A.R.T. | Atmospheric. Retail. Therapy.
by Marina Garcia
B.A. in Communications and Media Studies, the Catholic University of America
A Thesis submitted to
The Faculty of The Columbian College of Arts and Sciences of The George Washington University (formerly the Corcoran College of Arts + Design) in partial fulfillment of the requirements for the degree of Master of Interior Design.
May 17, 2015
Thesis directed by:
Christy Schlesinger Adjunct Professor of Interior Design
Robert Cole Adjunct Professor of Interior Design
© COPYRIGHT: 2015, MARINA GARCIA All Rights Reserved.
ii
Dedication
Thank you to my family and friends. Thank you to E for keeping me motivated and confident.
For Chuné, B + T.
Thank you for all the support.
iii
Acknowledgements
Thank you to my thesis advisors: Christy Schlesinger, Emily Bishop and Robert
Cole. I could not have done this without your guidance and push to think of
new ideas. Thanks to my peers for their inspiration.
iv
Abstract
Few activities today force us to interact in the way shopping does. Most
retail stores today lack creativity and freshness because they do not provide a stimulating and personal experience. Shopping has been, and continues to be, a big factor within the urban landscape. Some would consider it to be the “last
remaining form of public activity.” There is also a great need for more public space that encourages “existential existence.” As we exist in the World, we seek out a type of collective dwelling that gives us a sense of individuality. Retail can
be a collaborative space that nourishes participation and allows for a
meaningful experience.
This thesis proposes a fashion retail space in which art, inspiration, and exchange can thrive in the public realm of consumerism. Through the “essence of experience” patrons will have a higher understanding of fashion as art. Once
this is accomplished the relationship of fashion to the social pulse can be felt.
We benefit from unique and memorable experiences; in fact they allow us to achieve our sense of self and “existential existence.” Shopping has become one of the most common activities in which people are forced to interact with others.
Thus, a retail space is where art, inspiration, and memory thrive. Through the
“essence of experience” patrons can have a higher understanding of fashion as
art. An overlap exists in ‘existential spatiality’ and the creation of art. Fashion
and architecture are interpretations of societal situations and revelations.
v
Experiencing fashion will clearly illustrate this connection for patrons within this
space.
The “body of architecture” is a direct reference to the human body framework it provides. Through the play of various volumetric and architectural
elements, this space will create a feeling or mood that promoting emotional satisfaction. Material compatibility is critical for both garment and spatial design.
Composure and seduction, architects compose movement within a space, fashion designers compose movement of the human silhouette. Scale and light are other elements that run parallel to architecture and fashion. All these things
produce memory, as well as impact who we are to become and the quality of
how we exist. This project will be a mix of gallery, lab, retail and performance
space, resulting in an existential space.
vi
Contents
Dedication….…………………………………………………………..…...……………….....iii
Acknowledgments…………………………………...……………………………………..…iv
Abstract ………………………………………………………………………….…………...…v
List of Figures ………………………………………………………………………,...... …viii
List of Key Terms……………………………………….………………………………………xiv
Preface………..……………………………………….………………………….……………xvi
CHAPTER I: INTRODUCTION…...... 1
CHAPTER II: METHODOLOGY…….…………………………………………………..…..…19
CHAPTER III: RESEARCH ………………………………………………………………..……25
CHAPTER IV: PROGRAM……………………………………………………………….…….39
CHAPTER V: SITE……………….………………………………………………………………46
CHAPTER VI: FINDINGS …………………..………………………………………….………54
ENDNOTES……………….……………………………………………………………...…...…64
BIBLIOGRAPHY………….……………………………………………………………….….….66
APPENDICES…..………………………………………………………………………………..69
vii
Figures
Figure 1. Brainstorm of existing concept shops……………………………………..……2
Figure 2. Concept Image…………………………………………………………………….4
Figure 3. Mood Image………………………………………………………………………..5
Figure 4. Image of Place Vendome, Paris http://www.gettyimages.com/detail/news-photo/the-place-vendome-is- pictured-from-the-cockpit-of-a-french-news-photo/148323713...... 9
Figure 5. Image from Peter Zumthor’s Atmospheres http://www.hiid.com/atcl/2010/AtmospheresZumthor.jpg...... 11
Figure 6. Images of classical Greek Columns http://threes.com/cms/images/stories/history/greek.jpg...... 16
Figure 7. Image of a Chiton http://upload.wikimedia.org/wikipedia/commons
/e/e4/Chiton_%28PSF%29.j...... 16
Figures 8 and 9. Rei Kawakubo + Yohji Yamamoto’s early collections http://www.wornthrough.com/2012/01/17/book-review-japanese-fashion- designers/...... 18
viii
Figure 10. Parc de la Villlette in Paris by Bernard Tschumi http://en.hotelrelaisbergson.com/238-paris/249-le-parc-de-la- villette-la grandehalle.html...... 18
Figure 11. Graph showing consumers desire for immersive experiences
(http://www.deepmediaonline.com/deepmedia/2013/12/behind-the- immersiveness-trend-why-now.html)...... 20
Figures 12 - 15. Images from Spring 2015 collections. From Style.com
(http://www.style.com/trends/fashion/2014/spring-2015-trend-report)...... 23
Figures 16 - 22. Images from Spring 2015 collections. From Style.com
(http://www.style.com/trends/fashion/2014/spring-2015-trend-report)...... 24
Figures 23 – 26. Sketches illustrating the main points of interest in the Prada Epicenter NYC program…………………………………….…………….26
Figure 27. Image of the “Wave” Prada Epicenter NYC
(http://www.buro-os.com/prada-ny/)...... 27
Figure 28. Image of the performance stage Prada Epicenter
(http://www.buro-os.com/pradany/)...... 27
Figure 29. Floor plan courtesy of OMA of first floor
(http://www.oma.eu/projects/2001/prada-new-york/)...... 28
ix
Figure 30. Exterior Image of Prada Beverly Hills
(http://brandallen.com/prada_bh/index.html).………....…………………….………29
Figure 31. Dover Street Market NYC montage
(http://tmagazine.blogs.nytimes.com/2013/12/06/the-making-of
-dover-street-market-newyork/?_r=0...... 30
Figure 32. DSM NYC staircase designed by Arakawa and Gins
(http://www.businessoffashion.com/dover-street-market)...... 32
Figure 33. Sketch showing circulation of DSM…………………………………...……..34
Figure 34. Image of glass elevator at DSM
NYC(http://domidizajn.jutarnji.hr/fotogalerija/dover-street-market-u-new- yorku/21/)...... 34
Figure 35. Storefront for Art and Architecture exterior(http://www.stevenholl.com/project-detail.php?id=24)...... 35
Figure 36. Illustration showing exterior panels and façade of
Storefront for Art and Architecture
(http://facedesign.com/log/category/project/storefront
-for-art-and-architecture/)...... 36
Figures 37 and 38. Floorplans, Section view of Storefront for Art and Architecture (http://www.checkonsite.com/storefront- for-art-and-architecture/)...... 37
x
Figure 39. Urban Theater at NYC High Line
(http://upload.wikimedia.org/wikipedia/commons/7/74/
Highline_NYC_3705376658_529a375621.jpg...... 38
Figure 40. Early program diagram for………………………………………………..…..41
Figures 41 – 48. Spatial and volumetric terms/techniques……………………….…..41
Figure 49. Adjacency programming chart………………………………………….…..43
Figure 50. Program breakdown with square footage and program detail…...….44
Figure 51. Photograph of site looking from Florida Ave…………………...………….46
Figure 52. Map showing proximity DC to NYC, Paris, London, Milan………………48
Figure 53. Map showing location of NOMA in DC…………………………………….48
Figure 54. Site map showing proximity to Metro and Union Market…………….….48
Figure 55. Image of Dolcezza (http://unionmarketdc.com/dolcezza/)...... 40
Figure 56. Image of Noma Metro Stop
(http://www.greenlinere.com/neighborhoods-noma)...... 49
Figure 57. Image of Union Market exterior
(http://www.dyalpartners.com/v/project-detail/Union-Market/3n/)...... 49
Figure 58. Image of Salt & Sundry inside of Union Market
(http://urbanscrawldc.com/2013/08/08/meet-me-at-the-market-union- market/...... 49
xi
Figure 59. Image of Angelika Pop-up (http://unionmarketdc.com/ angelika-popup/)...... 49
Figure 60. Image of site as seen from main entrance of Union Market……..…….49
Figure 61. Photograph of eight Loading dock doors…………………………………50
Figure 62. Close up photograph of loading dock door…………….…………….….51
Figure 63. Photograph of site, as seen from Neal Place……………………………..51
Figure 64. Floor plan with programming in place………………………..…………….52
Figure 65. Sketch showing possible event space areas………………………………53
Figure 66. Sketch of possible areas with changeable features……………..………53
Figure 67. Sketch showing main areas where people will gather……………….…53
Figure 68. Sketch of possible Main Entrance……………………………………….…..53
Figure 69. Floor plan with diagram highlighting the 3 areas: Gallery,
Retail, Bar/Café areas...…………………………………………………..………………...55
Figure 70. Sketch of initial concept for black cubes………………………………..…56
Figure 71. Axon view of retail space, breakdown of designer boutiques/cubes, runway and performance platform, as well as display………..56
Figure 72. Section view of Gallery, materials library and studios……………………57
Figure 73. Materials used within the space………………………...………………...…58
xii
Figure 74. Rendered view from Bar through to café and lounge.…………………60
Figure 75. Rendered view from café to bar…………………...... ………………...…60
Figure 76. Image of Paul Rudolph’s design for Halston
(http://www.homedsgn.com/2012/01/12/iconic-urban-retreat-in- new-york-city-by-paul-rudolph-video/...... 61
Figure 77. Rendered view of catwalk and materials library…………………..…...…61
Figure 78. Rendered view of gallery…………………………..…………………..…...…62
Figure 79. Exploded axonometric view of ACNE Studios retail space and renderings………………………………………………………………………62
Figure 80. Rendered view of runway show…………………………….………..…....…63
Figure 81. Rendered view of same space as retail, no runway show show………63
xiii
Key terms
Phenomenology – (from Greek phainómenon "that which appears" and
lógos "study") is the philosophical study of the structures of experience and
consciousness.
Dwelling (in the qualitative, existential interpretation) – to belong to a
given place, which might be a green field or a grey street, and
furthermore to possess a house where the heart may blossom and the
mind may muse. An “Existential foothold.”
Identification – first aspect of dwelling; to experience a “total”
environment as meaningful
Orientation – second aspect of dwelling; to grasp the spatial
interrelationship of things.
Public Space – Third mode of dwelling in which there are shared values.
Collective Dwelling – second mode of dwelling, urban space where
human meeting takes place, people coming together in their diversities.
Public Dwelling – third mode of dwelling, where the space embodies a
more structured kind of togetherness than mere meting; sharing a set of
beliefs or values.
Existential Spatiality – Idea that lived space promotes our existential well-
being and acts as a catalyst to becoming fully self-realized.
xiv
Trends – very complex mechanisms that mirror changes in the economic
and political landscapes. Fashion itself is a reflection of social, economic,
political and cultural change.
xv
Preface
Summer of 2014, [and well pretty much the last 35 years]
As I was preparing myself for Pro-thesis over the summer of 2014, I began to think
about why I love buildings and interiors, specifically. What was inspiring to me?
Well it didn’t take me long to figure out that I was drawn to the emotional feeling buildings create and the memories they inspire. My first experience of being truly
moved by architecture was while studying abroad in 1999. I went to the
Guggenheim in Bilbao. The way the building enhanced the art, it was just overwhelming to me. Fast forward to 2014 and I find myself about to graduate with a degree that will mean true self- fulfillment, the highest level of existence for
me.
I have had so much fun coming to realize that Phenomenology is a philosophical method I want to practice and aim for in my work. I was drawn to it with Martin
Heidegger’s “Building Dwelling, thinking” and Gaston Bachelard’s The Poetics of
Space. As a designer, I want to create space that is meaningful, memorable
and inspiring. As designers we are purveyors of great ideas and beauty. The
thoughtfulness that I have found in architects like Peter Zumthor is inspiring and reminds me of the joy and excitement I have for built space…and in general, for living fully. My love for fashion and design made this a special project for me to
pursue.
xvi
CHAPTER I: INTRODUCTION
Washington, DC has recently gone through a major population growth, as well an expansion of commercial development. With this growth, I believe that a new kind of concept retail space is missing from the city. A retail space that is art gallery/performance space/laboratory would enrich DC’s urban landscape, as
well as promote ‘existential spatiality.” In an age when it’s believed the brick-
and-mortar experience is dead, reinvention is necessary. Architecture
strengthens the existential experience and one’s sense of being in the world,
resulting in a strengthened experience of self. There must be public space that
promotes the notion of dwelling. An overlap exists in ‘existential spatiality’ and the creation of art. I will design a retail space that attempts to re-sensualize the
shopping experience, inspiring designers, artists and patrons to publicly dwell.
This space must allow for transitional and temporary installations. It will include a retail space, gallery space featuring fashion Trends and collection presentations, a laboratory space where designers, tailors and stylists can collaborate and also
work with customers. There will be 5 designers featured, as well as one visiting
designer to be highlighted in the gallery space. Using natural materials, light,
indoor/outdoor space, color and textures, and volume, I will manipulate the
space to achieve an existential experience. Through the division of space by
activity, I will create a hybrid gallery shopping experience. The use of
contrasting materials, as well as playing with scale, will implore customers to
explore and discover.
1
A handful of high concept stores have opened up within the last decade or so
that seek to create a unique retail experience. I’ve looked at Rem Koolhaas
and the Prada Epicenters in New York and Los Angeles. So far, these are the
best examples of retail space that push the boundary. Shops like Dover Street
Market in London, Colette in Paris, and Opening Ceremony in New York, merge
retail with art, culture, and highly curated merchandise, mixing: high with low, industry standards with of-the-moment trends, and local with international. I will examine each of these shops, and the retailers/designers from whom they were
conceived [Figure 1].
1. Brainstorm of exiting boutiques that were interesting to me.
I will also examine how these shops have impacted retail and the fashion industry
today. Sara Andelman opened Colette in 1997, and since, there have been
many more concept stores to follow. Each of these stores has garnered a cult- like following, so much so that they often are a top destination for tourists visiting
2 respective cities. I would like to study how these shops are laid out and use them
as a reference to build from.
When I worked on concept and mood images in the initial brainstorm, I came up
with two that set the tone, even though at the time, I was unsure of how they
would directly relate. The concept image [Figure 2] conveys an atmospheric
imaginary place which provokes and begs you to explore. The mood image
[Figure 3] shows beautiful and well-designed objects. Together the images
express atmosphere and set a tone for an experience. The mood board is focused on beautiful objects and how those objects enhance an environment.
These ideas of beauty and atmosphere are further explored through the
philosophy of Phenomenology.
3
2. Concept Image: Reflective of Atmosphere, light, + discovery.
4
3. Mood Image: beautiful objects, fashion, architecture, design.
Phenomenology: 4 Modes + Identification
“To dwell implies the establishment of a meaningful relationship between man and a given environment….”
“…Urban space, thus, is essentially a place of discovery, a milieu of possibilities. In urban space man dwells in the sense of experiencing the richness of a World. We may call this mode collective dwelling, using the word “collective” in the original sense of gathering or assembly.”
5
--Christian Norberg-Schulz, The Concept of Dwelling: On the Way to figurative architecture.
What do you feel in a beautiful space? What do you feel in a solemn space?
Are you intentionally feeling emotions that were the intent of the architect?
These feelings are very interesting; they create a sense of existence, as well as memory. Digging into the philosophy of Phenomenology, you discover that all of life’s events can be enhanced by the place in which they occur. You might be
inspired by a place. A lot has been written on Phenomenology. Starting with
Martin Heidegger and moving to Christian Norberg-Schulz, the idea of ‘dwelling’
is very critical in thinking of how we deal with space.
Dwelling is the ultimate sublime experience of a place. When you are
thriving, you are dwelling. A sense of place has been a factor of life since the
first humans decided where to settle and call home. This early factor, called
Settlement, is the first mode of Dwelling. There are four modes in all that
comprise the various environments in which humans can dwell: Settlement,
Collective, Public and Private. Each of these modes is recognizable through the
two aspects of Dwelling, which are Identification and Orientation:
In general, Identification means to experience a “total” environment as
meaningful…. While Identification intends the qualities of things,
Orientation grasps their spatial interrelationship…It is therefore meaningful
to distinguish between Identification and Orientation as aspects of
dwelling, and although both are always present, one of them may,
according to the situation be stronger than the other. Together
6
Identification and Orientation make up the general structures of dwelling
and hence the common denominator of the four modes.1
Through these two aspects we can evaluate space as having the quality of
dwelling. Human identification of a space and of ‘things’ allows humans to
relate meaningfully to their environment. Once an understanding takes place, an existential foothold is achieved, which is what is defined here as “dwelling.”2
Each mode of space in which we have potential to dwell, provides us with different environments that embody meaning and allow for distinct actions and
behavior to take place.
The second mode of dwelling is the Collective Mode of dwelling. In this mode human meeting takes place, allowing for the exchange of ideas and sentiments.
Here man comes together in all their diversities and ideas. Christian Norberg-
Schulz explains that within this “urban” space, man “dwells” in the way of
experiencing the richness of a world.3 In the Collective Mode of dwelling,
endless possibilities and experiences are presented. Thus, once decisions are
made to exist in a specific type of urban space, patterns of agreement are established, which form a more established, structured type of space. This space
is the third mode of dwelling, what we call a public building, the Public Mode.
Within the Public Mode, dwelling is experienced as common values are kept and
expressed. 4 The last mode of dwelling is the most personal type of space, the
Private Mode of dwelling. Within this space, withdrawal is encouraged and
“refuge” is provided.5
7
Each of these modes encapsulates what type of memory and experience will
take place, as well as what type of behavior and activity will reactively occur.
Spatial qualities are critical to a much more fulfilling existence. We can turn any
experience into something memorable by following this philosophy.
Existential Space: Poetical Revelations
“Poetry is what really lets us dwell,” Heidegger says, and continues: “Poetry does not fly above and surmount the earth in order to escape it and hover over it. Poetry is what first brings man onto the earth, making him belong to it, and thus brings him into dwelling.” Works of architecture belong to those poetical revelations which make us dwell.” – Juhani Pallasmaa, Eyes of the Skin.6
The two modes of Collective and Public dwelling are essential to the
growth and exchange of ideas. The exchange of ideas leads to endless
possibility for collaboration and an inspiration for art. The idea of allowing
collaboration to occur within a retail environment is appealing. Allowing
designers to be exposed to the public, as well as exposure to their peers, will incubate an exchange of ideas and inspiration. In Collective space, men come
to understand one another, as well as discover the “world of others.”7 Through
this understanding, man gains a self-identity, as well as experiences fellowship with others. This provides a sense of belonging and an ability to avoid uniformity.
“Collective dwelling, thus, is not a mere coming together, but a being in the
world somewhere as somebody.”8 Urban space then, must possess specific
qualities, in order to promote dwelling. These characteristics can be found in
8 urban streets and squares. With streets and the square, urban space is enclosed,
thus creating a type of public interior.9 The street and square are enclosed,
though they do not possess any defined symmetry.
On the other hand, ordered space suggests or imposes certain
choices. Streets and squares also imply meeting and orientation [Figure
4]. “To allow for meeting, urban spaces ought to be topological.
Topological forms leave the constituent elements “free,” as they do not
impose any superior order. Hence we find that theorists who subscribed
to Aristotle’s’ aim that city should offer man security and happiness; tend
to propose topologically organized urban space.10
4. Place Vendome, Paris, example of the street + square, urban space
Every touching experience of architecture is multi-sensory; qualities of space, matter and scale are measured equally by the eye, ear, nose, skin, tongue, skeleton and muscle. Architecture strengthens the existential experience, one’s sense of being in the World, and this is essentially a strengthened experience of self. Instead of mere vision, or the five classical senses, architecture involves several realms of sensory experience, which interact and fuse into each other. – Juhani Pallasmaa, Eyes Of The Skin: Architecture and the Senses.
9
The two modes here that relate specifically to this project are the collective and
public modes. In order to produce or understand art, spaces that inspire and
allow the action of collaboration and ideas coming together must exist.
After understanding the breakdown of phenomenology and the breakdown of
each mode and place, I started to look at how it might be defined in today’s
modernity. Peter Zumthor, as an example, is a master of creating special, meaningful space. In this lecture from 2003, Zumthor gives us great insight into his theory of Atmosphere. This helps us further understand the idea of identification
and how we experience a total environment as meaningful.
Atmosphere: “Magic of the Real”
In his speech on Atmosphere, Peter Zumthor addresses the idea that beauty is
not in the eye of the beholder, but in the physical world that surrounds us.
Buildings, things, structures, environment—all these things produce memory, as
well as impact who we are to become and the quality of how we exist. In his
work, he seeks to recreate a feeling or mood that promotes emotional
satisfaction [Figure 5]: “We perceive atmosphere through our emotional
sensibilities—a form of perception that works incredibly quickly, and which we
humans evidently need to help us survive.” 11
10
5. Images from Zumthor’s Atmospheres presentation. They depict two of his favorite interior spaces as they evoke a mood, quality of atmosphere.
Zumthor breaks his work into 9 things that comprise Atmosphere:
1.
be thought of like the human body and how it touches us.12
2.
materials, critical proximity between materials, depending on the type of
material and its weight.13
3.
peculiar to each room, and with the surfaces of the materials they
contain, and the way those materials have been applied. Sound of his
mother in the kitchen. Makes you feel at home.14
11
4.
the warmth from our bodies. But also “to temper”, temperature as a verb,
ex: tuning a piano. So temperature in this sense is physical, but
presumably psychological too. It’s in what I see, what I feel, what I touch,
even with my feet.15
5.
and instruments too! System of objects. Think about the future of a
building and what things will be inside; think about rooms when they are
actually being used.16
6.
architecture involves movement. Thinking about the way people move
through a building. Architecture is a temporal art. Induce a sense of
freedom of movement, a milieu for strolling, a mood that had less to do
with directing people than seducing them. “There is also the gentler art of
seduction, of getting people to let go, to saunter, and that lies within the
powers of an architect. DIRECTION, SEDUCTION, LETTING GO, GRANTING
FREEDOM. SOMETHING DRAWING ME AROUND THE CORNER, THE WAY THE
LIGHT FALLS, OVER HERE, OVER THER: AND SO I SAUNTER ON – I FIND THAT A
GREAT SOURCE OF PLEASURE.17
7.
tiny loophole door, the almost imperceptible transition between the inside
and the outside, and incredible sense of place, an unbelievable feeling of
concentration when we suddenly become aware of being enclosed, of
something enveloping us, keeping us together, holding us.18Zumthor thinks
12
about what kind of statement he wants to make publicly, what message
should the building communicate to the neighborhood? To the street?
“Buildings always say something to a street or the square.”19
8.
classical architect would call it scale. Too academic, something more
bodily than scales and dimensions. It refers to the various aspects—size,
dimension, scale, the building’s mass by contrast with my own. Zumthor
always attempts to create buildings where the interior form, or the empty
interior, is not the same as exterior form. 20
9.
were. First is to plan the building as a pure mass of shadow, then
afterwards, to put in light as if you were hollowing out the darkness, as if
the light were a new mass seeping in. Second is to go about lighting
materials and surfaces systematically and to look at the way they reflect
the light. Make use of the natural light.21
Appendices: Zumthor has three additional items, as he describes, more personal
qualities that he strives for with his design:
1.
“architecture as surroundings.” The idea of creating a building or big
complex of buildings, or even a small one, or that it becomes part of its
surroundings. The building becoming part of people’s lives. “That is the
first transcendent level in my work: the attempt to conceive of
13
architecture as a human environment. Perhaps—and I supposed I’d
better admit this—perhaps it has something to do with love.”22
2.
into their own, when they are coherent. That is when everything refers o
everything else and it is impossible to remove a single thing without
destroying the whole. Place, use and form. The form reflects the place,
the place is just so, and the use reflects this and that.23
3.
they tend to assume a form which often surprises me when I finally stand
back from the work and which makes me think: you could never have
imagined when you started out that this would be the outcome”. 24
Atmosphere is the ‘feeling’ of a place. Zumthor’s breakdown of how we experience architecture and space will be essential for the development of this project. The control over feeling and mood will be critical in informing customers
how to feel and how much time to spend in the various areas of retail and the gallery/event spaces. His ideas have helped me figure out how to give physical
space the characteristics inherent to existential spatiality. Looking at the major
ideas in his process, we can see direct ties to methods used in fashion design.
Existential Spatiality + Fashion
The “body of architecture” is a direct reference to the human body and
framework it provides. Material compatibility is critical for garment design, the
14 weight and texture of materials must be understood to know how they should be
cut and how they will drape against the body. Composure and seduction,
architects compose movement within a space, fashion designers compose
movement of the human silhouette, magnifying certain features of the body,
while hiding others. Much as Zumthor talks about allowing people to let-go or
draw them around a corner, fashion designers do the same. Tension, (in the case of architecture is between inside versus outside), in fashion it is between the body and the garment that wraps it. Scale and light are other elements that run
parallel to architecture and fashion. Scale surrounding the human body, in
clothing, as well as environment. Light, how does light hit a space? How does
light hit a garment? You can relate all of Zumthor’s methods to fashion design.
As mentioned above, all these things produce memory, as well as impact who we are to become and the quality of how we exist. In both practices, the goal is
to recreate a feeling or mood that promotes emotional satisfaction. Both deal
with the human body, just in slightly different ways:
Fashion is thought of as ephemeral and superficial, using soft, sometimes
fragile, materials, whereas architecture is considered monumental and
permanent, using rigid, highly durable materials. Their scale of
production, too, is wildly different: fashion designers create garments for
the human body, while architects create buildings large enough for many
bodies to inhabit simultaneously. Regardless of scale, however, the point
of origin for both practices is the body. Both protect and shelter, while
providing a means to express identity—whether personal, political,
religious, or cultural.25
15
Visually, you can see that there are similarities between clothing design and
architectural structure, which lends to the idea that fashion may be more aptly
described using architectural terminology. 26 We can see this is true when using
Zumthor’s terminology. We can also compare examples of buildings and
clothing from a certain time frame and see noticeable similarities in form and style. If you look at Greek columns from ancient Greece, you see them reflected in the drapery and folds of the “chiton” – a woolen tunic made from one piece
of fabric, draped over the body27 [Figures 6 and 7].
6. & 7. Images showing classical columns from ancient Greece and the form of dress, the Chiton, which was popular at the time. You can see similarities in form.
Another major tie between the two is that both practices are heavily influenced
by cultural shifts, environmental and economic conditions, as well as
technology.28 In return, architects and designers take these influences and transform them into significant contributions to society, “When viewed as a part
of a historical continuum, both garments and buildings are invaluable anthropological artifacts that mark important cultural and economic conditions,
stylistic preferences, and new developments in technology and materials.
16
Moreover, the designers and architects continue to be influenced by such
artifacts, reinterpreting them for a contemporary context.”29
A historical example of this influence happening in fashion design and
architecture, simultaneously, comes from the 1980s. 30 Japanese designers Rei
Kawakubo and Yohji Yamamoto came into the fashion scene with something completely new and against what was the standard in the fashion industry. They
presented a collection of purposely tattered garments, with unfinished edges
[Figures 8 and 9]. At the same time, architect Bernard Tschumi won an
international competition for his project to design the Parc de la Villette in Paris
[Figure 10]. Tschumi introduced ideas of deconstruction to a broader audience.31 Both the designers and the architect were reacting and responding
to the perceived ideas and notion of what beauty was at the time, “For
designers in both fields, the early 1980s were characterized by a struggle for
liberation from convention that involved experimentation with new forms and
openness to ide13as and techniques form other disciplines to inspire radically
different approaches to design.”32
17
8. & 9. Rei Kawakubo and Yohji Yamamoto’s early collections provoked, going against the conventional ideals of what beauty and femininity were at the time.
10. The Parc de la Villette in Paris by Bernard Tschumi.
18
CHAPTER II: METHODOLOGY
Retail: Consumers + Immersive Experiences
Retail has had a varied role in our lives throughout history. Today, consumers are
looking for unique experiences, “We are increasingly expecting things to do
more that involves interacting with all our senses, offers us a range of touch
points to play with, and involves us entirely in new experiences.”33As Forbes
published in their article on cultural insights into consumer behavior for 2014,
consumers are looking for active participation in their experiences; they are no
longer content to remain passive and on looking.34 Along with this idea of
immersive experience, consumers want to be able to let go and escape the
humdrum that comes with “grown up responsibility.” Especially in times of
austerity, consumers want to escape and indulge.35
Collective consciousness of a culture: Ideas that resonate and become
important to a culture at any given time. An example, the desire consumers
have for stimulating experiences. In a survey performed by JWT Intelligence in
2013, consumers were mostly looking for immersive experiences, “Among our 10
Trends is Immersive Experiences: the idea that entertainment, narratives and brand experiences will become more enveloping in a bid to capture consumer’s
imagination and attention. Going beyond interactive and multimedia environments, retailers [and others] are creating uniquely immersive experiences
19
that allow participants to leave their “real” world behind.”36 Please see
[Figure11] for a breakdown between the Millennials, Gen Xers and Boomers
surveyed.
11. Chart showing results of what consumers are looking for in products and entertainment.
Thus, a space in which consumers become lost in fashion and experience
fashion as an art form, would be beneficial. This type of retail experience will
add to a community in which most stores offer a standard run-of-the-mill experience. These cultural shifts indicate a move towards the “wholehearted” and “intense.”37 In order to further understand the motivations behind each of
20
these generations I decided to research what motivates each. Fashion and architecture can be used as a vehicle to connect with a larger culture. Fashion and architecture each provide a direct link to current societal and global issues.
Each is a connection to the larger consciousness of a group, where ideas
connect and art is born. Now the key is finding the generational trends,
(motivations of each generation) which will resonate within this space.
What I found is that Boomers are: confident, optimistic, independent, status
conscious, motivated by work, value personal growth, challenge authority and are generally anti-establishment. 38 So Baby Boomers really live to work, they are
the “workaholics” and are motivated to climb the ladder. Gen Xers on the other hand, work to live, motivated by building relationships. They are also much
more adverse to authority than Boomers.39 Millennials are driven socially and
they live to live, not motivated by just getting ahead and following a standard
schedule. It is interesting to see that each generation is looking for the same
type of immersive experience as it relates to entertainment and retail. With this
space, there are various social settings that would cater to each of these
generations. The space is not limited to one activity or behavior. Millennials would find themselves socializing throughout the gallery and retail areas, into the
performance and bar sections. Boomers can get their shopping done, while
Gen Xers can check out the gallery exhibit and then do some shopping.
21
Fashion and Architecture
In the historical sense, fashion retail is specifically critical in the role it plays as space “where the drama of making sense of the social, political, and economic
events which shape the modern world have been played out.”40There is a
connection of fashion and architecture and how they stylize cultural moments.
Born from the generic idea of retail, boutiques were a response to “the idea of being special sprinkled upon customers by the nineteenth-century shop and the
accessibility and entertainment provided by au courant design.”41Today boutique retail spaces range, from large-scale luxury shopping centers, to small
jewel-box like boutiques. Although the recession of 2008 has hurt retail sales,
“boutiques and stores continue to spring up, designed by the most creative people available. Pop-up shops were born from the recession as a response and
sit at the opposite spectrum of the luxury retail shop, though both offer an
experience that feels personal. It shows that in the best of times or the worst, retail is essential. Retailing, the sale of goods to the ultimate consumer, is in some
sense today at the very heart of the system of the developed world.”42
When looking at how directly tied to societal trends fashion and architecture are,
it is fascinating how the two come together in fashion boutique branding and
design. There are direct structural and stylistic similarities. Trends today are a
direct response to what is currently happening in the world. A few trends that popped up in the spring 2015 collections are directly tied to current state affairs.
The “haute hippie” trend was definitely visible at Dries Van Noten, Chloe, and
Gucci. Dries Van Noten went as far as to stage a ‘protest’ at their runway show
22
[Figures 12, 13, and 14]. 43This trend is a direct response to the wars occurring
throughout the world, specifically the war on ISIS. On the opposite side of
‘peace and love’, we saw utilitarian garments pop up at Chanel and Rodarte
[Figures 15 and 16]. Global warming and climate change have also directly impacted fashion designers. The use of ‘all weather’ leather was visible at Louis
Vuitton, Christopher Kane, and Dior 44[Figures 17, 18, and 19]. The availability of news and over-stimulation from mobile devices brought out some very calming and neutral palettes from Celine, Haider Ackermann, and Hermes [Figures 20, 21,
and 22]45.
These trends are likely also impacting architectural design methods and theories.
Much can be used here within the program and materiality for this project’s
interior planning.
12. 13. 14. 15.
23
16. 17. 18.
19. 20. 21. 22.
12 – 2. Images from the Spring ’15 collections: (in order from left to right): Gucci, Chloe, Dries Van Noten, Chanel, Rodarte, Louis Vuitton, Christopher Kane, Dior, Celine, Haider Ackermann, and Hermes. All from Style.com
24
CHAPTER III: RESEARCH
CURRENT APPLICATIONS + PRECEDENTS:
Prada Epicenters: NYC and L.A.
23,000 SQ. FT.
BIG IDEAS:
The Wave: use of materials, volume and height to creative atmosphere.
Un-interrupted view from both entrances, helps with orientation
New technology, personalized data.
Unlikely combination of two unlikely programs: science lab and a library
Performance stage that can be hidden when not in use in the Soho store.
The Prada Epicenter on Rodeo Drive in Los Angeles is a response to the
New York store, visible through its horizontality and connection of the two
floors. In New York a 'wave' in the floor rolls down towards the basement;
in LA a wooden plane folds up and creates a symmetrical 'hill' that
supports a floating aluminum box on the second floor. Inside this volume,
the main store program is organized along the perimeter.46
The third floor of the L.A. store is dominated by the 'scenario space': an
open floor plan that is used for changing display arrangements, like an
extended idea of a display window, offering ways to present clothes
beyond the presence of rails and shelves.47
Figures 23, 24, 25, and 26, show a breakdown of various characteristics in the
Soho space. Figure 23 illustrates the changeable aspects that exist within the
25
store. A performance stage that can be put away, a front display area
surrounding the elevator and the wall paper along the right wall entrance.
Figure 24 illustrates the compression of the basement level, which also houses
most of the merchandise, forcing shoppers to really examine the items for
sale. Figure 25 illustrates the connection between the basement and 1st
floors. Figure 26 illustrates the expansive performance and spectator space that also works as a display case for seasonal collection displays. Overall, the
best elements are the expansion and compression, as well as the
changeability of the programming.
23. & 24.
25. & 26.
26
27. The Wave in the Prada store in Soho.
28. View of the performance stage when in use, Prada Soho.
27
CIRCULATION + FLOORPLAN
29. Drawing courtesy OMA: Prada Soho floor plan First Floor
While the unprecedented cylindrical glass elevator, zebrawood “waves,”[Figure
27] and surfaces of translucent cellular polycarbonate are the store’s public design signatures, its most sophisticated technologies are reserved for the private
spaces.
From the OMA website: Thesis: New York’s Prada Epicenter – an exclusive boutique, a public space, a gallery, a performance space [Figures 28 and 29], a
laboratory – is part of OMA / AMO's ongoing research into shopping, arguably
the last remaining form of public activity, and a strategy to counteract and
destabilize any received notion of what Prada is, does, or will become.48
As museums, libraries, airports, hospitals, and schools become increasingly indistinguishable from shopping centers, their adoption of retail for survival has unleashed an enormous wave of commercial entrapment that has transformed museum-goers, researchers, travelers, patients, and students into customers. The result is a deadening loss of variety. What were once
28
distinct activities no longer retain the uniqueness that gave them richness. What if the equation were reversed, so that customers were no longer identified as consumers, but recognized as researchers, students, patients, museum-goers? What if the shopping experience were not one of impoverishment, but of enrichment?49
30. Exterior Façade of the Prada Epicenter in Beverly Hills.
The façade on Rodeo Drive blends in seamlessly, as it is entirely hidden. It stands
out from the other classical storefront and glass enclosures. The entire front of
the store opens up to the street and merges public with commercial space.
Climatic separation is achieved through an air-curtain system; invisible security
antennas guarantee the control of the store. At night, an aluminum panel rises
from the ground and seals the building [Figure30]. 50
29
Dover Street Market, NYC
31. Dover Street Market NYC: Exterior: Nicholas Calcott. Interiors: Courtesy of Dover Street Market (6).The Comme des Garçons designer Rei Kawakubo is bringing her Wonkaesque approach to retail to New York. A sample of installations from existing Dover Street Markets in London and Ginza offer a hint of what’s planned for her new outpost on Lexington Avenue (center). From http://tmagazine.blogs.nytimes.com/2013/12/06/the-making-of-dover-street-market-new- york/?_r=0.
“Known for a daring edit and creative visual merchandising, Dover Street Market
is a retail experience rooted in ‘beautiful chaos.” – Business of Fashion.com
22,000 Sq. Ft.
BIG IDEAS:
30
Multi-brand retail, not organized in any specific way, meant to be a
"beautiful chaos" of art and fashion combined. Permanent art
installations. “The Catwalk Carnival” [Figure 31].
A mix of merchandise, in which the only organization lies within each
fashion designer's 5'x7' shop space.
Each space contains its own fitting room, often a very creative container
for trying on clothes. The store revamps itself in entirety twice every year.
Unifying elements are a six-story column covered entirely in wool, the work
of the street-knitting pioneer Magda Sayeg and her team of Texas needle
workers. Another column is appliquéd with tiny houses.
Holds an edginess that sets Dover Street Market apart from typical high-
end boutiques, with their predictably lush interiors. “People wonder who
it’s for,” Joffe says. “It’s for anybody with an independent spirit.”
Biotopological Scale-Juggling Escalator is a kind of psychedelic chute with an interior surface as bumpy as a chocolate-chip cookie, punctuated by several small sculptural installations. [Figure 32]
31
32. Staircase commisioned from Arakawa and Gins
Dover Street Market was first opened in London in 2004. The store is
owned by fashion designer Rei Kawakubo and her husband, Adrian Joffe, president of Comme des Garçons International. 51The store is meant to be a
new experience each time you enter. Twice a year, the store is closed and
entirely re-done, aside from specific structural elements and commissioned
artwork. The store carries avant-garde designers. Each designer is allotted
32 their own space to create and display their merchandise as they see fit. This
enhances the shopping experience as each display is unique and thought
out to relate to the merchandise on display. You end up feeling like you’re walking through an art installation, while also discovering new things. There is
no set organization of items, no men’s or women’s sections, everything is
blended. This builds into the idea of a beautifully chaotic space, enriching the customer’s experience. The main circulation is through the center of the
building, via a 10’x10’ glass elevator, “It’s worth the effort: 64 square feet of
glass and polished steel, the elevator is the focal point of the seven-story
space, which occupies a stately Beaux-Arts building on Lexington Avenue
and 30th Street”52 [Figures 33 and 34]. The changeability of the program,
aside from permanent elements, is appealing. Major art installations mark
certain points within each of the seven floors. They aid in way-finding and
give permanence to an otherwise changeable space.
33
33. Illusration of the main circulation of the NYC store.
34. Glass Elevator interior.
34
Storefront for Art and Architecture
New York, 1992 – 1993
35. Exterior view of the Storefront for Art and Architecture, Steven Holl.
The project is a commissioned renovation to the existing façade of the
existing gallery space in 1992. Steven Holl designed the twelve moveable panels [Figure 35]. The client is Shirin Neshat, Storefront for Art and Architecture /
Kyong Park, Storefront for Art and Architecture. Steven Holl worked with artist
Vito Acconci.53 The gallery is a 900 square foot gallery, on the corner marking
three distinct neighborhoods: Chinatown, Little Italy and SoHo. Limited in size and shape, the façade acts as the buildings most dominant feature, “Seeking to
35
introduce improbability and to puncture the facade, Acconci and Holl challenged this symbolic border which underlines the exclusivity of the art world,
where only those on the inside belong. Using a hybrid material comprised of concrete mixed with recycled fibers, Holl and Acconci inserted a series of hinged panels arranged in a puzzle-like configuration.”54 As the panels are opened, the façade disappears into the sidewalk, opening up the gallery to spill out into the
public space [Figures 36, 37 and 38]. In this case, the panels operate against the typical function of a façade, “to create a division separating the inside from
the outside space.”55 It is useful to examine how a gallery space can be
interactive space within two zones, one small space and one large space or
public space and private space. Interior and exterior – this type of treatment
could be useful to tie the gallery space to the retail space. It could also be a
useful feature in the main entrance of the warehouse building.
36. Storefront – view of entire building, showing doors open. http://facedesign.com/log/category/project/storefront-for-art-and-architecture/
36
37. Image courtesy of Storefront for Art + Architecture website – view of plans showing door axis.
38. Image courtesy of Storefront for Art and Architecture website – elevation of front.
37
NYC High Line Urban Theater
1.5 mile park built on a section of disused railroad spur.
39. Urban Theater at NYC High Line
BIG IDEAS:
Great example of a public space in which a lot of public interaction takes
place.
There is also the observatory seating that is a great example of a type of
"Stage" and/or spectator space.
Events are planned and organized; art is also worked in and displayed on
various sections of the bridge, currently one at Pier 54.
38
Billboard space was worked in and presents a series of art installations and
commissions. Larger walkways are used at times to project films and also
provide space for live performances.
URBAN THEATER: Urban Theater at 10th Avenue and 17th Street: a window
over the avenue provides unusual views [Figure 39].
39
CHAPTER IV: PROGRAM
Experience of Fashion as Art
“To dwell implies the establishment of a meaningful relationship between man and a given environment.” – Christian Norberg-Schulz
Without ‘existential spatiality’ there can be no creation of art. A retail space in which patrons can experience Fashion fully, to the extent that they leave the
space inspired and touched by an aspect of fashion they have not previously
encountered. The space will be a combination of various programs: gallery
space, performance space, working studio space, tailoring space and dedication designer shops [Figure 40]. Through the use of overlapping elements
from architecture, specifically Zumthor’s concept of “Atmosphere” and
technical aspects from the assemblage of a garment, the space will inspire
curiosity. As both architecture and fashion are heavily influenced by environmental, economic conditions and technology, I would like to emphasize
these ideas, abstracting through light, volume and materials. Figures 41 –48 illustrate some common techniques that overlap in architecture and fashion. This type of mixed programming will be essential in how it appeals to all generations
and how certain activities will be inspired to take place. This will be a
destination spot, not only for shopping, but for viewing art, viewing designers in their workspace, viewing performance, and grabbing a drink or a bit to eat. The
retail space will not feel exclusive, as many high end or fashionable boutiques
can often seem.
40
40. Breakdown of initial programming idea produced at midterm.
41. Grade 42. Lift 43. Shear 44. Intersect
45. Pinch 46. Overlap 47. Notch 48. Expand
41
Retail consumption in the U.S. continues to grow, and American’s spend about 12 hours a month, on average, shopping. Yet most retail experiences do
not add much to our quality of life, or fulfill our constant need to be seduced.
With the use of contrasting materials throughout this space, consumers will be
drawn into each of the different programs within. A bridge that connects the gallery to the retail space will force consumers to see the materials used and the
fashion designers working within their lab space. When we consume, we typically are not thoughtful or inspired by the designer or the space. Consumers
can inspire designers, and vice versa, yet there is no indication of this from retailers. Washington, DC is missing a retail space that provides exciting and new
designers, as well as a hub for art and performance of the avant-garde:
“Shopping has become the only means by which we experience public life. In
many cases, it determines, sustains, and often defines what it means to be an institution or even a city.”56 There is no accessible venue for avant garde fashion
or goods, outside of Georgetown. The growth of online retail sales has also contributed to the need for a brick and mortar retail space. As a reaction to the
surge in online shopping, consumers are now looking for in person shopping,
tailored to their needs and providing an interactive experience. DC would
benefit from having a destination boutique, in order to keep up with cities like
NYC or Paris {as a booming urban city}. NoMa has the available space and a community interested in having an art gallery and a performance venue mixed
in.
42
Laboratory, Gallery, Performance + Retail
49. Adjacency program
43
50. Detailed breakdown of square footage and space within each of the larger divisions.
The program [Figures 49 and 50] would appeal to several different clients:
emerging and well known designers looking for a platform to display and sell
their designs. Designers will have the ability to express their brand identity, their
inspiration and reflections for each collection produced seasonally. There will also be opportunity for collaboration and co-branded products. Work space will
be collaborative and inspire an exchange of ideas. The public will get to see
‘behind the scenes’ with the bridge that takes them through the materials gallery
and the designer’s studio space. There will also be dedicated designer shop
space, special events, happenings, a direct tie to city, and community in D.C.
44
On the side of consumers, the program offers a place where patrons can
discover new, unknown, avant garde designers and products. The experience
will feel new each time, as displays would change seasonally, as well as installations and art on view. There would be a Trends focused gallery, as well as
a materials gallery, highlighting current trends and technologies. This offers insight into the fashion industry and the process of how trends influence designers
and vice-versa. The retail space is not your typical shopping experience.
Consumers will leave feeling inspired and will have a higher understanding of how ideas are formed, and then translated into fashion and trends. Magnifying
trends and their source will offer an expansive view of the current cultural shifts,
environmental and economic conditions and advancements in technology.
45
CHAPTER V: SITE
Neighborhood: NOMA
51. SITE: 1270 4TH Street, Northeast, Washington, DC
The site itself is in a neighborhood that is currently seeing new major
development. NoMa is slowly growing, transitioning from an under-developed area to a hub for new businesses and residential development. The building site at 1270 4th Street, NE, is located in close proximity to Union Market [Figures 52, 53 and 54]. As noted by the Washington Post, “After opening two years ago, Union
Market has become an informal incubator for area restaurateurs and business
owners.”57 The neighborhood has welcomed Union Market and the various
public events held within and around Union Market. There are various pop-up
46 shops opening and business owners have been encouraged to experiment with
new ideas and concepts.58
NOMA has seen some major growth in population over the last three years.
Since 2010, there has been 27.15% growth of population ¼ of a mile from the
project site.59 Within 1 mile, the population has grown 9.53% since 2010. The
population is also split equally at 50/50 male and female: 49.3% male60 and
50.7% female. The neighborhood was chosen based on the following criteria: demographics, accessibility, proximity to existing retail, mainly Union Market, and space availability, as well as the inherent nature of the existing buildings and the
atmosphere of the neighborhood.
Site: Cash & Carry Warehouse
The program will use three buildings, the Cash & Carry warehouse building, as well as two buildings adjacent to the left of the brick warehouse building at 1270
4th Street [Figure 51]. Currently the building serves as the DC Cash & Carry. It is
one among several other food distribution centers servicing local food grocery and restaurant businesses in the DC area. The surrounding neighborhood is a mix
of new development and old existing vacated factories. Close proximity to
Union Market, Dolcezza, Angelika Pop-Up and the NOMA metro stop [Figures 55-
60]. The buildings combined are 57,000 square feet. The interior of the
warehouse has several support columns.
47
52. Site is located in Washington, DC
53. Site is in the NOMA neighborhood
54. Site Map showing proximity to Metro, Union Market.
48
55. Dolcezza 56. NOMA/Gallaudet Metro Stop
57. Union Market 58. Salt & Sundry, Union Market
59. Angelika Pop-up 60. View of site from Union Market
The exterior of the building provides a non-descript, gritty feel to the site.
There are eight loading dock doors on the South side of the building, located on
49
4th Street [Figure 61]. There is also an empty lot to the east of the building, located on Neal Place [Figure 62]. The main entrance could be located along
the northeast side of the building, so that it is in direct view form Union Market.
[Figure 60]. Some initial planning for the program itself can be seen in [Figure 64].
The exterior of the building’s main focal points are the eight loading dock doors.
Those can also be a main point of entry, and also tie the interior private space to
the exterior public space.
At this stage, there are special and circulation ideas that have surfaced
based on the layout of the site, as well as based on case studies and precedents. [Figures 65 – 68] show some initial design sketches on areas that will
contain the major circulation paths, as well as major entry points and areas for
gathering large crowds/performances.
61. View of the 8 loading dock doors.
50
62. Close up view of loading dock doors on 4th Street side.
63. Right side of building, empty lot along Neal Place.
51
64. Colored floor plan with program key.
52
65. Glass box, possibility for gallery and event space. 66. Ideas about main entrance and changeable features for the gallery entrance.
67. Sketch showing the main areas for gathering, event space. 68. Main entrance, if placed at the Northeast end of the building, will have a dramatic, feature, transitioning customers inside the space.
53
CHAPTER VI: FINDINGS
The project was presented to a panel of jurors. The presentation included a condensed year of work, including research and planning done during the ‘Pro-
thesis’ semester. In the second semester, all of the planning and conceptual development came to fruition. The program was simplified and narrowed down
to three major areas: Gallery, Retail, and Bar/café [figure 69]. The main methods that overlap in architecture and garment construction were applied to various areas throughout the interior – the most impactful being the shearing of
large black volumetric cubes. These five cubes were used to provide organization and define space within the large brick warehouse. The volumetric
cubes provide intrigue and add choreography to the space [figure 70]. Retail
space could then be categorized as ‘designer boutique’ and general retail
[figure 71]. The gallery area provides entry to the building, as well as highlights trends and historic players in the fashion industry. In the example used, Halston is the featured designer. From the gallery, you walk through a catwalk and have views to an expansive materials/textiles library, as well as designers working and using materials. The next space on view is the designer studio space and sewing
labs [Figure 72]. The large retail warehouse space houses the
runway/performance platform. The platform is raised 18” in order to act as
seating should it be needed. The platform holds clothing and merchandise
display. On the edge of the platform, near lounge seating in the bar, there is a
combination display/ramp that works for runway shows and performance.
54
69. Final floor plan divided from left: 1. Gallery, studio/materials library (a basement level and catwalk bridge for the public. 2. Retail houses a runway/performance, five cubed designer boutiques. 3. Bar/café, which acts as a capstone, to the southeast side of the large warehouse, also the closest entrance in proximity to union market.
55
70. Sketch of volumetric cube concept.
NCH PI
EA SH R
RADE G
ART D
DESIGNER BOUTIQUES
18” PLATFORMED RUNWAY
RECESSED SEATING, DISPLAY
RAMPED RUNWAY GRADE: process of changing the size of a finished pattern, slope, gradient of a physical feature or constructed line.
PINCH: technique used to gather fabric and achieve varying silhouettes. Process of developing form, can be thought of experientially.
SHEAR: remove rough edges, cut through, break off, divide, shave.
MODEL PATHWAY DART: folds (tucks coming to a point)and sewn into fabric to take in ease and provide shape to a garment.
71. Axon showing the layout and division of the brick warehouse. The pink area shows the 18” platform stage that is used for runway/performance, and general retail. The purple areas show the recessed seating areas. Green is showing the ramp and retail display that is interlocked with runway space. The footprints outline the runway show choreography.
56
72. Section A-A view of the Gallery Entrance, materials library, studio space and entry to retail and glass elevator.
Materials
Various material considerations were explored and the resulting palette is clean and minimalist [figure 73]. Pops of color and texture are reserved for exhibitions
in the gallery; materials/textiles housed within the library, each designer within
the black cubes and the bar/café furnishings. Warm materials like concrete
flooring, are used throughout the different areas. This kept in tune with the existing buildings, as well as the neighborhood. The finishes and materials should
not be too high end, but a nice balance in harmony with the neighborhood.
Warm grey wood floors were used for the platform runway and the recessed
seating areas have custom rectangular benches, also made from poured
concrete. Each of the black box boutique spaces has an exterior made form
black back painted glass. The idea was to keep all of the boxes uniform from
the exterior so the interior materiality will draw the consumer in, as well as
showcase each designer’s palette and aesthetic.
57
73. Materials palette used.
Feedback + Final Renderings
The overall scope of the project ended up being a lot to condense into one
year. The final jury feedback was that more development could be done in
many different areas of the space. More detailed development of how corners/edges are ‘put together’ or sewn. There was also a strong desire to see
the exterior of building work its way to the interior and vice-versa. A juror did point out that the use of a “Storefront for Art and Architecture”- like experience could happen along the perimeter of the 4th street wall. One notable idea was
to have the black boxes protrude outward, thus provoking people walking
outside to enter. The same juror also noted that the boxes could be placed on
58 both sides of the warehouse, allowing for the runway to weave itself throughout
the space – through the use of glass walls/walkways.
One juror questioned the inclusion of the bar and café. The bar and café
were integral to this place being used for events, as well as it becoming a
‘destination’ or ‘hot’ spot in Washington, DC [figures 74 and 75 ]. It also served to tie in with the success of the surrounding businesses like Union Market. One could come to A.R.T. and shop, check out the gallery exhibition and then grab a beer.
Boyfriends/husbands/partners also have a place to ‘chill’ out while their mates
shop. The runway and recessed seating ended up taking over much of the
warehouse. There was positive feedback regarding the ‘catwalk’ and a reference was made to the home of Halston, the Paul Rudolph designed home
on East 63rd in New York City. The home was a ‘hot spot’ for celebrities and the
like during the booming days of Studio’54 [figures 76, 77 and 78].
Finally, the use of the ACNE Studios example came into question in the
diagrams and renderings did not show an extreme example of materiality and contrasting textures to the exterior of the black cube [figure 79]. ACNE is a very minimalist and modern brand, and it was included with that specific aesthetic in
mind. Perhaps an additional example would have provided a more in depth
understanding of the designer retail space. The final renderings of the same
space show how the recessed seating area near the lounge looks during a runway show, as well as during normal business hours as retail [figures 80 and 81].
59
74. View from Bar out towards café and lounge seating at the edge of the runway/walkway.
75. View from café looking towards the bar. Light fixtures are reminiscent of thread and stitching. The pink chairs are a nod to the branding of the project; you can see the pink A.R.T. shopping bags.
60
76. Image of the Paul Rudolph designed home of Halston. A juror made a connection between the ‘catwalk’ in Halston’s home, which allowed celebrities to be ‘on display/on stage’ and the catwalk in A.R.T. that allows the public to view the materials library and studios; designers on stage, on display.
77. Rendering showing the materials/textiles library and the catwalk/pedestrian bridge that takes you from the gallery through to the retail space.
61
78. Rendering of the Gallery space and the Halston and 70’s Luxe installation.
79. Exploded Axon showing ACNE Studios retail space within the black cube.
62
80. View of recessed seating area and ramped runway display during a fashion show.
81. View of recessed seating area when it is used for general retail display.
63
1 Christian Norberg-Sculz, “The concept of dwelling: On the way to figurative architecture.” p. 15. 2 Ibid, p. 17. 3 Ibid, p. 13. 4 Ibid, p. 13. 5 Ibid, p 13. 6 7 Ibid, p. 51. 8 Ibid, p. 51. 9 Ibid, p. 63. 10 Ibid, p. 65. 11 Peter Zumthor, Atmospheres: Architectural Environments, Surrounding Objects. (Birkhauser Basel 2005) p. 13. 12 Ibid, p22. 13 Ibid, p24-25. 14 Ibid, p28-30. 15 Ibid, p. 32. 16 Ibid, p. 34. 17 Ibid, p. 42. 18 Ibid, p. 45-47. 19 Ibid, p.49. 20 Ibid, p. 51. 21 Ibid, p. 57-59. 22 Ibid, p. 63 23 Ibid, p. 67-69. 24 Ibid, p. 71. 25 Brooke Hodge. Skin +Bones: Parallel Practices in Fashion and Architecture. Museum of Contemporary Art, Los Angeles. Thames & Hudson, p. 11. 26 Ibid, p. 11. 27 Ibid, p. 12. 28 Ibid, p. 12. 29 Ibid, p. 12. 30 Ibid, p. 12. 31 Ibid, p. 11. 32 Ibid, p. 11. 33 “Six Trends That Will Shape Consumer Behavior This Year.” Access December 4, 2014. http://www.forbes.com/sites/onmarketing/2014/02/04/six-trends-that-will-shape- consumer-behavior-this-year/ 34 Ibid. 35 Ibid. 36 Ibid. 37 Ibid. 38 “The Mindset of Baby Boomers & How to Effectively Engage Them.” Accessed December 5th, 2014. http://blog.helblingsearch.com/index.php/2011/08/16/8-effective- ways-to-motivate-baby-boomers-the-most-important-thing-to-remember/ 39 “Generation X and The Millenials: What You Need to Know About Mentoring the New Generations.” Accessed December 5, 2014, http://apps.americanbar.org/lpm/lpt/articles/mgt08044.html.
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40 Boutiques and other Retail spaces. David Vernet and Leontine de Wit. Routledge, New York 2007. 41 Ibid, p 2. 42 Philip Jodidio, Shopping: Architecture Now! TASCHEN August 2013, p. 7. 43 “Spring 2015 Trend Report.” Accessed December 5th, 2014. http://www.style.com/trends/fashion/2014/spring-2015-trend-report 44 Ibid 45 Ibid 46 “Prada New York, USA, New York 2001.” Accessed November 24th, 2014. http://www.oma.eu/projects/2001/prada-new-york/ 47 “Prada Los Angeles, USA, Los Angeles, 2004.” Accessed November 24th, 2014. http://www.oma.eu/projects/2004/prada-los-angeles/ 48 Ibid, accessed November 24th, 2014. 49 Ibid, accessed November 24th, 2014. 50 Ibid, accessed November 24th, 2014. 51 “Dover Street Market: Built Upon Beautiful Chaos.” Accessed November 11th, 2014. http://www.businessoffashion.com/dover-street-market 52 “The Making of Dover Street Market.” Accessed November 11th, 2014. http://tmagazine.blogs.nytimes.com/2013/12/06/the-making-of-dover-street-market- new-york/?_r=0 53 “About Storefront.” Accessed October 3rd, 2014. http://www.storefrontnews.org/info/about 54 Ibid, Accessed October 3rd, 2014. 55 Ibid 56 Chung, Judy Chiuihua, Jeffrey Inaba, Rem Koolhaas, and SzeTsung Leong. The Harvard Design School Guide to Shopping/ Harvard Design School Project on the City2. TASCHEN, 2002. 57 “Two years in, Union Market thrives.” Accessed October 17th, 2014. http://www.washingtonpost.com/news/digger/wp/2014/10/13/two-years-in-union- market-thrives/ 58 Ibid 59 Demographis from City-Data.com. Accessed November 2014. http://www.city- data.com/ 60 Ibid
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APPENDIX A: PRO-THESIS FINAL BOARDS board #1
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board #2
70
board #3
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APPENDIX B: THESIS FINAL BOARDS Boards #1 - #3
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Boards #4 - #6
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Boards #7 - #9
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