STORE, MSD, ALPHA60 ELIZABETH JANKOWSKI FINAL SUBMISSION ‘PORTAL’ S1 20
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Melbourne School of Design, University of Melbourne Alpha60 ELIZABETH JANKOWSKI 1155180 PORTAL: A store within a store msd.unimelb.edu.au/alpha60 Semester 1 2020 1
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CONTENTS 1. REAL (P. 4-33) 2. VIRTUAL (P. 34-75) 3. MIX (P. 76-109) 4. FINAL PROJECT (P. 110-225)
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CONTENTS | 1. REAL 1A. PREFACE (P. 6–9) 1B. RESEARCH (P. 10–19) 1C. CONCEPT DEVELOPMENT (P. 20–27) 1D. FINAL SUBMISSION (P. 28–33)
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1A. PREFACE (P. 6-9)
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1A. PREFACE. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1A. PREFACE. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
WHAT DOES IT MEAN TO STORE? To acknowledge the inherent value in item(s), real or perceived.
VALUE
REAL
CULTURAL
UTILITY
MONETARY
PREDICTIVE
PERCEIVED
MEMORY
FIGURATIVE
SENTIMENTAL
Mind map, defining value. Could we consider culture as the binding between the two types of value? Or are they inextricably linked?
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1B. RESEARCH (P. 10–19)
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1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
ACT AS INTERMEDIARY BETWEEN HUMAN AND EARTH SNEAKER TOSSING
CHANGES THE WAY YOU WALK
SOMETIMES A MERE FORMALITY
REMOVE AS A SIGN OF RESPECT IN SOME CULTURES ASSOCIATED LACES, BUCKLES
‘SHOEBOX’
EXPRESSION OF PERSONALITY
ATTACHED TO FOOT
‘WALK IN MY SHOES’
SHOE
CREATE A NEW FOOTPRINT
IN MOTION WALK, RUN, JUMP, SKIP, TIP-TOE ETC PROTECTS FEET
RITUAL - THE FINAL ACT BEFORE LEAVING THE HOUSE/ FIRST WHEN ARRIVING HOME
Mind map, meanings of ‘shoe’. How do these relate to ‘THE SHOE’?
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1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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P. 15 STORAGE AS SPECTACLE What can be considered to be ‘storage’? Can we think of architectural arrangements as storage? At what point does an item go from a natural state to a ‘stored’ condition? Can farms be stores? Is an empty storage system a spectacle in itself?
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1. Facade, Prahran Hotel, Techne Architects, 2013. 2. Large scale farm, location unknown. 3. Empty supermarket shelves in Woolworths, 2020.
1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
HOW DO WE STORE? To keep objects in an organised manner Object -> Device -> System HOW DO WE STACK?
-More minimal than a classic brogue - Shoe is derby style not Oxford - Described as ‘transeasonal’
Single object -> larger system
What effect should the shoe have on the wearer? - Confidence - Formality (but can also be casual) - Requires care to keep clean - Urban shoe
TO CREATE WITH CNC
ASSUMPTIONS
Solid rectangular form -> drill down to basic shape -> further refinement
The shoe is designed for everyday for the city dweller. The shoe is a foundational element of the wearer’s wardrobe and is treated with care to be worn time and time again. The shoe feels somewhat solid and sturdy. The shoe will gain marks and scratches which will become part of the personality of the shoe.
Objects placed in storage container -> containers placed on top of each other -> can be placed into larger systems
Raw material -> refined object SIMILARITIES BETWEEN CNC AND STACKING - Both require a flat surface - Both allow us to allow objects to connect with each other as with CNC parts can perfectly join (1) WHY CNC? - Greater precision than by hand - Ability to use a wide range of materials - Wood - Plastic - Foam - Metal - Fibreglass - Create a myriad of shapes and designs - Can ‘stack‘ materials together e.g different types of wood (2), THE SHOE (3) P. 16
THE SHOE II
‘Kari’ Brogue style Upper: tumbled leather Sole: textured rubber Laces: Waxed cotton BROGUES (4) - Have their origins as an Irish peasant shoe. - Traditionally made from untanned hide and worn in fields - Perforations in the shoe allowed water to drain when walking though marsh
1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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4 1. Various CNC joints. 2. ‘Rainbow mountains’ being fabricated on a CNC. 3. Alpha60 ‘Kari‘ brogue shoe. 4. Traditional brogue shoe.
1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
WHAT DOES IT MEAN TO STACK?
STACKING PRECEDENTS
To stack is to arrange items vertically in an ordered system. Often a surface separates each item, allowing for easy retrieval. There are many benefits to stacking, including items taking up less floor space and items being easy to see and comprehended as a group. At its essence, stacking is repetition.
In examining stacking systems I was interested in how the systems lock together. The first system, a simple stackable chair, is able to stack so effectively because it forms a shape which can tessellate. I attempted a similar tessellating system in an earlier iteration of my design but found it was too bulky. To work efficiently the design would need to consider shape. The second system is the milk crate. Although simple in design and form it proves immensely useful. The square shape provides rigidity and strength, allowing the milk crates to be moved around easily on a hand trolley. While this is a successful strategy to stack and store, I wanted to allow for more flexibility and variety in my design. The third system, a Jenga tower, is unlike the other two systems as it can be completely irregular and flexible in form. Not only does the Jenga tower allow for items to be completely rearranged within the tower (albeit with high likelihood of structural failure), the system only works through each layer of bricks being rotated 90 degrees. This method of rotating each layer sparked the basis of my design.
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1B. RESEARCH. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1. Stacking chairs. 2. Milk crates. 3. Jenga tower.
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1C. CONCEPT DEVELOPMENT (P. 20–27)
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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Presentation, Thursday Week 1.
1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
GSEducationalVersion
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Progress work, Monday Week 2.
1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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Progress model, Week 2.
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1D. FINAL SUBMISSION (P. 28–33)
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
To store an item is to consciously acknowledge the inherent value in the item, either real or perceived. For the item to be easily retrieved later it is important it is kept in an organised manner. This typically involves the object being placed on or within a device which is repeated to form part of a larger system. Given the item being stored is a high quality leather shoe and the CNC method can produce a fine finish, I deemed a system to display and exhibit the shoe as the most appropriate response. My storage system involves interlocking pieces of CNC milled plywood to create a flexible modular system. Inspired by the way shoes are stitched together when they are made; my stacking system is assembled using a repeated series of T bone joints which ‘stitch’ together to form a display box for the shoes. The number of pieces used to make each ‘box’ can be varied, allowing the shoes to be more exposed or protected as required. The system has only three components; a rectangular ‘box’ piece with the shoe’s side profile cut into it, another rectangular ‘box’ piece with the shoe’s front/back profile cut into it, and a ‘base’ piece to lock the bottom and top stacked boxes together. Each layer of the stack consists of one type of box piece. The next ‘box’ on the stack is rotated 90 degrees from the previous ‘box’, allowing different views of the shoes from different angles. Each box piece can then be continuously stacked in a similar manner and reconfigured to suit display needs. In designing this system I drew not only upon other stackable items for inspiration, but also upon the design of the shoe itself. By calling itself a ‘brogue’ it immediately calls traditional quality craftsmanship to mind, while modern touches like the rubber soles add an urban edge. Designed for everyday wear for the city dweller, the shoe is a wardrobe staple to be constantly reworked and made anew. My system draws upon traditional wooden craftsmanship in the simple T-bone joint used, yet utilises this joint in an unconventional manner, allowing the stack to be arranged in endless combinations. The shoe and the stacking system can therefore complement each other, coexisting in a world of limitless possibilities.
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1. Plan and elevation superimposed on CNC cut sheet 2. Axonometrics
1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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1C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 1 - REAL. STORE MSD ALPHA60.
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Concept model
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CONTENTS | 2. VIRTUAL 2A. TECHNICAL DRAWINGS (P. 36–41) 2B. VR PRECEDENTS (P. 42-49) 2C. STORAGE PRECEDENTS (P. 50–57) 2D. CONCEPT DEVELOPMENT (P. 58–65) 2E. FINAL SUBMISSION (P. 66-71) 2F. CONCLUSION (P. 72-75)
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2A. TECHNICAL DRAWINGS (P. 36–41)
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2A. TECHNICAL DRAWINGS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Plan, HTC VIVE headset, scale 1:2.
2A. TECHNICAL DRAWINGS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Plan, HTC VIVE controller, scale 1:2.
2A. TECHNICAL DRAWINGS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Section/ elevation views, HTC VIVE headset and controller, scale 1:5.
2A. TECHNICAL DRAWINGS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Section/ elevation views, HTC VIVE headset and controller, scale 1:5.
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2B. VR PRECEDENTS (P. 42-49)
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2B. VR PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
‘EMERCENCE’ 2018 Universal Everything VR Experience This VR experience challenges the relationship between an individual and the crowd by immersing the participant in a crowd of thousands. As the participant’s avatar moves around the crowd’s movement responds, swirling, swarming or copying the movement of the avatar. Through this we can consider our personal relationship with external groups and how P. 44 this can inflence our behaviours.
In terms of storage we can consider what makes each individual item unique among a large ‘store’, as well as how other items can respond in turn. We could also consider what makes the wearer/ holder/ storer/ viewer of the item unique in their relationship to the item and the larger storage system.
2B. VR PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Stills from ‘Emergence’
2B. VR PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Still from ‘Treehugger‘
TREEHUGGER:WAWONA/ IN THE EYES OF THE ANIMAL 2016/ 2015 Marshmallow Laser Feast VR Experience These two VR experiences explore flora and fauna respectively, yet share similar goals and methods. In ‘Treehugger’ the participant is immersed into the water cycle of endangered trees, seeing the water be absorbed by the tree and convertedinto oxygen. P. 46
In The Eyes Of The Animal allows the participant to ‘become’ various forest animals, seeing from their perspective from the forest floor to high above the trees. Through these works, the studio aims to bring participants closer to nature and highlight the importance of respecting and preserving natural environments.
Through this work we can consider how VR can be used to allow us to better understand an environment and its importance in a political sense. This could apply to the way we interact with ‘storage’ and the position we take on it. Are we storing items digitally as a challenge to traditional methods as an environmentally conscious act? Or is it to bring us closer to the item itself? How does the action of moving the item around in VR affect our understanding of it?
2B. VR PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Stills from ‘In The Eyes Of The Animal’
2B. VR PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
‘JOB SIMULATOR: THE 2050 ARCHIVES’ 2016 Owlchemy Labs VR Simulation Game “The year is 2050. In a world where robots have replaced all human jobs, step into the “Job Simulator” to learn what it was like ‘to job’.” Based around this premise, Job Simulator allows the player to explore four different occupations (Gourmet Chef, Auto Mechanic, Store Clerk and Office Worker) P. 48 in an entertaining and comical way. Human jobs have been reinterpreted (and misinterpreted) by robots, adding to the humor of the game. The cartoonish graphics add to the sense of fun and lack of pretension.
Replicating human work in a virtual setting has obvious paralells to the concept of ‘storage’. Instead of considering storage as a solemn process, we could take a more light-hearted approach by incorperating humour or thinking about alternative ways of displaying goods. Could we instead think of the ‘virtual storage’ concept as satire? What could we be commenting on?
2B. VR PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Stills from ‘Job Simulator’
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2C. STORAGE PRECEDENTS (P. 50–57)
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2C. STORAGE PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Facebook Video Chats
‘VIRTUAL’ Facebook Video Chats ‘REAL’ Queen (A Portrait of Madonna) 2005 Candice Breitz Video installation (01:13:30) MONA Hobart How can displaying multiple ‘screens’ stacked together convey new information? Does it change the way we think about each individually? P. 52
2C. STORAGE PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Still from ‘Queen (A Portrait of Madonna)’
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‘Queen (A Portrait of Madonna)’ Installation at MONA Hobart
2C. STORAGE PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Server database, Microsoft SQL Server.
‘VIRTUAL’ Server Database ‘REAL’ Server rooms What can we learn from the convenience of a stacked organised system? Does the modularity of the server room design influence the way technicians think about data?
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2C. STORAGE PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Server room
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Under floor configuration of a server room
2C. STORAGE PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Google Maps web interface
‘VIRTUAL’ Google Maps ‘REAL’ Google Maps Hacks 2020 Simon Weckert Performance Berlin Can we consider the layering of information on a virtual map as ‘stacking’? How does this translate to the way we interact with our cities in the real world? P. 56
2C. STORAGE PRECEDENTS. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Stills from ‘Google Maps Hacks’ performance
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2D. CONCEPT DEVELOPMENT (P. 58–65)
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2D. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Render, Alpha60 ‘Kari’ shoe How can we redefine ‘value’ in a virtual world? Does this shoe have the same ‘value’ as its real life counterpart? Or does it take on new meanings? How can this be explored in system designs? Why do we need to design systems for digital storage and how might these differ from real world storage systems?
2D. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
WHY VR? What paralells can we draw between VR system and the physical shoe?
CREATE NEW WORLDS/ REPLICATE OTHERWISE INACCESSIBLE EXPERIENCES
- The ritual of putting on and taking off the VR system and shoe signifies the begining and end of a journey
CAPACITY FOR STORYTELLING
- Shoes and VR systems can be considered the primary interface between the human and a world, real and virtual respectively - VR headset attaches to the head, shoes to the feet
CAN DO TASKS
- Shoes and VR system are designed for motion
360°
- Shoes are designed as a storage device for feet, VR sysstem is a storage device for data
LEVEL OF DETAIL
VR
LITERALLY WALK IN SOMEONE’S SHOES
FULLY IMMERSIVE EXPERIENCE
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1. Mind map, benefits of VR
2D. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
SHOE + VALUE: PHYSICAL VS VIRTUAL If the shoe (physically) havs value because of its practicallity, quality of material, adaptibility etc, what value does the digital shoe have? - The ritual of putting on and taking off the VR system and shoe signifies the begining and end of a journey - Shoes and VR systems can be considered the primary interface between the human and a world, real and virtual respectively
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- VR headset attaches to the head, shoes to the feet - Shoes and VR system are designed for motion - Shoes are designed as a storage device for feet, VR sysstem is a storage device for data If we accept the virtual shoe can only be understood as an approximation of the physical shoe, does that make its value transparable?
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No, as the virtual shoe is an image (as defined by May (2017) in his essay ‘Everything Is Already An Image’), and hence is generated with different intent.
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1. Photo, Alpha60 ‘Kari’ shoe 2. Render, Alpha60 ‘Kari’ shoe
2D. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
CAN BE TRANSPORTED ANYWHERE DIGITALLY
UNDERSTAND IN RELATION TO OTHER ITEMS
FLEXIBLE IN REPRESENTATION, OPACITY
SEE IN DIFFERENT CONTEXTS
ABLE TO UNDERSTAND THE PHYSICAL SHOE BETTER
VIRTUALSHOE
CHANGE SENSE OF SCALE
UNDERSTAND PHYSICAL QUALITIES THROUGH ZOOMING
UNDERSTAND FORM AND GEOMETRY THROUGH OTHER MEANS (POINT CLOUD, ETC)
Mind map, value of the virtual shoe.
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2D. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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Above: Alpha60 AW20.1 collection. Below: Colour pallette for AW20.1. Next page: Moodboard, AW20.1.
2D. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2E. FINAL SUBMISSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2E. FINAL SUBMISSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
2E. FINAL SUBMISSION (P. 66-71)
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2E. FINAL SUBMISSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2E. FINAL SUBMISSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2E. FINAL SUBMISSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2E. FINAL SUBMISSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2F. CONCLUSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
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2F. CONCLUSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
2F. CONCLUSION (P. 72-75)
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2F. CONCLUSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
White render, Alpha60 ‘Kari’ shoe P. 74
THE VALUE OF VIRTUAL Virtual objects and phenomena allow us to reconsider, better appreciate and/or challenge our understanding and relationships with objects and phenomena in the real world. In this way we can consider virtual objects and phenomena as a form of archiving of lived experience. Virtual worlds and objects can only be understood and interpreted as an approximation to real world conditions. The value of a physical object is not transferrable to its virtual counterpart, however; a virtual object can portray and convey qualities of the real object, allowing a greater understanding of the real object.
2F. CONCLUSION. ELIZABETH JANKOWSKI, TASK 2 - VIRTUAL. STORE MSD ALPHA60.
Render, Vitsoe 606 Universal Shelving System, Dieter Rams, 1960. A FULL SYSTEMS APPROACH What lessons can be learned from a stacking storage system which can be added to, reconfigured and moved to suit the needs of the user? The simplicity of design allows the system to suit any space without being too visually dominant, allowing the displayed items to speak for themselves. Thoughtful details like the curbed ends on the shelves soften the design for a domestic environment. Simple, yet thoughful; utilitarian, yet carefully designed, a building block for a larger system, yet an item in its own right; the 606 Universal Shelving System has a lot in common with Alpha60’s ‘Kari’ shoe. How can this ‘full systems approach’ be implemented in the next project?
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TASK 3 - MIX 3A. PREFACE (P. 78–81) 3B. PRECEDENTS (P. 82-93) 3C. CONCEPT DEVELOPMENT (P. 94–103) 3D. FINAL SUBMISSION (P. 104–109)
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3A. PREFACE (P. 78–81)
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3A. PREFACE. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
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3A. PREFACE. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
FUNDAMENTAL ASSUMPTIONS TASK 3 - ‘MIX’
AL SH OE
STACK
RE
#2 The ‘real’ shoe should be the driver of the system design. What ‘demands’ does the shoe make of the system designer and how can they be accomodated?
VR
C CN
#3 Accepted definition of storage: “To acknowledge the inherent value in item(s), real or perceived.” The value in each component of the system should be considered, as well as the value in the combining of components together in a system.
OE SH AL TU VIR
#1 Each component of the storage space can relate to each other to form a complete system.
ARCHIVE/ EXHIBITION
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1. System map showing relationship between components. 2. Louis Kahn: “You say to a brick, ‘What do you want, brick?’ And brick says to you, ‘I like an arch.’ And you say to brick, ‘Look, I want one, too, but arches are expensive and I can use a concrete lintel.’ And then you say: ‘What do you think of that, brick?’ Brick says: ‘I like an arch.’”
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3B. PRECEDENTS (P. 82–93)
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3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
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STRANDBEEST PROJECT Theo Jansen Kinetic scuplture 1990- Present Theo Jansen describes his ‘Strandbeests’ (Dutch for ‘beach beasts’) as ‘new forms of life’. Made of PVC tubes, the Strandbeests can move on their own through harnessing wind power. Some appear to ‘crawl’, others can ‘walk’, each employing different mechanisms to survive in the harsh winds and sand of the beach environment. P. 84
As the shoe is designed for movement, how can it be considered as a moving ‘being’ in its own right? What kind of mechanism can be designed to allow for its movement beyond the human body?
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
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3 1. ‘Uminami’, Theo Jansen, Kinetic sculpture, 2018. 2. ‘Umerus’, Theo Jansen, Kinetic sculpture, 2009. 3. ‘Ordis’, Theo Jansen, Kinetic sculpture, 2006.
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
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MECHANICAL MIRRORS PROJECT Daniel Rozin Kinetic scuplture 1999- Present Artist Daniel Rozin creates ‘mirrors’ from a variety of objects. A sensor is able to detect a person’s presence in front of the scuplture, then a motor rotates each object so the person sees themselves reflected in the work.
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While this may be a seemingly simple concept, it raises complex questions of how we percieve ourselves. How can we take this information and store it?
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
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3 1. Daniel Rozin, ‘Angles Mirror’, Kinetic scuplture, 2013. 2. Daniel Rozin, ‘Weave Mirror’, Kinetic scuplture, 2007. 3. ‘Weave Mirror’, detail
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
Still from ‘View of Harbour’
VIEW OF HARBOUR Jon Rafman VR Experience 2018 Institute of Contemporary Art Boston This site specific VR experience begins in a virtual environment mimicking the physical environment in which it takes place. Participants place the VR headset on while looking out towards the harbour outside, then see the harbour and gallery in VR. The scene transitions from calm gallery to a tsunami crashing through the window P. 88 and unfolds into a dramatic and fantastical doomsday scenario.
While VR is often considered entirely its own world, this experience shows how it can draw upon the environment around it and reinterpret it as something new. How could this be used to give new meanings to ‘storage’?
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
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Stills from ‘View of Harbour’
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
Pulse Room Installation
PULSE ROOM Rafael Lozano-Hemmer Interactive Installation 2006 MONA Hobart Participants in this installation grab onto two sensors which measure heartrate which is then translated into an electrical pulse. The participant sees their heartrate pulse in the lighbulb directly in front of them. Lightbulbs are arranged into a gridded system, so as more people participate each heartrate is pushed along P. 90 the grid, each lightbulb showing a different person’s heartrate.
In this way we could consider this installation as a storage system of heartrates. Eash light represents one person, but the installation is viewed as a collective. How can we take unique data and represent it in a larger system? How could we accomodate for unique experiences of ‘the shoe’?
3B. PRECEDENTS. ELIZABETH JANKOWSKI, TASK 3 - MIX. STORE MSD ALPHA60.
Reciprocal Syntax Installation
RECIPROCAL SYNTAX BCXSY in collaboration with XORXOR and Binaura Interactive Installation 2019 Design Museum Holon This installation sees participants learn about the value of creative collaboration through the symbolism of a seesaw. Once participants start to seesaw, real time digitally generated images are projected onto surrounding fabric screens based based on the movement of the seesaw. Images continue to evovle and change according to movement, including special effects when the seesaw reaches equilibrium.
While the graphic representation of the ideas may not be as strong as the concept itself, considering movement as a key driver in creating virtual worlds merits further exploration. How could the real movement of the shoe affect the VR environment, and vice versa?
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Bestias XX Move Architects 2014 Santiago, Chile In this small shoe store in Santiago shoes are diagonally stacked on a wall, supported by plywood X shaped profiles. These profiles and the supporting plywood ‘pegboard’ behind were created using CNC cutting to allow for fast construction time and reduced costs. Not only does this system allow for the shoes to be stored in an efficient manner, it also creates visual P. 92 interest, a perfect example of ‘storage as spectacle’.
This project is a good example of what can be achieved using CNC cutting in a storage capacity while remaining true to a brand’s image. How CNC cutting be used in a way that is practical while also upholding Alpha60’s core values?
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1. Elevation of stacked wall. 2. Close up of CNC cut X shaped profiles. 3. View of store.
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3C. CONCEPT DEVELOPMENT (P. 94–103)
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THE MEDIUM AND THE MESSAGE Same medium, different message. How does tone and intent affect how we understand a piece? 1. (Left to right) Transformation of ‘Obliteration Room’, Yayoi Kusama Interactive Installation 2012 QAGOMA Brisbane 2. (Left to right) Transformation of ‘You, me and the flock’ Juan Ford Interactive Installation 2013 NGV Melbourne
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STORAGE AS SPECTACLE II ‘Storage’ often implies utilitarian function, but through scale and atmosphere can it also represent something otherworldly? 1. Still from ‘Harry Potter and the Order of the Phoenix’, film, 2007.
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THE PHYSICS OF VIRTUAL WORDS Given the laws of physics don’t necessarily apply in virtual worlds, how can we find new ways to ‘store?’ 1. Ariadne: “I guess I thought the dream-space would be all about the visual, but it’s more about the feeling. My question is what happens when you start messing with the physics of it?” Still from ‘Inception’, film, 2010.
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PARTICIPATION IN INSTALLATIONS How do our perception of an immersive work change when other people, friends or strangers, experience it with us? Do we reconsider our own feelings of the work based on other people’s reactions? Can works of art bring people together in unexpected ways? 1. I Want To Love On The Festival Night, Yayoi Kusama Immersive Installation, 2017, QAGOMA Brisbane.
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ON MOVEMENT Through walking we ‘build’ the world around us. Much of the knowledge we have about our local environs is based on physically moving through them. When we do this with others we can gain new perspectives and see places in a new way. Can this be translated in a VR system? 1. Untitled, Eolo Perfido, photograph, year unknown, Rome.
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BRANDS AS A LIFESTYLE PROPOSITION If brands act as a “proposition for how we should live today” (Self, 2016), what does Alpha60 propose? - Stay curious about the world around you - Clothes designed for everyday wear can still be fun - Appriciating art is a way of life 1. Alpha60 Chapter House Store
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IN MOTION Walking is an act of world building. Whether we are hurrying down a busy street or strolling through a tranquil garden, much of the information we mentally store from our local environs is understood through bodily movement. The people around us also act as vectors for world building, as the encounters we have with other people, both familiar and strangers, give us new insights into the world we build for ourselves.
As this system can be installed in each city with an Alpha60 store, there is also the opportunity to have unexpected encounters with another world being built in another location in real time. If there are people using the system at the same time in different cities, the system can show the world-building experience the other user is experiencing at the same time as their own, literally changing the world for the user by adding a new perspective.
In this installation the shoe is both literally and figuratively a tool for building new landscapes in a retail store setting. The participant begins by selecting the real shoe in their size from the bench and sitting down at the bench to put it on their feet. From there they walk into the motion activated space and place on the VR headset. Recognising the person’s walk from tracking motion sensors installed into the physical shoe, the VR system will generate a location specific VR experience based on the person’s movement. As the person walks around the room, the world continues to grow in a stacking motion, each step creating new details or expanding the scene further.
Once the user has finished with the VR system, they emerge from the VR room and place the shoe back on the rack for the next user. On their way back to the rack they will pass the CNC room, where the steps which just occurred in the VR room are mapped out on a computer system and cut on a plexiglass sheet with a CNC router. Once this task is complete, the CNC machinist places the mapped walk of each person onto a display unit, stacking each plexiglass map on top of the other according to shoe size. In this way the physical steps can build and create landscapes in the real world, a phenomenon waiting to be further explored.
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Render, VR experience.
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Plan and Elevation
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NEW DIRECTIONS How can virtual data based on physical movement be translated back into real objects? What is gained and or lost in this translation? How can this be further utelisted in artistic pursuits? 1.Render, stacked maps of individual user journeys through ‘IN MOTION’ VR installation.
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TASK 4 - FINAL PROJECT 4A. PREFACE (P. 112–115) 4B. RESEARCH (P. 116-185) 4C. CONCEPT DEVELOPMENT (P. 186-203) 4D. CONCLUSION (P. 204-224)
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FUNDAMENTAL ASSUMPTIONS FINAL PROJECT #1 Accepted definition of storage: “To acknowledge the inherent value in item(s), real or perceived.” #2 ‘Storage’ implies utilitarian function, but through scale and volume storage can be turned into a spectacle, engaging the customer and creating a disctinct identity for Alpha60 as a brand. #3 The store can be thought of as a computer designed to run various programs. The physical components are ‘hardware’, the virtual components ‘software’. In this way both systems complement each other to form one system, known as a portal. #4 The future of retail will pivot towards consumer convenience, but will also require an innovative approach to entice customers to shop repeatedly. The Flinders Lane store will become a destination for click and collect; the Chapter House store will be for browsing and special events.
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Acne Studios Store Sophie Hicks Architects 2015 Seoul, Korea
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THE APPROACH, REAR FACADE The store presents itself as a billboard, revealling both everything and nothing at the same time. It can be understood as a place of luxury but no information is given as to what lies beyond the Danpalon facade.
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THE APPROACH, FRONT FACADE The store can only be entered through the front entrance door. Clear glass entices potential customers to come inside.
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THE CROSSING To enter the store the customer crosses over the road onto the cobbled footpath outside the store, differentiating itself from the surrounding street. Between the facade and the footpath is a garden which the entry stairs cut through.
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THE ASCENT To walk up the stairs into the store can be considered entering into another realm.
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MATERIALS AS A LUXURY STATEMENT Above: Ground Floor floorspace and staircase. Next page: First Floor
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Above: Ground Floor Plan. Below: First Floor Plan. Plans not to scale.
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Axonometric drawing, external facade.
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Axonometric drawing, internal structure.
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Axonometric drawing, exploded view.
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THE CITY SITE The store is located in the heart of Melbourne CBD. How can it connect and relate to its surroundings, and the city as a whole? Further investigation into the site context is required to understand the site’s full potential. 1. Context map showing site in red, not to scale.
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IS LUXURY DEAD?
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A proposal will require a position on what is luxury, and if it is relevant to Alpha60’s brand. There are numerous examples of luxury stores which have not been sucessful, what can be learned from these? 1. Dust Melbourne Concept Store, Sibling, 2015. 2. Prada Epicenter New York, OMA, 2001.
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TRACING THROUGH HISTORY: THE SITE The site has a rich and layered history. What will we uncover when we learn about the history of the site? How can this be incorperared into a proposal? 1. St Paul’s Catherdral under construction, 1890.
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TRACING THROUGH HISTORY: ALPHA 60 What are the core values of Alpha60? Through looking back at what the label has produced and achieved we can begin to form a picture of what is important for the future. 1. Alpha60 10 Year Anniversary Show, MPavilion Melbourne, 2015.
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TRANSFER INFORMATION FROM ONE SOURCE TO ANOTHER A SMALL AMOUNT
LAYERING OF INFORMATION SELECTING INFORMATION AND REINTERPRETING
SEARCH FOR MEANING
REPEAT AN ACTION
A VALUE PROPOSITION
TRACE
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VISUAL ABSTRACTION
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PROCESS OF EMBEDDING SOMETHING WITH NEW MEANING A PHYSICAL IMPRINT
CAN BE BOTH A CONSCIOUS ACT AND AN ACCIDENTAL BYPRODUCT OF ANOTHER PROCESS
Mind map, meanings of ‘trace’ How can this be applied to the site and Alpha60 as a brand?
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CLOTHES AS TRACE Can we consider clothing to be a trace of the body, both when worn and left lying around? 2
1. Alpha60 clothes, AW20.1/AW20.2. 2. Alpha60 fashion shoot, AW20.1
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P. CLOTHES AS TRACE - FASHION STILL LIFE 142 When clothes are left to drape on furniture they imply habitation and human use. The clothes are implied as ‘worn’, owned by someone who has left them there intentionally. The positioning of these clothes can be indicental or deliberately staged according to the user’s intent. 1. Nathan Lang, year unknown. 2. Johnny Dufort, ‘Love Me’ Fantasy Campaign, CR Fashion Book Magazine Issue #6, 2015. 3. Peter Thiedeke, year unknown. 4. Source unknown. 5. Leonardo Scotti, year unknown.
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P. 144 THE STORE FRONT On a busy high street how can a store grab a consumer’s attention? Could the products (real or virtual) be used to entice customers? Or will customers respond to other stimulus related to their interests outside fashion? 1. Footlocker Store, location unknown. 2. Entrance to The Row store in London featuring a James Turrell work.
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HERMESMATIC Various locations Designer unknown
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HIPANDA OMOTESANDO FLAGSHIP STORE Curiosity 2019 Tokyo, Japan
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P. 150 THE ‘REAL’ AND ‘VIRTUAL’ IN FASHION While clothes, accessories and other merchandise are ‘real’ objects, the ‘lifestyle proposition’ used to sell them can be considered to be virtual, as it only exists within the stores, runways and advertisements created by the brands themselves. Once the consumer purchases the item it is no longer the property of the brand; its use is to be decided by the consumer. The consumer may attempt to emulate the fantasy lifestyle created by the brand or may choose to reinterpret the items as something different altogether. 1. Chanel runway show, Autumn/Winter 2014.
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HYPERREAL “More real than real” A condition where the representation of something is accepted as being equally or more real than the item it represents 1. Facing in Coles 2. Prada shoot, year unknown.
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STORAGE AS SPECTACLE III P. THE ARCHITECTURE OF INFINITY 152 When items are placed within a very large storage system, we have the tendency to interpret repeated items stacked to soaring heights or depths as far as the eye can see as infinite. In this way the ‘infinite’ becomes understandable, yet is still beyond reach. The system thus takes on a mystical quality, connecting to realms beyond human existance 1. Beinecke Rare Book and Manuscript Library, Skidmore, Owings & Merrill, 1963, Yale University. 2. Volkswagen Autostadt Car Tower, HENN architekten, year unknown, Wolfsburg Germany.
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1. Amazon UK Fulfilment Centre, Peterborough. 2. Microsoft Data Centre, Chicago.
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INFINITY MIRRORED Zongshuge Bookstores, China
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WINDOW SHOP SOCIAL EXPERIENCE BROWSE LEISURELY EXPERIMENT WITH STYLE PICK UP ONLINE ORDER TRY ON CLOTHES TAKE PHOTOS FOR INSTAGRAM PAY FOR ITEMS
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CONTRADICTORY STORE FUNCTIONS Once a customer enters a fashion store, it is up to them to decide what actions to take. Many of these options are contradictory to each other. The customer may even decide to change ‘tactic’ according to the environment of the store or collections presented. How can architecture influence decision making and accomodate for contradictory needs of the customer?
SHOP WITH INTENT SOLO EXPERIENCE SHOP IN A HURRY SEEK SPECIFIC ITEMS RETURN ONLINE ORDER BUY WITHOUT TRYING ON TAKE PHOTOS FOR PERSONAL REFERENCE LEAVE WITHOUT BUYING
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MAKING CHOICES For the consumer who doesn’t know what they want can presenting them with a range of choices at random make them more open to different things? 1. Sushi Train, Sydney.
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THE DIVINE MACHINE Barcelona Supercomputing Centre
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A MAINFRAME SYSTEM The store can be thought of as a computer; designed to run various programs, the robotic system is the motherboard.
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SYSTEMS ON DISPLAY Once you pass through security at Canberra Airport you will see two glass plates in the floor. Look through them and you will see luggage, perhaps your own, moving on a conveyor belt. Moments like this give a glimpse into the intricate mechanical systems often hidden from the public yet so integral to the function of everyday life.
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1 THE ‘MELBOURNE’ STORE EXPERIENCE 1. Myer Melbourne Christmas Window 2. Myer Melbourne Mural Hall 3. Myer Melbourne in store fashion show, mid 1950s.
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Le Corbusier cited the role of the golden section proportion as shown by the construccircle in4B. the proportions of the facade tion STORE diagram. proportion of the clerestory winRESEARCH. ELIZABETH JANKOWSKI, MSDThe ALPHA60. al of Notre Dame, Paris. The rectangle dow is one-fourth the diameter of the circle inscribed athedral facade is in golden section in the square. e square of this golden section rects the major portion of the facade, and golden section rectangle encloses the he regulating lines are the diagonals above the clerestory window, crosss of the major variations in the surface Reciprocal Golden Rectangle Golden Rectangle
thedral, 5 ortions and according to on rectangle. e is in golden rtion. The the facade is square of the e and the osed by the n section er, the lower cade can be units, each rectangle.
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Gnomon (square) of the Golden Rectangle
ign : Studies in Proporation and Composition, Princeton Architectural Press, 2011. ProQuest Ebook Central, DIVINE PROPORTIONS .com/lib/unimelb/detail.action?docID=4737063. 5-23 05:15:23.
1. Analysis of Notre Dame Cathedral. Elam, Kimberly. Geometry of Design: Studies In Proportion and Composition. 2. Vitruvian Man 3. Geometry of pointed arches
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Covered Deck Open Deck 6' Entry Steps
South Elevation
Square
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Copyright Š 2011. Princeton Architectural Press. All rights reserved.
Golden Section Rectangles The space between the series of support columns is the width of a golden section rectangle. Overhang of the roof, left and right, as well as the smaller pane of glass is roughly equivalent to the width of one of the smaller squares in the golden section rectangle construction diagram.
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Repetition of Squares The expansive windows are a series of squares. Two squares describe each pane and smaller panes are half the width of the square.
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Elam, Kimberly. Geometry of Design : Studies in Proporation and Composition, Princeton Architectural Press, 2011. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/unimelb/detail.action?docID=4737063. DIVINE PROPORTIONS Created from unimelb on 2020-05-23 05:07:45.
1. Analysis of Farnswoth House by Mies Van Der Rohe. Elam, Kimberly. Geometry of Design: Studies In Proportion and Composition.
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MORE THAN A ‘STORE’ At present Chapter House can function as an event space, although not without compromise. How could Chapter House allow for multiple programes within the one space in a more efficient way?
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THE MULTI PROGRAME SPACE Vitsoe HQ/Factory, Vitsoe with various architects, 2017, Leamington Spa, UK.
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How can accomodating multiple programes within the one space enrich each individually? Can architectuere help foster an environment of creative collaboration?
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CLOTHES ON THE MOVE Garment ASRS (automated storage and retrieval system)
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ASRS stacking cranes
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THE MALEVOLENT MACHINE? Stills from ‘Alphaville’, film, 1965.
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Still from ‘Devs’, TV series, 2020.
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Drawn | Checked Plot Date: Project NO. Project Status
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#Client Full Name
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DRAWING TITLE : SKETCH PLANS
Concept, Thursday Week 8 Layout ‘Virtual Transformations’ PROJECT NAME : Stores are connected via an interactive AR app. Items from Alpha60’s collection can be digitally dismantled #Project Name and viewed in the Chapter House space gallery. REVISION NO.
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BOUNDARIES BEWTEEN REAL + VIRTUAL ART + FASHION
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Concept, Monday Week 9 ‘Idealised Domisticity’ Items from Alpha60’s collection are presented without context. Context can only be viewed in AR. The design of the store reflects a domestic environment.
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Concept, Thursday Week 9 ‘Storage in hyperreality’ A central ‘shaft’ delivers clothes between the Flinders Lane and Chapter House stores, blurring the boundaries bewteen each store.
4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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Concept, Week 10 ‘Storage as Spectacle’ The central ‘shaft’ is expanded to a larger system taking up the whole of Chapter House, while the Flinders Lane store is a click and collect destination and a display space for garments on a robotic hanging system.
4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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Concept, Monday Week 11 ‘The Multiprograme Store’ The Flinders Lane store is through of as both a space for events to take place and a virtual shopping destination.
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4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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Concept, Thursday Week 11 ‘Store within a store’ The ‘cube’ spacein the Chapter House store is reduced in size and now allows people to enter inside. Geometries of the existing gothic building are considered.
Elizabeth Jankowski 11
4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60. CHAPTER HOUSE UPPER FLOOR | 1:200
+19,741 3 ROOF
+9,274 2 CHAPTER HOUSE UPPER FLOOR
+6,424 1 CHAPTER HOUSE LOWER FLOOR
±0 0 GROUND LOWER
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Store, Melbourne School of Design, University of Melbourne, Alpha60
SECTION | 1:200
RENDER | FLINDERS LN STORE
+19,741 3 ROOF
THE SEMI AUTONOMOUS STO
4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
+9,274 2 CHAPTER HOUSE UPPER FLOOR
+6,424 1 CHAPTER HOUSE LOWER FLOOR
±0 0 GROUND LOWER
SECTION | 1:200
Concept, Monday Week 12 ‘The semi-autonomous store’ The store is considered as a ‘whole system’. Storage and display for click and collect orders is added.
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4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
CLICK + COLLECT
STORE STORE
CLICK + COLLECT
WORKROOM
CIRC
WORKROOM
DISCOVERY
CIRC
DISCOVERY
GROUND FLOOR | 1:200 GROUND FLOOR | 1:200
+19,741 3 ROOF +19,741 3 ROOF
+9,274 2 CHAPTER HOUSE UPPER FLOOR
+6,424 1 CHAPTER HOUSE LOWER FLOOR
P. 202
±0 0 GROUND LOWER
Elizabeth Jankowski 1155180, Final Project. S1 2020.
Elizabeth Jankowski 1155180, Final Project. S1 2020.
CHAPTER HOUSE LOWER FLOOR | 1:200 CHAPTER HOUSE LOWER FLOOR | 1:200
+9,274 2 CHAPTER HOUSE UPPER FLOOR
+6,424 1 CHAPTER HOUSE LOWER FLOOR
±0 0 GROUND LOWER
LONG SECTION | 1:200 LONG SECTION | 1:200
+19,741 3 ROOF +19,741 3 ROOF
CHAPTER HOUSE UPPER FLOOR | 1:200 CHAPTER HOUSE UPPER FLOOR | 1:200
4C. CONCEPT DEVELOPMENT. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
Elizabeth Jankowski 1155180, Final Project. S1 2020.
CHAPTER CHAPTER HOUSE HOUSE LOWER LOWER FLOOR FLOOR | 1:200 | 1:200
+9,274 +9,274 2 CHAPTER2HOUSE CHAPTER UPPER HOUSE FLOOR UPPER FLOOR
+6,424 +6,424 1 CHAPTER1HOUSE CHAPTER LOWER HOUSE FLOOR LOWER FLOOR
±0 ±0 0 GROUND 0LOWER GROUND LOWER
LONG LONG SECTION SECTION | 1:200 | 1:200
+19,741 3 ROOF
CHAPTER CHAPTER HOUSE HOUSE UPPER UPPER FLOOR FLOOR | 1:200 | 1:200
+19,741 3 ROOF
+9,274 +9,274 2 CHAPTER2HOUSE CHAPTER UPPER HOUSE FLOOR UPPER FLOOR
Store, Melbourne School of Design, University of Melbourne, Alpha60
+6,424 +6,424 1 CHAPTER1HOUSE CHAPTER LOWER HOUSE FLOOR LOWER FLOOR
±0 ±0 0 GROUND 0LOWER GROUND LOWER
SHORT SHORT SECTION SECTION | 1:200 | 1:200
RENDERS RENDERS | FLINDERS | FLINDERS LN LN STORE STORE
STORAGE STORAGEAS AS SPECTACLE SPECTACLE
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Concept, Thursday Week 12 ‘Storage as spectacle’ Display in the Flinders Lane store is streamlined. An intermediary level is added to allow for manual bagging of orders.
4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
4D. FINAL SUBMISSION (P. 204–225)
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Customer experience, ‘Alpha60 PORTAL’ app
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4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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Customer experience, ‘Alpha60 PORTAL’ app
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Render, customer using PORTAL in store
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4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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Render, customer using PORTAL in store
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SQUARE SQUARE
GOLDEN RATIO
GOLDEN GOLDEN RATIO RATIO
SQUARE
CONCEAL
CONCEAL CONCEAL BAG STORE
BAG BAG STORE STORE
DISPLAY DISPLAY CLOTHES CLOTHES STORE STORE DISPLAY CLOTHES STORE
STO CONCEAL
CLICK + COLLECT CLICK + COLLECT
Proposed section Proposed section MECHANISE CLOTHES FOLDING
FLOOR
Proposed section
STORE STORE
CIRC CIRC BAG STORE
CLICK + COLLECT
CONFERENCES PARTIES MARKETS
SQUARE
CIRC DISPLAY CLOTHES STORE
EVENTS MUSEUM GALLERY
CIRC CIRC
GOLDEN RATIO Current Section Current Section
WORKSHOPS WORKSHOPS CONFERENCES CONFERENCES PARTIES PARTIES MARKETS MARKETS
MECHANISE
FLOOR
Proposed section
CLICK + COLLECT
STORE EVENTS MUSEUM GALLERY
WORKSHOPS CONFERENCES PARTIES MARKETS
Current Section
STORE
STORE
CIRC
DISPLAY CLOTHES STORE
STORE
CIRC STORE STORE
CONCEAL
MECHANISE MECHANISE CLOTHES FOLDING CLOTHES FOLDING
FLOOR FLOOR
SQUARE
STORE STORE EVENTS EVENTS MUSEUM MUSEUM GALLERY GALLERY
GOLDEN RATIO
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STORE STORE BAG STORE
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4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60.
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D 01 DETAIL 1:10
4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60. 10mm glass screen Single arm bracket fixed to steel section with concealed Hollo-Bolt Steel angle to edge of mirror. Seal with silicone Square hollow section portal frame
Robotic telescopic retrieval arm. Refer axo
Robotic telescopic retrieval arm. Refer axo Square hollow section frame
Circular hollow section structural frame
Cleat plate bolt fixed to square hollow section frame and universal beam
Robotic telescopic retrieval arm. Refer axo Mirror to top of plinth fixed to MDF substrate Steel angle to edge of mirror. Seal with silicone 2 layers plasterboard
Plasterboard to sides of plinth Timber stud framing
Steel angle to edge of mirror. Seal with silicone
Flush aluminium skirting board with shadow line 10mm polished concrete overlay on FC sheeting on MDF substrate over existing structural concrete
Mirror on MDF substrate fixed to timber framing with top hats
D 01 DETAIL 1:10
D 02 DETAIL 1:10 10mm glass screen Single arm bracket fixed to steel section with concealed Hollo-Bolt
Square hollow section portal frame
Robotic telescopic retrieval arm. Refer axo
Robotic telescopic retrieval arm. Refer axo
Circular hollow section structural frame
Robotic telescopic retrieval arm. Refer axo Mirror to top of plinth fixed to MDF substrate Steel angle to edge of mirror. Seal with silicone Plasterboard to sides of plinth
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Timber stud framing Flush aluminium skirting board with shadow line 10mm polished concrete overlay on FC sheeting on MDF substrate over existing structural concrete
D 02 DETAIL
0
1:10
hes folding and bagging system axo and elevation 1:10
SCALE (METERS)
1
4D. FINAL SUBMISSION. ELIZABETH JANKOWSKI, STORE MSD ALPHA60. Robotic telescopic Robotic telescopic retrieval arm. Refer retrieval arm. axo Refer axo Mirror Mirror to top to of plinth top of ďŹ xed plinth ďŹ xed to MDFtosubstrate MDF substrate Steel angle edge Steel to angle toof edge of mirror.mirror. Seal with Sealsilicone with silicone Plasterboard to sides plinth Plasterboard to of sides of plinth TimberTimber stud framing stud framing Flush aluminium skirtingskirting board board Flush aluminium with shadow line line with shadow 10mm 10mm polished concrete overlayoverlay polished concrete on FC on sheeting on MDF FC sheeting onsubstrate MDF substrate over existing structural concrete over existing structural concrete
D 02 D DETAIL 02 DETAIL 1:10 1:10
0 0
1
1
Clothes folding andand bagging system axoaxo andand elevation Clothes folding bagging system elevation 1:10 1:10
SCALE (METERS) SCALE (METERS) P. 221
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3D model
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3D detail model
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Render, looking up from Flinders Street Store
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MSD.UNIMELB.EDU.AU/ALPHA60