STORE Studio Design Journal - Xuewei He by STORE_Studio

PERSONALIZATION CONCEPT STORE

MSD.UNIMELB.EDU.AU/ALPHA60

STORE, MSD, ALPHA60 XUEWEI HE

PERSONALIZATION CONCEPT STORE

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CONTENTS A. TASK 01 REAL (P. 2–11) B. TASK 02 VIRTUAL (P. 12–23) C. REFERENCE TASK (P. 24–29) D. TASK 03 MIX (P. 30-45) E. REFERENCE TASK 02 (P. 46-55) F. FINAL PROJECT (P. 56-119)

A. TASK01 REAL (PP. 2-11)

A.1. RESEARCH (PP. 4-7) A.2. PROCESS (PP. 8-9) A.3 FINAL (PP. 10-11)

A. TASK01 REAL. XUEWEI HE, FOLD. STORE MSD ALPHA60.

2. Freitag Store

1. Noise absorb module.

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A. TASK01 REAL. XUEWEI HE, FOLD. STORE MSD ALPHA60.

4. Fold Nendo

3.Arts bank.

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A. TASK01 REAL. XUEWEI HE, FOLD. STORE MSD ALPHA60.

Student Name 881531, Project Title. S1 2020.

DISPLAY//STORAGE

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Store, Melbourne School of Design, University of Melbourne, Alpha60

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RETAILSPACE//FOLD

A. TASK01 REAL. XUEWEI HE, FOLD. STORE MSD ALPHA60.

Student Name 881531, Project Title. S1 2020.

DISPLAY//STORAGE

RETAILSPACE//FOLD TYPICAL GROUP PLAN

Being inspired by the precedents, the point I’m focusing is the detachment between storage anddisplay in common sense. Display are intentionally placed in generous space by staff and professions, aims for fancy effect and usually just using few objects, some of them can be touched by customer, some of them can’t. While storage is usually behind the main “store”, in thedark space with lots of objects stack together, usually only staff could enter. So there is a kind of aweird isolation and hierarchy in the store. Thus I wish to break this isolation and try to erase thedistance between storage, display and customer. In the precedent, through a replication andplacement of the storage unit of the objects in the store, a display pattern is created. Whichmeans when the objects are in their storage condition, by make use of the its system, can achievea better form of display. Regard to my design, the main idea of the system is a fold and unfold structure achieved by sliding. Which is a series of folded panels, each panel unit storages a shirt, with a support boardinside and a clear containing pocket both in its own shape, allow them to be easily insert anddraw out. And they could all be 3D printed according to the needed shape, to achieve bothdisplay purpose and also storage & sale purpose. One end of the panel strip is attached on the wall, the other end is connected to the sliding track on the ceiling, each panel unites are connected by hinges, to allow the fold and unfold. The panels could be pulled out into different length to exhibit the objects, while each shirts are stored in their panel. So everyone can play with the system, to achieve various pattern and effect, without break their “storage” condition.

SLIDING TRACK

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P. 11 END PANEL

Store, Melbourne School of Design, University of Melbourne, Alpha60

SLIDING SYSTEM

Regard to my design, the main idea of the system is a fold and unfold structure achieved by sliding. Which is a series of folded panels, each panel unit storages a shirt, with a support board inside and a clear containing pocket both in its own shape, allow them to be easily insert and draw out. And they could all be 3D printed according to the needed shape, to achieve both display purpose and also storage & sale purpose. One end of the panel strip is attached on the wall, the other end is connected to the sliding track on the ceiling, each panel unites are connected by hinges, to allow the fold and unfold. The panels could be pulled out into different length to exhibit the objects, while each shirts are stored in their panel. So everyone can play with the system, to achieve various pattern and effect, without break their “storage” condition.

FOLDING SYSTEM

CONCEALED HINGE

B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

B. TASK02 VIRTUAL (PP. 12-23)

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

B.1. RESEARCH (PP. 14-17) B.2. OBJECTS (PP. 18-19) B.3. PROCESS (PP. 20-21) P.4. FINAL (PP. 22-23)

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

Every kind of pressure – be it with one finger, with the feet or be it with the entire body – displaces and shifts the inks and it produced by overlapping the „real” colors red, green and blue (RGB). The liquids are serving as filters and transform the white backlight of the box in infinite variations. Filters change the colors by letting through only certain wavelengths of the light. In KALEIDOSKOP the filtering inks are free flowing and so the rigid analytic investigation of the laws of optic turns into a psychedelic experience within a delirious abundance of colors. Further more, Karina transfers the aesthetic force of the installation into the public space on a very large scale: A camera faced centrally downwards from above is shooting the people using the playing surface.

“Eyes are easy to be fooled”

‘Touch’

2. KALEIDOSKOP --- CMY&RGB 1. ECCO Visitor Centre

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‘Process’

The production process is explained in the centre of the exhibition space. Seven interactive tables show how an ECCO shoe is made, step-by-step, from initial sketches to the latest quality check before the shoe ends up in the shop. Interaction is used to allow the visitor to experience for themselves how ECCO operates, and what skills are needed to actually produce a shoe. An audience member can, for instance, sew a shoe together virtually, while simultaneously being given an overview aurally by ECCO employees as to how they approach the process.

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

‘2D-3D’

3. Jakob + MacFarlane, Augmenting the invisible

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Jakob + MacFarlane presents 8 projects in augmented reality on the occasion of the exhibition ‘Augmenting the invisible’ at the Aedes Gallery in Berlin from the first of April until the 18th of May 2017.Augmented models are used by the studio to describe the process by which each project was conceived .The work of Jakob + MacFarlane is precisely located at the intersection of a prospective vision and an experienced vision. It is at the same time, both a dialogue between the physical experience and the digital world, an invitation to a permanent conversation about this relationship. The exhibition hosts the first retrospective on the work of Jakob + MacFarlane in Germany. The multidisciplinary and multicultural studio, founded by Dominique Jakob and Brendan MacFarlane in 1997, is one of the most experimental studios established in Paris, France. The projects exhibited are the results of their unique process in architecture, through which the studio has developed the exploration of digital technologies, both as a design tool and as means of production: a particular and individual vision that redefines the context into which it is inserted.

SCANLAB ‘Displaced Witness’

Mix experience of virtual vision & real touch.

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

‘RENDER’

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CARE - COLLAR DESIGN - SHAPE

MATERIAL - TEXTURE

Student Name 881531, Project Title. S1 2020.

TECHNIQUE - BUTTON

VIRTUAL>REAL

AR CARESSING

Store, Melbourne School of Design, University of Melbourne, Alpha60

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REFLECT HUMAN TOUCH AND MOVEMENT. ENLARGE THE CARESSING VIRTUAL RUMINATE THE REAL

WHITE - POINT CLOUD PURPLE - HUMAN TUCH

Student Name 881531, Project Title. S1 2020.

B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

REAL>VIRTUAL<REAL ENGAGEMENT STIMULATION

B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

Users could put on the Hololens, look to the virtual versionof the shirt in between the folded glass screen, while their hands caressing the shirt underneath a solid panel, and their action on the real object will reflect on the virtual one,in both color change and density change. And their is no reflection of the point cloud on the glass mirror Which emphasis on its fakeness and a bit weirdness. Compared to if it is a real object. Cause a folded white shirt is just an ordinary everyday object, everyone already has an assumption about it, we won’t really feel the needs to explore or engage with it more. Because of these feeling of bored and laziness, human are gradually drugged into the virtual world and detached from this “ordinary” real world. To response to this, I wish to using its attractive and easy access of the virtual vision to draw people’s attention back to the real object by touching it, lead them to play with the shirt, using touch to really engage with the real. When the user saw the changes in the virtual, they will think back about how they are touching or pressing the real shirt, and also with the blindness in reality, user will force to and also willing to play more in order to see more. So I wish to use this corresponding of combination of virtual vision and real touch to enhance the bond between people and object. So a display is no longer just something you can just see, but also closely engage.

THE CORRESPONDING OF VIRTUAL VISION AND REAL TOUCH TO ENHANCE THE BOND BETWEEN PEOPLE AND OBJECT.

Store, Melbourne School of Design, University of Melbourne, Alpha60

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

C. REFERENCE TASK (PP. 24-29)

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C.1. RESEARCH (PP. 26-27) C.2. RENDERS (PP. 28-29)

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

Stainless steel rod framework. Polished solid bronze shims, spacers and end caps, coated with clear varnish. More than just a room divider, this folding screen with its understated elegance commands the presence of a sculpture.

Eileen Gray SCREENS P. 26

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B. TASK02 VIRTUAL. XUEWEI HE, VIRTUAL CARESSING. STORE MSD ALPHA60.

Renders

Eileen Gray ‘Brick Screen’

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D. TASK03 MIX. XUEWEI HE, THE TABLE. STORE MSD ALPHA60.

D. TASK03 MIX (PP. 30-12)

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D.1. RESEARCH (PP. 32-39) D.2. PROCESS (PP. 40-45)

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Bad Press: Dissident Ironing was first exhibited as Dysfunctionalisme at the Centre dâ&#x20AC;&#x2122;Art Contemporain des Castres, France in the spring of 1993 and at the Richard Anderson Gallery, New York in the fall of 1993. Bad Press, an exercise in dissident housework, is made with 25 generic white shirts, an iron, and spray starch. The project divorced the task of ironing from the aesthetics of efficiency by exploring labor-intensive patterns that resulted in unexpected alternatives for folding, buttoning, and pressing a manâ&#x20AC;&#x2122;s shirt; this produced shirts in a state that could not be stacked or packed. Bad Press scrutinizes ironing as one of the forms of domestic labor whose principles of motion economy were designed by efficiency engineers in late 19th century factory production culture. The regimented ironing pattern was devised so that a minimum of energy would be expended in pressing a shirt into a flat, rectangular shape with the goal of fitting it economically and efficiently into a range of orthogonal storage

Bad Press: Dissident Ironing Diller Scofidio

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systems: the wholesale shipping carton, the retail display case, the dresser drawer or the closet shelf, and the suitcase. When worn, the signature creases of this orthogonal logic of efficiency served as emblems of refinement and domestic perfection. By trading the image of the functional for the dysfunctional, the postindustrial body is freed from the aesthetics of efficiency altogether.

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‘Invisible Outlines’ Nendo

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‘Un-printed material’ Nendo

D. TASK03 MIX. XUEWEI HE, THE TABLE. STORE MSD ALPHA60.

Similarly, we wanted to work with paper but approach it from a different angle. Working both by hand and with a 3D printer, we created outlines of paper as an expression of that paper without actually using paper itself. Some of the outlines display rounding, while others show signs of the paper having once been folded. In another, when the paper is torn away, the torn section appears to have feathery layers with fibres. By zeroing in on the finer details

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and carefully representing them in the outlines, we attempted to capture that unique essence of paper that we have all felt at one time or another. The gallery consists of three rooms. In the first, 30 sheets of A1-sized posters with outlines measuring 3mm thick are suspended in space, with torn or folded pieces scattered throughout. In the second room, multiple series of large postcard-sized paper with 1mm-thick outlines each show five different stages within the process of that paper being modified in some way. In the final room, outlines are used in the same way to represent 3D objects that are made of paper, such as paper bags, milk cartons, paper cups, and origami figures. An animated film that provides hints about what the outlines represent plays in the room in an attempt to stimulate the imaginations of visitors. The title of the exhibition – un-printed material – is a play on the term “printed material” that alludes to the concept of the designs.

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D. TASK03 MIX. XUEWEI HE, THE TABLE. STORE MSD ALPHA60.

‘Incomplete Open Cubes’ Sol Lewitt P. 38

Exhaust possibilities

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E. REFERENCE TASK (PP. 46-55)

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E.1. RESEARCH (PP. 48-51) E.2. DRAWINGS (PP. 52-55)

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E. REFERENCE STUDY. XUEWEI HE. STORE MSD ALPHA60.

The Olivetti Showroom is located in Venice, Italy on the northern edge of Piazza San Marco. It was designed and completed between 1957 and 1958. The Olivetti Company was a typewriter manufacturer experimenting with producing early computers and calculator by the 1950s.

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‘Olivetti Showroom’ Carlo Scarpa

E. REFERENCE STUDY. XUEWEI HE. STORE MSD ALPHA60.

Scarpa transformed the space provided to him from a long, dark alley into an open jewel box. Through the addition of windows and attention to interior transparencies, Scarpa blended the exterior and interior and was able to open the Olivetti Showroom into a light, comfortable place for visitors. Featured prominently in the space is Scarpa’s strong marble staircase toward the back of the showroom. Individual stone slabs are supported by brass rods and form the stair leading up to the second level and balconies. The stairs appear to float weightlessly, and allow views through the room. Scarpa controlled the light within the Olivetti Showroom through the addition of windows to the exterior, wooden grids on the second floor to control the intake of light, artificial lighting, as well as though his choice of materials for the interior. Glass tiled floors and limited smooth stone walls reflect light through the space and open the narrow showroom. The mosaic tiles on the floor are of different colors. The main entrance has a red mosaic floor, the side entrance blue, the rear yellow, and the central space white.

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E. REFERENCE STUDY. XUEWEI HE. STORE MSD ALPHA60.

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E. REFERENCE STUDY. XUEWEI HE. STORE MSD ALPHA60.

Today, the Olivetti Showroom is a recognized historical building, where Scarpaâ&#x20AC;&#x2122;s design has become a museum for itself

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E. REFERENCE STUDY. XUEWEI HE. STORE MSD ALPHA60.

AXONOMETRIC DRAWING 1:500

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F. FINAL PROJECT. XUEWEI HE, PERSONALIZATION. STORE MSD ALPHA60.

SECTION DRAWING 1:100

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F. FINAL PROJECT (PP. 56-119)

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F.1. WEEK 8 (PP. 58-65) F.2. WEEK 10 (PP. 66-73) F.3. WEEK 11 (PP. 74-89) F.4. WEEK 12 (PP. 90-99) F.5. WEEK 14 (PP. 100-105) F.5. FINAL (PP. 106-119) P. 57

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‘Repossi flagship’ OMA

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‘Japanese-dance Space’ Kazunobu Nakamura design

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Programs

EXTRA SLOW

EXHIBITION

SLOW

PERSONALIZATION

QUICK

NORMAL STORE

ENVIRONMENT

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OBJECT

ENVIRONMENT

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Fold

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Wrap

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Dye

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Iron

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GALLERY

PLAY STUDIO

STREET P. 70

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White Cube Gallery

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Personalization in Retail

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C.P. Company Store

Converse NYC Store

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Tailor-made Lights, Margje Teeuwen & Erwin Zwiers

ECCO Visitor Centre

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‘Process’

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F. FINAL PROJECT. XUEWEI HE, PERSONALIZATION. STORE MSD ALPHA60.

Freitage, ZÜRICH

The new Grüngasse location in Zürich is an experimental ground for the Swiss brand: called Sweat Yourself, the store is actually a micro-factory of sorts. Inside, visitors will find a wide array of tarp pieces to choose from, as well as a specialized team of workers and the required machinery. After making an appointment for a private production slot, shoppers get to pick a front and back side, a bottom, a pair of handles and a bold-patterned tarp cutoff leftover from the Oerlikon-based factory. These ‘designers’ have to use a cutter and a plexiglass template to create an external pouch, round it off with a punching machine and stamp the tarp with a welding machine.

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Issey Miyake, Aoyama

At the new Homme Plissé Issey Miyake store in Aoyama, 20 per cent of the location’s generous 225 sq-m are devoted to a fully functioning pleating machine and its accompanying equipment. Instead of process secrecy, the intent is now completely different: the brand wants visitors to experience ‘the joy and excitement of making things right in front of them.’

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Three days a week, for an hour in the afternoon, several engineers from the Internal Pleats Laboratory – the company department where new pleating technology is developed – demonstrate how the clothes are made. They feed the machine a T-shirt cut and sewn 1.5 times as large as the finished size, and after 10 minutes of whirring and pressing closely guided by human hands, out comes a pleated creation. But this is the first time that Issey Miyake makes technical production part of the in-store purchase experience: shoppers get to see how the (beautiful) sausage is made, something that can in turn inspire a heightened sense of respect and appreciation for the garment they’re about to buy. It’s a quiet statement about slow fashion, the value of timeless purchases and a strong example of a on-brand and non-gimmicky physical retail experience.

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Muji Yourself

There has been a large number of brands succumbing to the “retail apocalypse” over the last year alone. The shifting of purchasing habits, the rise of e-commerce, and the changing perceptions of fast fashion are all contributing factors. Simply put if brands can’t stay relevant or find ways to connect with customers it might be game over. Perhaps brands can learn from Muji’s ways. They’ve found a way to innovate the in-store experience by creating add-on, personalization services for its customers. All-encompassing retailers are the future, they give you more to do, to touch, and to remember. It’s these details that help create connections with customers, and why they’ll keep coming back for more. P. 82

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Nike House of Innovation

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Speaking to the notion of transparency, I note that consumers seem to be more knowledgeable than ever about the design of their favourite products. How does the store engage with their curiosity? What we’re seeing is that today’s consumers are interested in the idea of co-creating with us. On the fifth floor we have the Nike Expert Studio, which is a platform for our brand to become more intimate with our customers. It feels to me, and it will feel to consumers, like you’ve just dropped into the Nike design floor in Beaverton, Oregon. You’ll have materials and designers and markers and computers – everything you need to become fully immersed in the act of creation

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F. FINAL PROJECT. XUEWEI HE, PERSONALIZATION. STORE MSD ALPHA60.

G Floor - Select the Base Gourmet GALLERY

EXHIBITION

FACTORY

FABRICATION

STUDIO

‘CONCEPT’ STORE

Digital Overlay

‘SHIRT STORE’

DIGITAL PERSONALIZATION

‘COAT STORE’

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‘SHOE STORE’

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G Floor - Virtual Personalising

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G FLOOR WORKSHOP

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2 FLOOR GALLERY

REAL VIRTUAL

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‘FACTORY’

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P.1/10

REAL RACK IN LOOP, HANGING COMPLETE GOURMET

VIRTUAL RACK IN ENDLESS SPIRAL, HANGING

DIFFERENT MATERIAL & COLOUR SAMPLES

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Store, Melbourne School of Design, University of Melbourne, Alpha60

TITLE

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10 M

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HILDA

PROJECT TITLE

S1 2020

1. VIRTUALLY GRAB DOWN THE SELECTED COLOR/MATERIAL, APPLY IT TO THE GOURMET PATTERN. C 1 0 0 2

PEARL WHITE FAFBF5 250 251 245

TWO PIECE COLLAR

M 90% COTTON 1 10% LINEN 0 0 2

2. VIRTUALLY PULL OUT THE CREATION TO SEE THE OVERALL EFFECT. 3. STRONG INTERACTION BETWEEN OPERATOR AND TABLE.

TAILORED CUFF

HILLAS SHIRT

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Store, Melbourne School of Design, University of Melbourne, Alpha60

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TITLE

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PRODUCTION VIEWING ZONE

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Store, Melbourne School of Design, University of Melbourne, Alpha60

SELF-OPERATING ZONE

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2nd Floor --- Gallery SCANNING ZONE

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Store, Melbourne School of Design, University of Melbourne, Alpha60

ARRANGING ZONE

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Virtually arranging their scan data into the heritage space, to form a personalized fashion exhibition.

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10 M

Scanning their creation into the virtual archive

F. FINAL PROJECT. XUEWEI HE, PERSONALIZATION. STORE MSD ALPHA60.

Customer put on their creation on the rotation platform, using AR headset to scan it each time, and add into their virtual archive to form their own collection of ALPHA 60.

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Store, Melbourne School of Design, University of Melbourne, Alpha60

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Store, Melbourne School of Design, University of Melbourne, Alpha60

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DIGITAL

Student Name 881531, Project Title. S1 2020.

PERSONALIZATION

2 --- GALLERY

1 --- FACTORY

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Store, Melbourne School of Design, University of Melbourne, Alpha60

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G --- WORKSHOP

Melbourne School of Design, University of Melbourne Alpha60 Xuewei He 813148 Personalization msd.unimelb.edu.au/alpha60 Semester 1 2020 1

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