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