of neatness, of discipline, of formal, and of properly-folded. It is with this notion in mind that forms the spectacle of neatly-folded shirts in every store, stacked and displayed in its unnatural rigidity. This obligation contributes to the never-ending process of “folding” and “unfolding”, the compulsive behaviour of every shopkeeper to “fold” after every “unfold”, to regulate the posture of every piece of shirt they get their hands on. In point of fact, the very nature of the materiality of a shirt is antagonistic to the idea of neatness. The shirt is supposed and is born to be fluid, to flow, to adapt to the body it is worn on; the shirt is commissioned to provide a makeshift intimacy, to comfort the flesh. Therefore, the act of folding a shirt is more than just the orthodoxical method to achieve the rectangular “neatness” that we constantly experience- “To fold a shirt is to acknowledge its nature, neatness is when they are all unique and different from each other.” The “FASHION STORE” is a place for exhibition, for performance, for purchasing, but ultimately it is a place to produce and to store. The system would require two categories of users, i.e. SHOPPERS and PERFORMERS. The process of making, involves the use of a Hololens: a mixed-reality goggles which plays back precursory events in the form of chronophotography. The rows of cameras on the sides would relentlessly capture the sequence of actions of the PERFORMERS. This enables the storage of the process of making, in the past and emerging , generating a vast library of collective experiences. When all PERFORMERS are required to observe their precedents to inspire new making of the shirt, new P. 46 memories are thus created upon the memories of others. The making includes, touching, pulling, kneading, twisting, throwing, tearing, and other mechanical gestures of a human being. Once satisfied, the shirt can then be displayed for purchase or for the next “performance”.
For the SHOPPERS, mixed-reality becomes the notion of juxtaposed events: the soundlessness of a shirt/ the chaos around, the process of buying/ the process of making, the beginning of a runway show/ the finishing of a performance, the expectation of a purchasing culture/ the unprofessionalism of the “storekeepers”, etc… Mixed-reality experience is never privileged to the users of digital gadgets, but it is about the idea of parallel existence, the subject being out-of-context, the blurred boundary between bipolar events, creating the uncanniness and the bizarreness of an atmosphere. For the PERFORMERS, mixed-reality is about superimposition of events and contexts, viewed via the glass of a HOLOLENS. Mixed-reality, in this case, showcases the perpendicular relationship between: the existence of a shirt/ the intangibility of the images interacting with it, the physical flesh/ the ghosted images of the past, the production of the past/ the act of browsing of the current, the role of a storekeeper/ the mere user of the system, etc… The overlaying of information becomes a continuous mode of production, physically, virtually, digitally and logically. The “FASHION STORE” attempts to redefine the act of shirt-folding, the convention of what a shirt/ fashion could be. It highlights the process of making and exhibiting, the personalised and cumulative experience of every user, past and present. The manufactured environment of the system acts as a framework for presentation and representation, to showcase the performative and exhibitionsim nature of both the SHOPPERS and the PERFORMERS.
Transcript for FASHION STORE
C. TASK 02 REAL. ALEX WAN. STORE MSD ALPHA60.
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10. 10. Conceptual hybrid collage of FASHION STORE
C. REFERENCE TASK (PP. 48-53)
C. REFERENCE TASK. ALEX WAN. STORE MSD ALPHA60.
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Eileen Gray was known for her total-design approach of E-1027, a modernist villa intended for Gray and her then lover, Jean Badovici. She designed every elements and details of the house, interior and exterior, including every piece of furniture on site. Gray wrote in the 1929 issue of L’Architecture Vivante, “Even the furnishings should lose their individuality by blending in with the architectural ensemble.”
1. Exterior shot of E-1027 (Eileen Gray, 1929)
C. REFERENCE TASK. ALEX WAN. STORE MSD ALPHA60.
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2. Interior shot of E-1027 (Eileen Gray, 1929)
C. REFERENCE TASK. ALEX WAN. STORE MSD ALPHA60.
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Interests were drawn towards one specific piece of her furniture collection, the Lou Perou. It was named after Gray’s last home, Lou Perou, which she built at the age of 76 above St, Tropez. (Classicon, 2020) The table is able to transform and adapt itself, accomodating multiple occassions. The folding extension is highlighted as an offset from the symmetrical form of a table, only supported by one single leg.
3. Lou Perou with Black Top (Vray Render) 4. Lou Perou with White Top (Vray Render)
C. REFERENCE TASK. ALEX WAN. STORE MSD ALPHA60.
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Table-top: High Gloss Lacquer Legs and Frame: Polished Chromium-plated Tubular Steel
5. Extended version of the table (Vray Render)
C. REFERENCE TASK. ALEX WAN. STORE MSD ALPHA60.
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The offset extension gives hint of being a collapsible component of the table. The table exploits the temporarity of the extension as it has the tendency to swivel into its unsupported state (due to the orientation of the hinge). Being supported by only one leg, the extension seems simple and convenient. Once the leg is retracted, the table “naturally� minimizes itself, succumbing into the force of gravity.
6. Retractable chromium-plated steel tubing (Vray Render)
D. TASK 03 MIX (PP. 54-70)
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D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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The never-ending spectacle of us “folding” the shirt after its every “unfolding” quickly becomes an act of deception- folding a shirt becomes a “scripted” act to achieve a pretentious image (of what a shirt isn’t). We denied the natural materiality of a shirtthe soft and intimate gesture of draping over our body when it is worn; instead the shirt has to represent the idea of regulated, of disciplined and control.
1. Excerpt from FASHION STORE (Task 02 Virtual)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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Unlike a coat and a shoe (which has a rigid structure the body conforms to), a shirt is more honest. It adapts and submits to the body its worn on. As it has the privilege of direct interaction with the human flesh, it also becomes revealing, hinting about the body that is hiding underneath.
2. Hillas Shirt/White (ALPHA60)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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Virtual data is dishonest. While the technology attempts to disguise itself into the real environment, it is deceiving. 3D-scanned data becomes part of the act as computational data aims to represent itself as the real object. The line between fantasies and realities quickly becomes ambigious.
3. Microsoft Hololens Patent Drawing Explaining the detail of a virtualinformation anchoring program into the real environment.
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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3D-printing attempts to manifest virtual data into the reality, correcting the dishonesty of virtual by being real. Once it is printed, it cannot be changed, the footprint is permanent in our reality. Since it has direct influence to the real world, it can never disguise, can never be fraudulent. 3D-printing is honest.
4. Clothes pegs on wall (Mehmet Ali Uysal) Illustrating the action-reaction of a foreign element (pegs) on a smooth material (wall), how the effect is permanent and “real�.
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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Our vision can be easily deceived, especially in the case of Hololens. While the eyes are contemplating the virtual, alternate reality; the body becomes exposed, naked, susceptible to the most tangible sensation, touch (e.g. wearing of shirt). The dichotomy between honest and dishonest, real and virtual, tangible and intangible, physical and digital... Contradicting experience of whether to submit to the virtual or to embrace the real.
5. Conceptual Collage of Task 03 MIX (Main body in accordance to HausRucker-Co’s Mind-Expander Series)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
MIXED STORAGE (STUDIES)
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D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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Fashion show has always been about the spectacle of visual performances, elegant catwalks, provocative lighting effects, etc. Audiences looking from a distance, admiring the relationship between the fabric and the body- the attempt to create a perfect visual symphony between the two. It is an act involving spectatorism and showmanship.
1. Dior Homme Autumn x Winter 2013/14 Beijing Fashion Show (Kris Van Assche)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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The dominant sense of vision is once again illustrated in the act of window-shopping, where shoppers admire the garments in relation to a perfectly-proportionate body of a mannequin. Just like watching the garment behind a thick security glass, the significance of an artificial spectacle distances us from the essential experience of what a garment should present, i.e. touch.
2. Window Shopping with Mannequins (Jeremy Kramer)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
3 & 4.
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While our eyes are busy contemplating the visual of the garments (shirts), how much attention is drawn towards its physical body? The curves, the creases, the folds; how it is actually so personal and bespoke. While it embraces our skin, how much of it are we actually feeling? Touch, is the only sensory mode which integrates our experiences of the garment with ourselves.
3. Restriction (Linda Kristiansen) 4. Ballerina (Kevin Francis Gray)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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The use of high level of illumination leaves no space for mental withdrawal. The absence of darkness leaves no room for privacy, even the dark interiority of self is exposed and violated. (The Eye of the Skin, Pallasmaa) The complete exposure of sight heightens the sense of insecurity, where would your vision land on? Where to hide? Where to seek? With someone else in the room, can you finally pay attention to the shirt “they� are wearing while trying to avoid eye contact?
5. White Corridor (Set from Resident Evil Retribution)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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Darkness (absence of light) creates a sense of solidarity, when the dominance of vision is extracted, the sense of touch is expanded. Darkness also means complete intimacy, private and secretive. In the case of a confessional booth, it is both private and public. Private, is that one has no visual interaction with the other party in the booth; Public, is knowing that there is always someone directly involved, other than yourself. Your action is still subjected to interpretation and criticism.
6. Shallow Grave- A Confessional Booth (Sailor Natte)
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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3D printing technology allows customisation of mannequin, refraining the use of industrial standard (perfectly- proportioned) mannequins as backdrop for garment exhibition. Personalised mannequin allows a more accurate representation of the human body, adjustable parameters include (but not limited to), weight, mass, size, height, colour, gender, etc.
7. Tractus3D T3500 (Build Width: 1000mm, Build Height: 2100mm)
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Conceptual Collage
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MID-SEMESTER
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D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
Ever since its invention, the shirt has always been an object of neatness, of discipline, of formal, and of properly-folded. It is with this notion in mind that forms the spectacle of neatly-folded shirts in every store, stacked and displayed in its unnatural rigidity. This obligation contributes to the never-ending process of “folding” and “unfolding”, the compulsive behaviour of every shopkeeper to “fold” after every “unfold”, to regulate the posture of every piece of shirt they get their hands on. In point of fact, the very nature of the materiality of a shirt is antagonistic to the idea of neatness. The shirt is supposed and is born to be fluid, to flow, to adapt to the body it is worn on; the shirt is commissioned to provide a makeshift intimacy, to comfort the flesh. Therefore, the act of folding a shirt is more than just the orthodoxical method to achieve the rectangular “neatness” that we constantly experience- “To fold a shirt is to acknowledge its nature, neatness is when they are all unique and different from each other.” The “FASHION STORE” is a place for exhibition, for performance, for purchasing, but ultimately it is a place to produce and to store. The system would require two categories of users, i.e. SHOPPERS and PERFORMERS. The process of making, involves the use of a Hololens: a mixed-reality goggles which plays back precursory events in the form of chronophotography. The rows of cameras on the sides would relentlessly capture the sequence of actions of the PERFORMERS. This enables the storage of the process of making, in the past and emerging , generating a vast library of collective experiences. When all PERFORMERS are required to observe their precedents to inspire new making of the shirt, new memories are thus created upon the memories of others. The making includes, touching, pulling, kneading, twisting, throwing, tearing, and other mechanical gestures of a human being. Once satisfied, the shirt can then be displayed for purchase or for the next “performance”. For the SHOPPERS, mixed-reality becomes the notion of juxtaposed events: the soundlessness of a shirt/ the chaos around, the process of buying/ the process of making, the beginning of a runway show/ the finishing of a performance, the
expectation of a purchasing culture/ the unprofessionalism of the “storekeepers”, etc... Mixed-reality experience is never privileged to the users of digital gadgets, but it is about the idea of parallel existence, the subject being out-of-context, the blurred boundary between bipolar events, creating the uncanniness and the bizarreness of an atmosphere. For the PERFORMERS, mixed-reality is about superimposition of events and contexts, viewed via the glass of a HOLOLENS. Mixed-reality, in this case, showcases the perpendicular relationship between: the existence of a shirt/ the intangibility of the images interacting with it, the physical flesh/ the ghosted images of the past, the production of the past/ the act of browsing of the current, the role of a storekeeper/ the mere user of the system, etc... The overlaying of information becomes a continuous mode of production, physically, virtually, digitally and logically. The “FASHION STORE” attempts to redefine the act of shirt-folding, the convention of what a shirt/ fashion could be. It highlights the process of making and exhibiting, the personalised and cumulative experience of every user, past and present. The manufactured environment of the system acts as a framework for presentation and representation, to showcase the performative and exhibitionsim nature of both the SHOPPERS and the PERFORMERS.
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Transcript for THE SHOPPERS” ACT
D. TASK 03 MIX. ALEX WAN. STORE MSD ALPHA60.
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E. PRECEDENT STUDYPRADA, AOYAMA (PP. 71-79)
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1. PRADA, Aoyama (Herzog & De Meuron)
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2. Exterior-Day (Architecture Tokyo) 3. Exterior-Night (Architectull)
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3. Main Entrance (Architecture Tokyo) 3. Facade (ArchDaily)
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6. Entrance Plaza (Architectural Moleskin)
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7. Facade- Interior (Architecture Tokyo) 8. Interior (Architectull)
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9. “Snorkles” (Architectural Moleskin) 10. VIP Changing Room (Architectull)
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Axonometric Drawing PRADA, Aoyama Herzog & De Meuron
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Sectional Drawing PRADA, Aoyama Herzog & De Meuron
F. POINTCLOUD EXPORT OF CHAPTER HOUSE (PP. 80-93)
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F. POINTCLOUD EXPORT (CHAPTER HOUSE). ALEX WAN. STORE MSD ALPHA60.
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1. Plan Image of Chapter House (CloudCompare Export)
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2. Roof Plan Image of Chapter House (CloudCompare Export)
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3. Section Image of Chapter House (CloudCompare Export)
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4. Section Image of Chapter House (CloudCompare Export- staircase relation)
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5. Section Image of Chapter House (CloudCompare Export)
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6. Street Elevation Image of Chapter House (CloudCompare Export)
G. FINAL PROJECT (PP. 94-119)
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G. FINAL PROJECT. ALEX WAN. STORE MSD ALPHA60.
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1.
1. St. Patrick’s Cathedral, New York. (James Renwick Jr.) Inspired by Emile Durkheim’s Sacred-Profane Dichotomy, (in this case where Chapter House becomes the Sacred, while its surroundings is the profane.
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3. Intervention of ALPHA60 as a brand designer into Chapter House signifies the luxurious cult experience- that fashion itself is not desperate and ALPHA60 serves specific niche.
2. Chapter House, ALPHA60. 3. Street condition, Flinders Lane.
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Coming from an interest in the tactile experience of fashion, the idea of unveiling a curtain, a veil, might facilitate the exeperience. Consumers has to initiate the conversation with the garments.
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Injecting the idea of touch in fashion- By intentionally blocking off the facade of Chapter House from the street, makes the act of seeing more intentional.
3Destruction (ANTIVIJ)
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The first interaction of the body and the space is not by sight, but by touch (the unveiling). Instead of trying to be humbly accepted into its surroundings, it draws attention by being obscured.
Sketch Proposal for Chapter House
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Showcasing the gallery of initimate changing rooms
Render Tests for the Interior (Vray in Rhino)
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Close proximity and tight spaces forces consumers to come into close contact with the mannequin- minimized peripheral vision draws focus to details of garments.
Render Tests for the Interior (Vray in Rhino)
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Heavenly Bodies (Diller Scoffidio & Renfro) The amalgamation between fashion and gothic architecture.
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What if instead of showing models wearing the garments, can the method of representation becomes model being draped by the textile- highlighting its nature, materiality and the reaction of the body against it?
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Deploying previous interventions across site, where Chapter House becomes the extended journey to the dressing room (includes individual experiences like seeing, touching and feeling along the journey).
Sketch Proposal for Chapter House
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Sketch Design with Technical Drawings (Iteration)
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Sketch Design with Technical Drawings (Iteration)
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Extracting the objectivity of seeing how a garment looks like on a foreign body, by drawing focus onto specific piece on specific body parts (Framed Exposures).
Sketch Detail of Mannequin Shelves
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Inspired by the Laundrette, this installation focuses on the sense of smell of garment. By leaning in and smell the warm air coming from the garments provides the olfactory experience that was otherwise neglected.
Sketch Detail of The Laundrette
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In the era of digitisation, physical store is to be a space that facilitates the act of trying-before-buying. The store is to satisfy the bodily urge to engage with an unknown piece of fresh fabric.
Conceptual Diagram of Experience in Fashion Retail
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The Storefront is important in this case, as it allows for rich visual experiences upon interacting with the garment. Therefore, instead of having the experiences with the garment occur naturally, the experiences were extracted, with one teasing its way to the next.
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By driving the essential act of browsing online, consumers now focus on the physical experiences when they are in-store (By being in the moment).
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Attempt on Hybrid Drawing
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First Floor Plan
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Ground Floor Plan
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Section A-A
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Section B-B
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Concept on ALPHA60 instructional page
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Concept on ALPHA60 livestream page
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Detailed Section of Mannequin Compartments
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Detailed Section of Dressing Rooms
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Final Presentation Panels
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Final Presentation Panels
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THANK YOU.
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MSD.UNIMELB.EDU.AU/ALPHA60