Paul Lucian Cristian, year 3, 2021

THE FLAGSHIP 2.0

THE FLAGSHIP 2.0 FROM ‘CUSTOMER’ TO ‘USER’ PRAXIS AS AN EARLY INDICATOR OF EMERGING PARADIGMS IN RETAIL ARCHITECTURE

PAUL CRISTIAN SUPERVISOR: MERCE RODRIGO GARCIA

ARCHITECTURAL ASSOCIATION MARCH 2021

SHOPPING MALL

ARCADES DEPARTMENT STORES

FLAGSHIPS THE SUPERSTORE

FLAGSHIP 2.0 DOT COMS

?

This essay has been submitted for the History and Theory course examination.

FOREWORD

In the wake of new technological advancements and the disruption inflicted by the age of the Internet upon traditional retail, we witness a series of convulsions that emerge as retail typologies are no longer fit for purpose and, the Shopping Malls, Department Stores and Big Box retail are increasingly losing their relevance. Traditional retail is quickly transposed in the area of the impractical, as it is completing its journey from a typology born out of need to its demise. However, a new mode of practice is emerging. In recent years we have seen an acceleration in reshaping, reframing and repurposing Department Stores, in particular, but this has expanded to Shopping Malls and many other forms of retail. Additionally, the Covid-19 pandemic acts as a catalyst, precipitating change and perhaps expanding the scope of it. Although expected, it is, therefore, not the change, but the way in which it transpires, that brings innovation to architecture and the retail sector as a whole.

Since the mid-2010s, there are a series of very successful online businesses, which were positioned to disrupt the sector.

However, more recently, in taking online retail offline, these new businesses are recognising the presence of the store as an opportunity to connect and promote, experiences, identity and lifestyles. We witness the birth of The Flagship 2.0. The store experience becomes a new commodity, and we witness the rise of experiential retail. In a world where transactions take place increasingly online, companies are consolidating their relationships with customers, and are quick to transform their physical presence on the High Street, to suit their new approach. A new architecture emerges, an architecture centred around collaboration, education and experimentation. This creates a trend of innovation and generates new retail spaces as incubators that can acquire a renewed role in the process of city-making.

6

PREFACE

Extract from The Atlantic.

My thesis explores the emerging notion of experiential design in retail architecture and the role of the architect in the development of new forms and modes of practice. Retail design and, consequently, retail architecture can be considered to develop and become reinvented as reactions to historical developments from trade and economic growth as seen in Benjamin Walter’s Arcades Project [Walter (1999)], social issues as in Jane Jacobs’ fight for preserving the American Street and the retail mix for its role in city-making [Jacobs (2000)], and, more recently, technological disruptions presented in ‘The Retail Apocalypse’ published in The Atlantic in 2017 [Thompson (2017)].

The very nature of retail creates a complex dual relationship to the city, which is particularly unique in architecture due to its scale and modus operandi , as it transcends the boundaries of design [Gibbs (2012)].

Retail positions itself at the core of the city and, the city is being shaped by retail, as revealed in Gibbs’ extensive work and Koolhaas’ Guide on Shopping [Gibbs, J. R.( 2012)],[Koolhaas et al.(2002)]. In 2001, Rem Koolhaas argued that ‘through a battery of increasingly predatory forms, shopping has infiltrated, colonized, and even replaced, almost every aspect of urban life’[Koolhaas et al.(2002)].

The scale of this symbiosis is very eloquently displayed in his work, and becomes more tangible in the second chapter, ‘Scope’. This leads Koolhaas to conclude: Retail ‘is arguably the last remaining form of public activity’[Koolhaas et al.(2002)].Building on these considerations and the prominent role that retail design plays in city-making, it is crucial to discuss the impact of momentous change such as the ‘Retail Apocalypse’ [Thompson (2017)]or the ‘Retail Renaissance’ [Lal et al., 2017] is having on the role of retail design in city-making and architects’ approach to addressing this shift. It becomes increasingly important to document and analyse the emergence of new modes of architectural practice, which carry such a fundamental role in shaping the city.

7

PREFACE

This proposal originates from my work experience in retail architectural practice at Benoy in London, where I have worked on urban regeneration projects, with retail design employed as a citymaking tool. During this time in practice, I have noticed a series of new terms used during the design process: Instagrammable Design, Calendar of Events, Experiential Design, Customer Journey, Curated Offering, Pop-Up Store among others. This new lexicon employed during design reviews, design statements and business development meetings, indicates new attitudes being engaged in the process and a systematic response to design, which is further supported by the increasing prevalence in specialty literature, as shown using the Google ngram data (fig. 1-10). These observations led to an initial instinct in searching for indications of a new typology but, a further investigation soon revealed deeper connections: the emerging shift in design towards the visitor not as a customer, but the visitor as an inhabitant - a user (‘consumers go to themed flagship brand stores not only to purchase products; they go to experience the brand, company, and products in an environment largely controlled by the manufacturer’ [Kozinets et al. (2002), p.18], or as I would argue in this case the architect), and consequently the shift, away from infrastructures, to concept as a driver for innovation in retail architecture, addressed in this essay.

Therefore, a typological study seemed not appropriate, but a simple ethnographic study did not fit my ambitions. In writing this essay, I decided to explore the specific configurations that the relation between practise and theory may adopt through the evolution of social trends that involve design and how such configurations can be utilised to expand the ways in which practice continues to both learn and evolve along with them and as a result, position myself between theory and practice. It is in this context, that I propose an analysis of a paradigm shift in retail architecture as a result of the transition from ‘customer’ to ‘user’, which I have, for the purpose of the present study, termed as The Flagship 2.0; a fiction employed to reveal the processes that enabled this, in an attempt to avoid becoming ‘bound by the”backwardness” of convention and the “forwardness” of interpretation’[Otero-Pailos (2005), p.iii ].

8

in de nouveautés

1818–19: Burlington Arcade, London •

• 1824: Introduction of fixed prices • 1827: Design for a Kaufhaus (Karl Friedrich Schinkel)

1837–39: Passage Lemonnier, Liège • 1842–43: Exeter Arcade, London • Sillem's Bazar, Hamburg • 1845: Passage Jouffroy, Paris • 1846–47: Galeries St. Hubert, Brussels • • 1853: Halles Centrales, Paris

1840

• 1840s: Charles Henry Harrod takes over a small grocery shop

1840–43: Passage Pommeraye, Nantes •

• 1851: Crystal Palace, London (Joseph Paxton) • 1852: First department store: Au Bon Marché, Paris

1853: Queen's Arcade, Melbourne • 1855: Utopian arcade projects, London: Crystal Way and Great Victorian Way •

• 1858: Macy's, New York

• 1858: Messrs Osler's shop, London

1869: Royal Arcade, Melbourne •

1860

• 1859: First modern chain store: Great Atlantic & Pacific Tea Co., New York

1863: Königin Augusta Halle, Cologne • 1865–77 Galleria Vittorio Emanuele II, Milan •

chain stores

museums

galleria

• 1872: Bloomingdale‘s, New York

1887: Kaiser Passage, Karlsruhe • 1888: Queen's Arcade, Leeds • Cleveland Arcade, Cleveland •

• 1879: First Woolworth's, Lancaster, Pa. • 1879: Second Woolworth's, Utica, N.Y.

• 1883: Emile Zola, Au Bonheur des Dames • 1884: Marks & Spencer‘s, London

• 1888–93: GUM, Moscow

1890: Alexandra Arcade, Swansea • Galleria Nazionale, Turin •

1880

☛ “Three-Ring Circus”

1871: Barton Arcade, Manchester • 1873: Lancaster Avenue, Manchester • 1874: Galleria Subalpina, Turin • 1875: Great Western Arcade, Birmingham • 1878: Thornton's Arcade, Leeds • 1879: Royal Arcade, London • 1880: Galleria Manzini, Genoa • 1882: Passage du Nord, Brussels • 1883–85: Passage, The Hague •

☛ “Crystal Palace”

1816-1840

european bazaar

1820: Passage de la Monnaie, Brussels • 1822: Arcades influence prison reform • 1823: Passage de l'Opéra, Paris • 1825: Passage Choiseul, Paris • 1826: Philadelphia Arcade, Phil. • 1827: Weybosset Arcade, Providence • 1828: Galerie d'Orléans, Paris • 1829: Lowther Arcade, London • 1831: Royal Arcade, Newcastle • 1831: Galerie de Cristoforis, Milan • 1831: Galerie Bordelaise, Bordeaux •

1820

department store Evolution.

m

1816–18: Royal Opera Arcade, London •

☛ “Mobility”

• 1890: 12 Woolworth's shops

• 1896: Siegel-Cooper, New York • 1896: Wanamaker’s, New York

Extract from Guide On Shopping [Koolhaas et al.(2002)] 1897: County Arcade, Leeds •

1899: City Arcades, Birmingham •

1904: Central Arcade, Wolverhampton • 1907: Friedrichstrassenpassage, Berlin • 1909–11: Pariser Hof, Budapest • 1912: Piccadilly Arcade, London •

• 1899–1904: Carson, Pirie, Scott, Chicago (Sullivan) • 1899: 54 Woolworth's shops

• 1901: A l’Innovation department store, Brussels (Victor Horta)

1900

total escalators worldwide

1900: Kaiser Wilhelm Passage, Frankfurt am Main • 1901: Georgs Passage, Hannover •

☛ “High Architecture”

• 1902: Macy’s, Marshall Field‘s, and JC Penney‘s • 1905: Harrod‘s moves into present-day location (Stevens & Hunt)

• 1907: Neiman Marcus, Dallas • 1908: Selfridge’s, London (Daniel Burnham) • 1908–12: Whiteley's building, London (Belcher & Joass) • 1909: 238 Woolworth's shops • 1911: Goldman & Salatsch, Vienna (Adolf Loos) • 1912–13: Woolworth's Building, New York • 1915: Mitsukoshi Depato, Tokyo

1914: Mädler Passage, Leipzig •

"Before World War I the arcade died an almost official death; no building authority would permit it in its nineteenth-century form . . . no real estate authority could permit such an exploitation of land."

—Johann Friedrich Geist, Arcades.

1916: Peachtree Arcade, Atlanta •

• 1919: 1,081 Woolworth's shops

total

☛ “Depato”

individual s, US store

franchise

1940

1,721,650

1,788,325

1,191,546

• 1969: First GAP, San Francisco 32 • 1970: Wal-Mart: $31 million in sales 7,742

1,264,922

• 1976: Price Club, San Diego

8,807

1,855,068

276

M ts

ar

warehouse clubs

al

1980

lW

entertainment shopping

ta

virtual shopping

• 1979: Home Depot, Atlanta

• 1980: Wal-Mart: $1 billion in sales to

10,041

☛ “Next Big Thing”

9,981

1960

1,707,931

outlets

, US res

t sto

34,683

en

32,563

rtm

30,641

☛ “. . . And Then There Was Shopping”

25,500

pa

22,000

• 1981: Largest mall: West Edmonton

5,792

1,771,317

☛ “High Architecture”

mail order/catalogue shopping

category killers discounters Wal-Mart

tot

13,000

drive-thru

1,923,228

1,503,593

• 1990: Wal-Mart: $25.8 billion in sales 1,531 36,515 • 1991: U.S. mail-order sales: $91.50 billion • 1991 Total U.S. department store sales: $177.88 billion 37,975 Total retail sales: $1,843.521,526,215 billion • 1992 Siegel-Cooper, New York, turned into vertical power center 38,966 • 1992: Mall of America 11,001 • 1992–94: 55% of new U.S. retail = big box 39,543 40,281 • 1994: 80% of new U.S. retail = category killers 41,151 • 1995: Wal-Mart: $93.6 billion in sales• 1995: 12,952 retail failures in U.S. • 1995: 4.97 billion sq. ft. total leasable retail area 1,528 42,048 Donna Karan, London Largest retailer in the world •• 1996: 1997: Niketown, New York • 1997–: As many as one in five malls will close

2000

☛ “e-urope”

☛ “Bit Structures”

☛ “Nikecology”

Extract from Guide On Shopping [Koolhaas et al.(2002)]

☛ “Disney Space”

1,722

☛ “Jerde Transfer”

• 2000: Wal-Mart: $165 billion in sales

☛ “Ms. Consumer”

160,000

☛ “Resistance”

☛ “Divine Economy”

"American retailing is heading for a 'die-out' of Darwiniam proportions . . . Wal-Mart CEO David Glass and Stanley Marcus are predicting that 50 –75% of present retail will be extinct within a decade." —Dale M. Lewison, Retailing.

churches

☛ “Captive”

Early 1990s: Heathrow known as "Thiefrow" • 84,500 1992: BAA opens mall at Pittsburg Airport • 84,500 1995: BAA classified as retail stock • 84,400 1995: Avg. sales: $970 / sq. ft. • 1995: Worldwide duty-free sales: $20.5 billion • 1996–: Grand Central Station undergoes $175 million renovation • 1996: Heathrow Terminal 2 refurbished • 1997: Avg. sales: $1,000–1,200 / sq. ft. (vs. $200–300 for malls) • 1999: Abolishment of intra-E.U. duty-free •

• 1968: Dominion Center, Toronto (Mies van der Rohe) 45,700

☛ “Mall”

83,000

• 1962: First Wal-Mart 4,251

• 1964: Yorkdale Shopping Plaza, Toronto: 72 acres; parking for 6,736 cars

ls, U.S.

1988: Washington's Union Station remodeled • 82,500

2,761

l mal

80,000

2,645 3700

• 1954: Victor Gruen's first mall: Northland, Detroit

tota

76,000

• 1941: 82 Woolworth's shops in Germany alone

• 1956: First enclosed mall: Southdale, Minneapolis (Victor Gruen) 2,900 • 1957: De3,157 Bijenkorf, Rotterdam • 1957: Original Toys"R"Us, (Marcel Breuer) Washington, D.C.

7,100

Rem Koolhaas’ research builds a Darwinian analysis on the state of retail in the late 1990s early 2000s. I would argue that this evolutionary study, derived from practice, allowed architects to become more focused on trends and causalities as opposed to form and function. In the same style, I propose my study to identify key moments that contribute to the emergence of The Flagship 2.0 and its defining mechanism, the user. Yaneva’s work on OMA highlighted that ‘the prevailing analyses of contemporary architectural theory and critique, buildings are interpreted as being separate from both the conditions of their making and the design experience of the makers 1,770,355

4,074

strip mall

shopping resorts

66,000

☛ “Real(i)ty”

37,400

1,543,158

2700

"a few hundred"

• 1971: The Galleria, Houston

☛ “City of Shopping”

36,576

☛ “Suburban Model”

30,470

30,200

32,200 1977: Privatization of British 33,904 Airports Authority (BAA) • 35,750

☛ “Gruen Urbanism”

26,870

☛ “Good Intentions”

railway station shopping

airport shopping

hypermarket superette superstore

s, U.S. e store

nienc conve

24,516

pedestrian mall

☛ “Three-Ring Circus”

duty-free

☛ “Ms. Consumer”

supermarket

total

☛ “Tokyo Metabolism”

convenience store

• 1960: 40% of Americans shop in 10,000 supermarkets 1965: British Airports Authority established •

21,538

• 1925: Sears, Roebuck, Chicago • 1927: Hankyu Terminal Depato, Tokyo • 1928: Adam Department Store Project, Berlin (Mies van der Rohe) • 1928: Schocken Department Store, Stuttgart (Erich Mendelsohn) 4,190 • 1929: 766 Woolworth's shops in Britain alone • 1930: Department stores branch out to suburbs

• 1950: First open-air mall: Northgate, Seattle • 1951: First dumbell plan: Framingham, Mass.

• 1951–53: Lijnbaan, Rotterdam (van den Broek & Bakema)

1957: First duty-free shop, 500 Shannon airport, Ireland •

19,000

shopping mall

• 1930: First supermarket: King Kullen, N.Y. • 1930: Self-service introduced, Los Angeles

1920

• 1920s: First outlet stores, New England • 1922: First unified shopping mall: Country Club Plaza, Kansas City 1925: Galleria Piazza Colonna, Rome •

al de

A PARADIGM SHIFT

1

Since the 2010s, the field of retail has witnessed the emergence of a series of conversations concerning experiential design being employed in retail architecture and the increasing notion of the store as a spectacle [Fischli et al.(2020)]. It is important to note, however, that most articles and journals which analyse this direction originate in Marketing and Business Research, and the very notion of experiential design has been conceptualised within the field of art and exhibition-making [Fischli et al.(2020)]. However, there is a profound lack of literature in Architecture that can provide an indepth analysis of this phenomenon and its impact on the field. No one since Rem Koolhaas has tried to analyse the state of retail from within the field of architecture. Perhaps this can be explained by architectural theory’s over-reliance on typologies and morphologies in explaining and cataloguing development as opposed to using practice derived phenomena to explain the direction within a particular field of architecture and build critical theories around it. Using praxis as a generator for architectural theories can unlock new potentials for the field and, in the case of retail architecture, might prove a more suitable tool to analyse current events, in particular, due to the increasing pace at which change transpires.

9

A PARADIGM SHIFT

[…] Architecture is being remitted to a separate realm, cut off from that vital association with design materials and experiences’ [Yaneva 2002)]. This situates Koolhaas’ theoretical work almost on a collision course with the canonical studies within architectural theory and could explain the lack of new studies following his Guide on Shopping emerging from other Architectural Theoreticians. Therefore, I would like to extend Yaneva’s criticism of contemporary architectural theory and critique practices through my essay. As Yaneva argues, ‘the alternative to a critical theory-inspired approach is to re-establish the connections disclosing, in pragmatic fashion, the way in which these design works come into being and the way they gain meaning in design experience’ [Yaneva (2009), p.22]. While I appreciate Yaneva’s observation on the value of reconnecting with the design process, I would like to argue against the dichotomous position presented in relation to theory in her work and instead introduce praxis at its core as a way of analysing phenomena that produce formal interventions.

The goal of the essay then becomes to analyse the role theory and practice provide in understanding and defining phenomena within architecture and provide a pertinent basis for understanding design work in the context of The Flagship 2.0 and its mechanisms.

Navigating the line between theory and practice can be confusing at times and presents itself as a dichotomy. However, it is this very notion I hope to challenge through my work, by showing how my journey in identifying this new paradigm, The Flagship 2.0, was made possible only by creating an opportunity for discourse between the two. I will therefore use a combination of anecdotal evidence derived from my time in architectural practice and literature-based evidence derived from research. Ultimately, as practising architects, we need to understand how these influences are distilled within the field. It is therefore imperative to addresses the failure of architectural disciplinary literature to engage ‘theoretical frameworks: consumer culture and consumption, symbolism and meaning, ownership and commercial value’ [Petermans et al. (2017)]. We are yet to see a theory on the impact of consumerism on the field of architecture. The lack of literature on the subject fails therefore to create opportunities for the much-needed critical discourse in a timely manner. As Borden says: ’critical theory is in this sense always aimed at liberation and emancipation - […] with the creation of a total revolution that encompasses the full scope of productive creativity, in the fullest sense of the term’ [Borden(2000) p.13].

10

Fig. 1 Online to Offline - Mapping terminology use, Google ngram

Fig. 2 Pop-Up Store - Mapping terminology use, Google ngram

Fig. 3 Customer Journey - Mapping terminology use, Google ngram

Fig. 4 Retail Design - Mapping terminology use, Google ngram

Fig. 5 Instagrammable - Mapping terminology use, Google ngram

Fig. 6 Retail Architecture- Mapping terminology use, Google ngram

Fig. 7 Retail Apocalypse - Mapping terminology use, Google ngram

Fig. 8 Flagship Store - Mapping terminology use, Google ngram

Fig. 9 Customer- Mapping terminology use, Google ngram

Fig. 10 Experiential Retail- Mapping terminology use, Google ngram

*For larger version please refer to Annexe

11

FROM KOOLHAAS TO PRESENT

EXPANDING THE DISCOURSE

FROM KOOLHAAS TO PRESENT

Prada Store, Herzog de Meuron, Johannes Marburg, Divisare

Prada Store, Herzog de Meuron, Johannes Marburg, Divisare

In line with Rem Koolhaas’ ‘evolutionary’ style of enquiry and based on the timeline in Fig. 12, it is important to analyse the key moments in architectural practice that have contributed to this paradigm shift. We can trace the origins of this transition to the concept of the ‘Spectacle Store’ as mentioned by Niels Olsen in his lecture at ETH which finds its manifestation in architectural practice in the Prada Store project [Fischli et al.(2020]. In investigating new modes of practice, Niels Olsen highlights a series of disruptive design examples in pioneering retail architectural practice as they start to remove the focus from the display window and inherently the product.

Olsen reflects on SITE - BEST Showroom, Houston 1975, during his talk for gta at ETH and the potential for embedding critique in retail architecture, which the project successfully delivers through an allusion to the decline of retail, by portraying a ruined facade [Fischli et al.(2020]. However, the early precursor for the store as a place of experiential design is the Prada Store by Herzog and Meuron. The project redefines the notion of storefront by removing the display window and sets the basis for the building to become a giant showcase, setting the parameters for the reinvention of the flagship store and enabling the birth of the store as a spectacle [Fischli et al.(2020]. OMA’s collaboration with Prada in Milan also becomes a cornerstone project in understanding new experiential design practices. This phenomenon has been described by Borghini et al. as ‘brand museums’: ‘Such a venue is characterized by museum-like features and ambiance, historical ties to an often nostalgically-represented past, and an ostensibly education-related mission’[Borghini et al.(2009)]. It takes the notion of experiential design to a new level as the product becomes the experience and not the object: ‘Consumers even pay admission to brand museums, purchasing the privilege of learning more about the brand, company, and product’ [Hollenbeck et al.(2008)]. We witness Franco Albini and Franca Helg together, with 13

FROM KOOLHAAS TO PRESENT

Carlo Scarpa, establish new collaborations between artists, architects and designers, creating new modes of architectural practice. It is also worth mentioning Dominique Gonzalez Foerster’s ‘hundred and something interiors for Balenciaga — a kind of hidden oeuvre by the artist’ [Fischli et al.(2020)].

Olivetti, Carlo Scarpa, Marco Introini, Divisare

Olivetti, Carlo Scarpa, Marco Introini, Divisare

Historically, at the opposite end, we find The Arcades Project

by Benjamin Walter, which reveals a completely different mode of practice and becomes a beautiful documentary on the birth of The Shopping Arcades. As it reveals the nature of retail design at the end of the 1800s beginning of the 1900s, the writing becomes crucial in emphasising early design practices that influence the direction of the field. As Walter quotes Balzac ‘“The great poem of display chants its stanzas of color from the Church Madeleine to the Porte Saint-Denis.”’

[Walter (1999), p.3], we witness the origin of the display window as understood in modern retail and the emergence of the transactional object at the centre of retail design. This mode of practising architecture in retail design has been the norm since the creation of the Arcade until very recently, when the Prada Store project liberates retail architecture from the constraint of the display window and the disruption caused by online shopping is forcing a paradigm shift.

But this paradigm shift discloses a more profound process that saturates retail architecture. Observing the work of Koolhaas on the Evolution of retail, it becomes noticeable how, historically, infrastructures played the most significant role in driving retail design innovations from the late 18th century until the late 20th century.

The skylight, the sprinkler system, the grand staircase, the elevator, the escalator, and air conditioning have been crucial in enabling the shopping experiences so familiar to us today. Koolhaas’ essay on the role of the escalator in the emergence of the shopping mall is perhaps 14

1900

one of the most revealing examples in architectural literature, on the profound impact such innovations had on design. The display cases, 1940 1960 1980 2000 virtual shopping the cash registers, the shopping cart, the ATM and the advertising Internet infrastructures, however, were equally important. All these elements, Flat-screen display have in time, leftentertainment their imprintshopping on the floorplan of the traditional retail LCD WAP typologies.

Therefore, the common link here is the focus on Form and Animatronics mail-order/catalogue shopping Function.

Replascape

1920

☛ “e-urope”

☛ “Bit Structures”

1888: Liquid crystals discovered

elephone

1963: First LCD display 1945: First plastic mannequin

1923: First wax mannequin, Moulin Rouge, Paris

Telephone order

TM

1876: Alexander Graham Bell patents telephone

Radio advertising

Billboards

1920s

☛ “ReplascapeTM”

Global positioning outlets Suddenly, the same warehouse clubs innovations in physical infrastructures Logistics category killers that presented such a profound discounters impact on the form and function of Wal-Mart the stores seem to stop with the emergence of the Internet. We notice a Pneumatic tube TV Smart card shiftATM away from physical infrastructures in retail and a focus on digital churches hain storesPublic lavatories Customer tracking infrastructures, particularly advertising infrastructures (marketing) Credit card franchise or Escalator aids growth of department store Debit These card and online shopping. events initially inhibit the innovation in Customer profiling Escalator Air conditioning the retail sector Information and threaten the very existence of traditional forms Geographic Systems Revolving door seums drive-thru of retail.

Therefore, we see what Koolhaas has framed as a ‘crisis’ Float glass strip mall Fig. 11. However, on the same evolutionary timeline, Koolhaas’ Moving sidewalk Air conditioning and highways enable the shopping mall Surveillance systems Neon lleria Highway highlights the emergence Skywalks of Consumer Psychology and, in particular, pedestrian mall Psychogramming. I would argue that it is this separate branch that Consumer psychology Vending machine UPC railway station shoppingto develop through marketing research instead found an opportunity duty free and, nowadays, permeates the store aided by the digital infrastructures UPC code coincides with growth of supermarket size Shopping cart already in place.

It is here Optical scanner shopping resortswhere we notice a shift, away from form Coupons supermarket Self-service 1920 1940 1960 1980 2000 hypermarket superette superstore virtual shopping and function towards concept-led design, in addressing issues around Cash register Internet convenience branding, store identity, customer relationship and user experience. I would Flat-screen display then like to extend a parallel between the innovation afforded by the entertainment shopping LCD escalator, the skylight, the air conditioning to the impact of online WAP Extract from Guide OnAnimatronics Shopping [Koolhaas et al.(2002)] shopping, marketing and, most recently and perhaps relevant in this mail-order/catalogue shopping Replascape evolution and the conversation around the Flagship 2.0, the O2O o advertising Billboards Online to Offline transition.

Global positioning

First mail-order catalogue sent to farmers by Montgomery Ward 9th century: Completion of continental rail network in the facilitates mail-order. Mail order system established in Europe

1913: Parcel-post system established in U.S.

1945: Greatest expansion of mail order in Europe 1960: Computerized mailing lists

Computer

nt, London Gazette

Early 20th century: Regulation of advertising for truth ☛ “Mobilize” 1946: ENIAC calculator, housed in a 30 by 50 foot room 1944: Mark I calculator by IBM 1967: First hand-held electronic calculator by Texas Instruments

FROM KOOLHAAS TO PRESENT

1903: Pneumatic tube provides communication within large buildings

1926: First working television

rtment store 1869: First elevator in a department ☛ “Ms. Consumer” store, Paris 1892: Wheeler and Reno escalator patents 1895: Escalator installed in Harrod‘s, London

ace”

1920s: Credit cards first used in the U.S. for individual companies

☛ “Escalator”

☛ “Ulterior Spaces”

shopping mall

1959: The float glass process ensures perfectly flat glass

1925: First modern superhighway: Bronx River Parkway 1920s: Italian Autostrada and German Reichautobanen

☛ “Mobility”

Late 19th century: First neon light

1930s: Fluorescent tube

1950s: Pedestrianization of European city centers

1883: First vending machine, London

☛ “Bit Structures”

Early 1920s: First shopping cart made in Houston, Texas ☛ “Ms. Consumer”

☛ “e-urope”

☛ “Bit Structures”

TM

1945: Greatest expansion of mail order in Europe 1960: Computerized mailing lists

ore

1920s: Credit cards first used in the U.S. for individual companies

franchise

Computer

warehouse clubs

outlets

Logistics category killers discounters Wal-Mart

☛ “Air Conditioning”

“Mobility”

Smart card

churches

Customer tracking 1950: First universal credit card introduced by Diner's Club

Debit card

Customer profiling

strip mall drive-thru

Float glass

☛ “Ulterior Spaces”

shopping mall

1959: The float glass process ensures perfectly flat glass

Air conditioning and highways enable the shopping mall

pedestrian mall

Skywalks

1930s: Fluorescent tube

Consumer psychology

1950s: Pedestrianization of European city centers

UPC

☛ “Psychogramming”

Shopping cart

Surveillance systems

1925: First modern superhighway: Bronx River Parkway 1920s: Italian Autostrada and German Reichautobanen

Highway

airport shopping

railway station shopping

duty free Extract from Guide On Shopping [Koolhaas et al.(2002)]

UPC code coincides with growth of supermarket size

supermarket

Cash register

☛ “Mobility”

1968: Fiber optics Late 1970s: Over 200 pedestrian malls in U.S.

Late 1940s: Joseph Woodland and Bernard Silver apply for patents for the U.P.C. symbol and its decoder

☛ “Bit Structures”

Early 1920s: First shopping cart made in Houston, Texas

Self-service

2000: Avg. credit card debt in the U.S. is $2,814

Geographic Information Systems

Revolving door

1919: First department store air-conditioned ck Exchange air-conditioned 05: “Air Conditioning” coined by Stuart Cramer 1900: Moving sidewalk at Paris Exposition

walk

1970s: First automated teller machines

ATM

Early 1950s: Color TV

or aids growth of department store

r conditioning

Late 1970s: Electronically driven cash register, enabling instant credit checks, recording of transactions, and inventory control

☛ “ReplascapeTM”

Early 20th century: Regulation of advertising for truth ☛ “Mobilize” 1946: ENIAC calculator, housed in a 30 by 50 foot room 1944: Mark I calculator by IBM 1967: First hand-held electronic calculator by Texas Instruments

dit card

1975: First optical scanners used at checkout counters

1985: Gould receives patent

1963: First LCD display 1945: First plastic mannequin

1920s

1926: First working television

airport shopping

1956: Gordon Gould invents laser and applies for patent Mid-20th century: Electrically driven mechanical cash register

1923: First wax mannequin, Moulin Rouge, Paris

TV

☛ “Mobility”

1968: Fiber optics Late 1970s: Over 200 pedestrian malls in U.S.

Late 1940s: Joseph Woodland and Bernard Silver apply for patents for the U.P.C. symbol and its decoder

☛ “Psychogramming”

1892: First coupon introduced by C. W. Post to promote Grape-Nuts cereal

cel-post system established in U.S.

2000: Avg. credit card debt in the U.S. is $2,814

☛ “Air Conditioning”

4: First known moving platform proposal

escent electric lamp

1950: First universal credit card introduced by Diner's Club

1919: First department store air-conditioned 1902: Stock Exchange air-conditioned 1905: “Air Conditioning” coined by Stuart Cramer 1900: Moving sidewalk at Paris Exposition

1889: Citywide pipeline refrigeration

d y 3–4 feet

1970s: First automated teller machines

Early 1950s: Color TV

☛ “Ms. Consumer”

Optical scanner

1956: Gordon Gould inventssuperette laser hypermarket and applies for patent superstore Mid-20th century: Electrically driven mechanical cash register

1975: First optical scanners shopping resorts used at checkout counters

1985: Gould receives patent Late 1970s: Electronically driven cash register, enabling instant credit checks, recording of transactions, and inventory control

convenience store

It is in this context, that the final and perhaps most crucial moment in this evolution becomes the emergence of the ‘offline showroom’[Jahn et al.(2018)]. In a talk at Harvard GSD in 2017, the CEO of Warby Parker highlights a trend born as a result of a society that is not entirely adapted for the online world. The company sets on creating a new and unique relationship with their audience which is taken further as they start to open physical stores all across the US. The visitors become part of the design process, although unwittingly, as Warby Parker conducts a series of experiments on how to interact with its target audience by redesigning a School Bus to become a store that is taken on a tour around the US. The results inform later design decisions employed in their stores, from product display to the value 15

FROM KOOLHAAS TO PRESENT

of a curated experience for the users and the importance of clarity in communication and branding, as well as the social mission they embarked upon, that has been expanded as a result of this interactions.

But it is not only Warby Parker that sees value in transitioning offline.

Made.com, Glossier, Bonobos and, Rent the Runway soon follow suit [Sonsev (2017)].

Off-line showrooms are the place where the notion of ‘user’ is ultimately defined within architecture. Removing the typological constraints of the store, as a place of transaction and visual merchandising, not only allows stores to experiment with new models but we soon see ideas originating in the online environment permeating the physical space: ‘RTR Unlimited is a Netflix-like subscription allowing customers to borrow any three items at a time and exchange those items as often as they want online or in-store’ [Sonsev (2017)].

In response, we see traditional retailers starting to adapt: ‘Nordstrom recently announced its Nordstrom Local Stores offering personal styling, alterations and manicures. These local stores will have smaller footprints and carry no inventory — the priorities are service and convenience, giving customers a high-touch experience and the ability to access an endless supply of clothing online and in traditional stores’ [Turner (2017)]. It is this tendency of the traditional retailers to adapt that gives birth to The Flagship 2.0, as an overlap between the place of experience and transaction at the core of retail born out of necessity and not exclusivity.

16

RETAIL APOCALYPSE -crisis‘the average time shoppers spent in malls dropped by half from 1980 to 1990’ [Greg Hassell, ‘Malls as Shopping Meccas’ Houston Chronucle, 9 October 1996]

‘Wal-Mart chief executive officer David Glass, along with old retail pros such as Stanley Marcus, are predicting that 50 to 75 percent of present retail will be extinct within a decade’ [Dale M. Retailing (New York: Macmillian, 1994)]

‘The Retail Apocalypse’ published in The Atlantic in 2017 [Thompson, D. (2017)].

‘55% of the nation’s shopping [is predicted to] be conducted in non store venues - online services, direct mail, catalogues’ [Kenneth Labich, What will It Take to Keep People Hanging Out at the Mall?, Fortune 29 May 1995]

‘Vacant big box space in Chicago area now totals more than 12 million square feet’ [John Handley, Big Box Not Always the Best Gift, Chicago Tribune, 24 December 1995]

Fig. 11. Extracs from Project on The City 2 : A Guide to Shopping [Koolhaas et al.(2002)]

1910 1915 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020 2025 2030

*

OCADO

DEBENHAMS FILES FOR ADMINISTRATION

*

INTERNET EMERGES * DEATH OF CONVENTIONAL RETAIL COVID 19

Petermans, A., Janssens, W., & Van Cleempoel, K. (2013). A holistic framework for conceptualizing customer experiences

*

*

*

FLAGSHIPS 2.0

Jacobs, J. (2000), The death and life of great American cities

*

THE APPLE PROJECT

Walter,B.(1999),The Arcades Project

*

*PRADA HERZOG & MEURON *

Apple Zorlu Centre, Istanbul 2014 Apple Westlake, Hangzhou 2015

STING ALBUM SALES - FIRST ONLINE SALE

1981 LARGEST MALL WEST EDMONTON

Apple Union Square, San Francisco 2016 Apple Orchard Road, Singapore 2017 Apple Piazza Liberty, Milan 2018 SARS-COV2 DISCOVERED IN CHINA, DECEMBER 2019

SOCIAL MEDIA

FIRST WALMART STORE ROGERS, ARKANSAS, 1962

Fondazione Prada

*

Kozinets, Robert & Sherry, John & DeBerry-Spence, Benet & Duhachek, Adam &

* 2018, US Retailer Walgreens *Glossier,InInc. was founded *

*

Jahn,S.;

Nierobisch,

T.;

Toporowski,

W.;

Dannewald,

T.

(2018);

Selling

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*

Apple Marina Bay Sands, Singapore 2020

*

Regent Street, London 2016 Michigan Avenue, Chicago 2017 Cotai Central, Macau 2018 Fifth Avenue, New York 2019

MIU MIU, Herzong & MEURON

Thompson, D. (2017), The Great Retail Apocalypse of 2017

Sonsev, V.(2017); How Online Brands Are Winning In The Offline World,

Sadler,S. (2013); “Steve Jobs: Architect,”

*

Apple Apple Apple Apple

*Armani Silos

Bajarin, B. (2015); Apple and the user experience business model

*

THE SUPERSTORE

Turner, M. L. (2017); New Nordstrom Local Concept Store Combines Personal Styling

*

Apple Dubai Mall, 2017 Apple Champs-Élysées, Paris 2018 Apple Kyoto, 2018 Apple Carnegie Library, Washington DC 2019

ERIES LAFAYETTE

Marketing 3.0 * OMNICHANNEL RETAILING

ELFRIDGES

*

RTR Unlimited is a Netflix-like subscription

*

Hollenbeck, C.; Peters, C.; Zinkhan, G.(2008), Retail Spectacles and Brand Meaning:

*

Self-service introduced, Los Angeles

*

First supermarket: King Kullen, N.Y.

*Missguided in Selfridges

Alton, L. (2015); How User Data Is Becoming the Ultimate Marketing Commodity,

*

*

Louis Vuitton Foundation

*Boll&Branch O2O *

22% OF AMERICAN

Aesop Duke of York Square, 2017 Apple Park, Palo Alto 2018 The Rise Of ‘The Spectacle Store’, From Apple Aventura, Miami 2019

*Bonobos O2O

Mall of America

Largest mall: West Edmonton

The Galleria, Houston

Dominion Center, Toronto

Yorkdale Shopping Plaza, Toronto: 72 acres; parking for 6,736

Victor Gruen’s first mall: Northland, Detroit

FIRST INDOOR SHOPPING MALL, EDINA, MINESSOTA, 1956

First Open air mall: Northgate, Seattle First dumbellLijnbaan, plan: Framingham, Rotterdam Mass. (van den Broek & Bakema)

*AMAZON GO, US

FIRST OUTDOOR SHOPPING MALL (PLAZA) KANSAS CITY 1922

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DEBENHAMS FILES FOR ADMINISTRATION START OF NATION WIDE LOCKDOWN IN UK - MARCH 2020 aRCADIA FILES FOR ADMINISTRATION NON ESSENTIAL PHTSICAL STORES CLOSED

Petermans,A.;Kent,A.(2017),RetailDesign: Theoretical Perspectives,

* WEB 2.0 * * AMAZON INTERNET SHOPPING

*

FIRST APPLICATION OF IBM ONLINE TRANSACTION PLATFOMR SABRE

1956 - FIRST ENCLOSED MALL SOUTHDALE MINNEAPOLIS

Galleria Piazza Colonna, Rome

Peachtree Arcade, Atlanta

*

*

FUTURE RETAIL, HARVARD GSD (2017)

IBM OLTP

Mädler Passage, Leipzig

*

Oldenburg, R. (1989). The Great Good Place: Cafes,

*

Piccadilly Arcade, London

Gibbs,R.J.(2012) Principles of Urban Retail Planning

Project on the City II: The Harvard Guide to Shopping

*SITE - BEST Showroom,

Arcades Project

ETH [Fischli, F.; Olsen, N. (2020)]

GRADUAL DEMISE OF DEPARTMENT STORES

*

*

Houston 1975,

*

*

*

CRISIS

THE SHOPPING MALL

CONCEPT-LED DIGITAL INFRASTRUCTRES Fig. 12 - Flagship 2.0 Evolution - Mapping the key events, literature and projects that outline the mechanisms and forms of The Flagship

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

These events and the contrasting approaches that emerge in retail design give birth to the notion of ‘customer’ as opposed to ‘user’.

The notion of ‘user’ acquires even more clarity when analysed through Claes Oldenburg’s Third Space, as retail space creates an overlap with social components and reinforces the idea of retail as public spaces, as expressed by Koolhaas [Oldenburg (1989)]. This duality invites the following question: How is the transition from ‘customer’ to ‘user’ in retail design shaping the architectural profession and its role in citymaking?

The aforementioned transition displays a potential to innovate and saturate architectural practice with new radical ideas. By documenting this process ‘we echo our way beyond the present and sound off the new. To think of documentation from the temporality of the future anterior is to open up this essential practice to its radical potential’ [Otero-Pailos (2005), p.iii]. It is this process that reveals emerging user-centric design approaches that will extend beyond retail architecture and reframe the design process, allowing it to become more socio-centric. In doing so, we see new modes of practising architecture emerge. This overlaps with my observations in practice, where the new focus on user experience in the design process coincides with changes in form - new flexible spaces designed for events, themed gardens, artist collaborations, virtual reality as part of design, potential for museums at the core of retail component, and most pertinent storytelling as a tool for design. In a mixed-use project, located on a historical Nursery site within London, telling the story of its botanical past in a carefully presented collection of laboratory inspired details, suspended gardens, and reintegration of the site within a wider urban

19

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

scheme of garden squares became the driving force for the design of an innovative development at Benoy, all while considering the ‘user’ as an inhabitant of these spaces. These new elements remain unclassifiable under the general conception of types and rather denote strong trends, that coalesce at a given point in time to create The Flagship 2.0, as it emerges from the design process.

In trying to understand and analyse the observations from my work in architectural practice, I will start unravelling The Flagship 2.0, and reach a better understanding of what is now still preseented as a fiction in this work, drawing on a principle deduced from legal practice (legal fictions). To explore this phenomenon, I propose expanding on the notion of the Flagship Store and situate the Flagship 2.0 in relation to it. The Flagship, traditionally, as defined by the Cambridge Dictionary, is ‘the most important building a business owns’.

However, this definition does not offer any clarifications in regards to architecture. When investigating scholarly articles, on the topic, it quickly becomes apparent how the conversation around Flagship Stores, academically, belongs to a niche within marketing research, further highlighting the lack of literature as previously mentioned.

The only mention of Flagship Stores in disciplinary literature seems to be present in specialised journals and magazines such as Dezeen and Architects Journal among others. These, however, only present completed projects in an exercise to promote these designs, but do not employ any discourse around the idea of the flagship store as a concept.

The lack of dialogue becomes even more problematic, as there is a tendency in architecture to refer to the Flagship Store as a typology.

This notion is very prevalent in architectural practice and has already permeated academic discourse as seen during the talk between Herzog and Olsen at gta. But to date, there does not seem to be any work on analysing the flagship as a new typology or as a concept within architecture. In fact, the Flagship is entirely absent from Koolhaas’ Evolutionary timeline. Therefore, in this vacuum, I have resorted to the work of Kozinets et al., currently a professor of Journalism at USC with vast experience in marketing research, ethnographic methods and social media research,

It is by analysing the definition of the Themed Flagship Brand Stores, as the closest concept to the Flagship 2.0, in the work of Kozinets and the shared connections to the Themed Entertainment Brands Stores and the Flagship Brand Stores that this phenomenon becomes apparent. His work identifies the trends in a transition towards customer-centric design within the retail and marketing sector: ‘The themed flagship brand store combines elements of ‘flagship brand stores’ and ‘themed entertainment brand stores’ because it promotes an existing brand that is sold in a variety of other venues and also seeks to 20

Fig. 12 Flagship 2.0 in the context of the work conduct by Kozinetz.

21

ONLINE

EXPERIENTIAL RETAIL

BRICK AND MORTAR

ONLINE STORE

ONLINE to Offline

FLAGSHIPS

USER

FLAGSHIP 2.0

ENTIRELY OR PREDOMINANTLY ONLINE

MIXED TRANSACTIONS

BRAND MUSEUM

RETAILTAINMENT

THEMED ENTERTAINMENT BRAND STORES

THEMED FLAGSHIP BRAND STORES

CUSTOMER

MIXED TRANSACTIONS

BRICK AND CLICK

FLAGSHIP BRAND STORES

ENTIRELY OR PREDOMINANTELY IN STORE

TRADITIONAL

Shein Boohoo Ocado ASOS Amazon

Depop Zappos Snapchat Spectacles Amazon Go Amazon Fresh

Made.com Farfetch Warby Parker Glossier Bonobos Rent the Runway Apple Store Dyson Freitag Aesop Nespresso Store Snowe Missguided Birchbox Boll & Branch

Prada Foundation Armani Silos Louis Vuitton Foundation Coca Cola World Lego Museum

Hard Rock Cafe Petersham Nurseries Planet Hollywood Rainforest Cafe Marvel: Avengers S.T.A.T.I.O.N

Prada Store Louis Vuitton Store Nike Store Lego Lego

Sports Direct Next H&M Zara IKEA

Urban Outfitters Forever 21 Boots John Lewis Argos

Sainsbury’s Tesco Co-Op Marks & Spencer Waitrose & Partners

TRANSACTIONS

EXPERIENCE

TRANSACTIONS

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

become an entertainment destination that generates revenue directly from the sales of entertainment services ‘[Kozinets et al. (2002) p.18].

However, the underlying goal of The Flagship 2.0, while similar to the Themed Flagship Brand Store in employing experiential design, does not seek to monetise this through transactions. It instead seeks to invest the output in establishing a relationship with the client, therefore transitioning towards the ‘user’.

It is here where the Flagship 2.0 emerges, as a result of the morphosis of the ‘customer’ into a ‘user’. A customer, as defined by the Cambridge Dictionary, is a person that buys goods or services. But in contrast, The Flagship 2.0 does not seek to directly monetise this experience as an entertainment service, nor does it necessarily place transactions at its core. It instead relies on the nature of its spatial manifestation, as space that is experienced to observe and benefit from the experience of the ‘users’. Therefore, I would argue that this process is more profound for the field of architecture, creating a new context to be designed for. As Peterman argues, there is a differentiation between customer and user, and the extensive literature review reveals a strong association between the notion of user and the act of experiencing, across multiple fields, from philosophy to marketing [Petermans et al.(2013)]. Kate White in an article for Medium, captures what initially seems to be a subtle difference in a way that brings more clarity to its relevance: ‘there is a substantial difference between a customer and a user; CUSTOMER — implies finite state, focused on end-goal of spending money; USER— implies continual journey, focused on taking various actions over various potential sessions’ [White, K. (2018)]. This new relationship with the customers creates an interdependency - intended by the business and unconscious for the ‘user’ with the only mediator being the architect.

In conversation with Edward Newton at Pragma Consulting , he highlights one of the first indicators in this new approach to design, space-engagement: ‘I suppose from the Pragma point of view we always take that consumer-centric approach and try to maximise the engagement with space, (...) when talking about (...) design’. The focus on spatial engagement helps create footfall, which although not new as a focus to the retail sector, as Edward argues ‘in order to facilitate and create that opportunity for a transaction, you have to have the footfall’, it acquires a new purpose in the context of the Flagship 2.0, when considering the implications of the Online to Offline transition, fostering a new connection. ’A lot of (...) brands that have started online (...) have a set of values and uniqueness about them that they want to communicate (...) it is much easier to communicate that in the physical world and to really get across who you are what you are. Having that physical presence and that ability to interact and 22

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

really experience [the essence of a brand] is where [the physical store] becomes so important again’. With transactions no longer a focus for their physical presence, retailers can experiment and are quick to recognize the value of experiential design.

As Madeline Hug, Associate Director at Benoy argues, experiential design is the future of retail architecture and, a lot of effort is being employed in creating experiences that connect businesses and people. The ‘user’ becomes the focus and the most valuable asset for a business. We are moving in an area where success is measured in footfall and not the number of transactions anymore. Madeline believes that future retail will become entirely experiential and in conversation, we expanded on the idea of Instagrammable Design. In doing so I have realised that drawing a parallel to Hosoya and Schafer’s views on Modernization: ‘new and foreign identities are portrayed on television, shown in movies, and displayed in shopping venues-like the first department stores in Tokyo’, reveals the mechanisms behind the idea of Instagrammable Design and its role in experiential retail. In similar fashion to the Tokyo Metabolist Department Store, the Flagship 2.0 is a stage set that promotes ideals and creates a story around the brand.

The TV is replaced by social platforms such as Instagram or Facebook, and the actor by the ‘user’ - this is the value that the Flagship 2.0 brings to the conversation around the store of tomorrow, and the more ‘users’ the more the story garners attention and credibility. It is, therefore, here where I would argue, footfall becomes an indicator of success in this strategy.

Perhaps this could be explained by recognising the phenomenon as ‘added value’. ’Added value, on the one hand, is the resulting economic benefit of innovative combinations of technology or services; on the other, it is the value vested in a product’s identity, which stirs the consumer’s imagination and elevates his status. Added value is an essential dimension of productivity that can be increased and consumed almost without limits.’ [Koolhaas et al.(2002), pp.165-173].

Therefore the ‘user’ acquires even more power in this conversation as it becomes part of a system that produces the value for these companies, and in recognizing the power vested in the ‘user’ we can also strive for a democratization of retail and retail architecture as a whole.

The importance of this is further emphasized by Edward when he reflects on the future of the Traditional Brick and Mortar: ‘Traditional bricks and mortar need to get better at being more agile being quicker having those values, rather than just being there, and communicating that experience, what does the brand mean. [...] I think, there is a situation where the [two are] moving together to try

23

THE PRAGMATIST, 12 April 2021,

BY SOPHIE PISANO, PRAGMA CONSULTING

Brand Ambassador ‘North Face in Seoul is a prime example which offers a full range of product alongside a unique experience: the store can suddenly become a place to do rock climbing when the floor starts to roll back and disappear. Visitors can also try out products such as shoes on the wall while they are climbing.’

‘Chanel’s new flagship in Paris combines three buildings, including a former 17th century convent, in a massive new retail space at 19 rue Cambon. The store is an immersive luxury experience with metallic carpets, modern art, lacquered dressing room walls and beautiful crystal and gold lamps. It is also a test space for its newest digital initiatives. The luxury brand has partnered with Farfetch to trial clientelling tools that use data to create personalised shopping experiences.’

‘In London, NikeTown remains a prime example, offering a world-class shopping experience which includes the NIKEiD studio, which allows customers to design and customise their own footwear and clothing, through to a football boot fitting machine, allowing players to mould boots to their feet.’

Online meets physical showroom ‘Many online-based retailers launch showrooms to enable a physical connection and interaction with the brand, leading up to a purchase made later in the journey. Building on their online success, Loaf opened their first retail showroom ‘Loaf Shack’ in 2015 in Battersea, now one of eight showrooms in the UK and just before the pandemic opened a store in Guildford’s Tunsgate Quarter.’

‘Loaf identified the importance of having a physical store to engage with customers and share core brand values, as well as providing a unique shopping experience, allowing customers to be able to see and touch products before making a purchase. As well as being able to relax in chill-out areas, shoppers can take home samples, interact with specialist designers, with the option to order the product at a later stage. Online showrooms with a strong brand following are arguably less constrained by location, as shoppers will travel to engage with a brand.’

Brand Experience ‘The third type of showroom offers the complete immersive brand experience, and the quality of interaction helps drive engagement and a community following, leading to brand longevity.

These showrooms have limited products available to purchase, allowing the focus to remain on engagement and experience.’

‘Samsung opened a multi-purpose brand experience store in London’s Kings Cross (seen above), which combines product showrooms with lifestyle design. Within the experiential store is an auditorium for community events, product demonstrations, lifestyle design, an in-house café and support lounge. Visitors can also immerse themselves in free interactive experiences including the digital cockpit (showcasing the future of automotive technology), DJ Galaxy (allowing guests to create, perform and record beats) and Galaxy Graffiti, (users can virtually create their own street art over a background of London).’

‘Johnnie Walker’s Princes Street concept, which is set to open in the summer of 2021, is a prime example of a complete brand experience, not focused on customers making a purchase on the day. The brand is launching a one-stop location with a rooftop bar and dining, worldclass cocktails and refreshments, whiskey tasting experiences, private dining experiences and a sensory tasting room, offering the complete day-out for whisky enthusiasts.’

Fig. 13 - An extract from The Pragmatist, created by Pragma Consulting. This extract is further highlighting the trends presented in the essay that contribute to the conversation around the Flagship 2.0

24

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

and create, as you say, an experience where you understand the brand you understand their values and you understand what they are all about’, while ‘I think with the online to bricks and mortar there may be an element of improving transactions. Are they going to be through that unit? I think where they happen is less important. If the [visitors] are there, they are engaged, they understand, they go away, and they [complete the] purchase after’.

At this stage, I would argue that, The Flagship 2.0 builds upon the ‘Themed Flagship Brand Store’, as defined by Kozinets but shifts the focus onto the experience as part of an ‘added value’ system (therefore employing the notion of ‘user’ in relation to the visitor), instead of the transaction. In doing so, it builds a relationship to the client that reinforces the business model: ’The results of an experiment (...)indicate that the retail experience updates the brand experience.

In flagship stores, this process is facilitated by recreational (vs. taskoriented) motivation, while the opposite occurs in (nonexperiential) brand stores’[Jahn et al.(2018)]. This brings further clarity to the mechanisms that contribute to the increased value of experiential retail and therefore the importance of this new phenomenon.

In practice, the Apple Store is one of the earliest promoters in the transition to Offline stores and their experience in experimenting with new ideas surrounding a reinvigorated retail model can be denoted from their success. The extensive partnership between Foster + Partners and Apple is further solidifying the transition towards experiential retail and, it places the concept into the mainstream, as it employs a variety of these techniques. The Apple store is perhaps the most quintessential example when referring to The Flagship 2.0 as we see Apple applies its user-centred approach to retail to reshape its brand, and therefore it becomes the most pertinent study in this transition. The very notion of user experience has been coined by Don Norman reflecting on his work for Apple. Ever since its creation, this term appears to be at the core of the Apple Business Model. Ben Bajarin claims: ‘Apple’s Business Model is neither Hardware or Software, it is User Experience’ [Bajarin, (2015)].

As a result, it is of no surprise to see the architecture of the Apple stores become an embodiment of this thinking strategy that is later employed through an extensive collaboration with Foster and Partners. The Apple Store becomes the embodiment of The Flagship 2.0. It is a destination but not a museum. It is a shop but, there are no cashpoints. It is a space for education but the focus is always centred around the use of Apple products. It is a service shop but, the experience feels more akin to asking a friend for help. It is not remarkable but, it is not alike the daily trip to the supermarket either.

25

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

This is the essence of the Flagship 2.0. It is not the exclusivity that the ‘brand museum’ employs, neither the outdated shopping experience we find in other stores. It is the in-between, the constant state of flux.

The Flagship 2.0 is neither a showroom, neither a store. It is a place of experience in its own right, much more akin to the ‘brand museum’, but with the retail element at its core, in a necessity to rebrand itself.

The focus on brand, relationship and the quality to distil the essence of the business in its interaction with the users and the focus in design on the customer as a ‘user’ which inhabits the space and takes centre stage replacing the displays and objects that were traditionally the focus of design. It represents the emergence of the experience as a product, but not monetised in the same way as in the ‘brand museum’ - instead, the user becomes the commodity, as it informs a new relationship to the business.

This is reflected in the way the Apple Store is designed.

Traditional displays are replaced with tables that foster interaction with the staff creating engagement, we see the emergence of the Genius Bar and the use of iPads for conducting sales on the go, blurring the line between transaction and experience. The ‘user’ as commodity takes centre stage in what becomes a laboratory. ‘“Great products,” Jobs told The New York Times, are triumphs of “taste” derived from “study, observation and being steeped in the culture of the past and present”’[Lohr (2010)]. The stores become essential for Apple in understanding its target audience and customers. This new choreography employed to create a new relationship is where the role of the architect begins. The Flagship 2.0 becomes extremely important as it positions itself to be an extension of the architect’s studio to the store.

The same way Apple relies on the store to understand its audience, the architect has to use the store to understand the ‘user’. This space now becomes a space of collaboration between the ‘user’ and the Architect.

It is enabled by the notion of the visitor as a ‘user’ and not a customer.

As a result, the ‘user’ now becomes part of the architectural practice as the shop becomes an extension of the architect’s studio. The constant collaboration gives birth to a new process akin to participatory art as theorised by Claire Bishop and inherently a new mode of practice, innovative in nature and fundamentally different to the notion of typologies.

The Apple Store however might not be the most innovative example. There are a series of businesses that are taking the notion of experiential design and the interaction with ‘users’ to new radical directions as seen in the extract on Fig. 13. In order to adapt, as Sophie Pisano from Pragma argues, ‘brands need to evolve their multichannel offering and as a minimum ensure their stores act as brand ambassadors, facilitating engagement with consumers rather than 26

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

acting as a barrier or impediment to brand values and aspirations.

With online continuing to satisfy the fulfilment aspect of retailing, stores that simply act as a channel to make an instant purchase will struggle to maintain relevance. In addition, we expect to see more online showrooms facilitating online purchases. To attract a brand experience, landlords will have to prove their asset’s credentials and that they have the ambition and ability to match aspirations of the brand.’

Despite the innovation brought by the ‘Retail Renaissance’ as we see through The Flagship 2.0, the need for a coherent discourse within the field of Architecture is reinforced when reflecting on the broader consequences this phenomenon presents. Architects need to investigate their role and define positions in relation to the way they design The Flagships 2.0. The very nature of this new relationship between ‘user’ and Flagship 2.0, and its association with online marketing techniques that now are being adapted to the physical store: ‘I think the technology is available to capture all of that data.

In most stores, nowadays, you will be signing up as you are creating a purchase. You will be creating an account with that particular brand, especially the brands that have an online presence. It will be [perhaps] used to email you a receipt. You have that ability [nowadays] to [...] understand, create that profile, create that personalisation, and recommendation. There is already that technology available but, it becomes [more of a question about] choosing to implement it. It essentially means linking the two [worlds] so, you are [enabling a] crossover. [...] I think it becomes about creating that ecosystem, where it does not matter where you are making that transaction. The same information, the same interaction, is essentially happening, whether in the store or online. That is what brands are trying to work towards’ [Newton (2021].

In the face of the positive value of these new experiences, we also see a potential for pervasive data gathering tools to permeate the physical, as presented by Eric Symon in his talk at Harvard. This is raising a series of concerns and questions about the need for potential oversight and regulation in how these new stores are allowed to interact with the public and the type and kind of data they can collect during their interactions. In recent years we have seen increased scrutiny being employed concerning Social Media Companies and their drive to monetise user data [Alton (2015)], but the same techniques might be permeating our lives in physical form now through this new concept as it seeks to monetise the user and therefore employ techniques that might be infringing on the social contract.

27

FROM ‘CUSTOMER’ TO ‘USER’

THE FLAGSHIP 2.0

In City-Making, the stakes are even higher. As Koolhaas’ argues for recognising retail as the last form of public space, I would argue that if this was not clear at the moment of him writing his book, it is becoming more apparent when reflecting on The Flagship 2.0.

We witness a blurring of the boundaries between public and private, the emergence of new forms of private-public spaces, which could fit in the wider conversation about pseudo-public space, and the increased interest in the role it plays in city-making. It is here where this phenomenon presents a potential for both positive and disruptive innovations and therefore requires an in-depth analysis. In discussing these implications, Edward talks about how at Schiphol Airport in Amsterdam, Made.com, a furniture manufacturer, has placed their products to be used, in the public space, in an effort that sees the airport transformed into a giant showroom [Newton (2021]. The blurring of these boundaries will continue, according to Edward, and it is here where the potential lies for the architect to intervene and create successful and vibrant spaces that enhance our, airports, shops, cities and environments.

Study Area, Uncle. Photo - www.uncle.co.uk

Living Room Area, Uncle. Photo - www.uncle.co.uk

Retail Architecture finds itself in a unique position that can reinvigorate the discourse around the impact of new lifestyles, and experiences, and therefore interface with the way these shape society.

Instances of this phenomena and techniques are already permeating residential developments, particularly in PRS design. This becomes a testament to the role that Retail Architecture acquires in leading the conversation around experiential design within the wider field of Architecture. In the case of Uncle in London, their new tower development in Elephant and Castle, employs a level of experiential design, in creating a community, promoting a lifestyle and becoming a stage set. This story comes alive on Instagram, as the business interacts with its residents via the social media platform. Not only does this help promote their business but creates a level of engagement with its residents. In terms of design, we see elements of this experience starting with the reception area, which is designed as a lounge that contains more books on Architecture and Design, than some architecture schools, therefore sending a message about the type of community it seeks to create (the young professional with a strong affiliation to creative industries). The journey culminates with the Sky Lounge, a 45th story, 360-degree space, designed as four different zones, themed as a Living Room, Kitchen, Bar and Study. The Sky Lounge then becomes the main stage set in this story as the business organizes live events for its residents: collaborations with Sofar London, Live Radio Shows, or parties and events for special occasions going as far as helping the dwellers celebrate their birthdays or key life events. In doing so, Uncle recognizes the ‘added value’ in buildign an experience to promote their rental model.

28

INDICATOR OF EMERGING PARADIGMS IN RETAIL ARCHITECTURE

PRAXIS AS AN EARLY

The overlap of the physical with social and commercial practices creates a unique set of spatial conditions [Fischli et al.(2020)] that have historically generated new architectural forms which shaped our condition as city dwellers. The transition from ‘customer’ to ‘user‘ is having a profound effect on the practice of architecture, as once liberated from the display window and the object as a focal point, we notice a dramatic departure from the traditional ways of designing for retail, moving into the realm of experiential design and user-centric approaches. Furthermore, the transitions of Dot Coms into Offline creates a new narrative that is liberated by the constraints imposed by retail - transactions. In this context, there is a series of ‘third spaces’ that emerge: from coffee shops that double as clothing stores to plant nurseries that become restaurants. In the world of practice, this shift becomes evident as a new lexicon is slowly permeating the architectural profession: customer journey, instagrammable design, the store as a spectacle, pop-up architecture, experiential retail, curated offerings among others.

Reflecting on my work experience, this process now becomes more apparent. During practice, I worked extensively on developing a new concept for a retail-driven model for Community Department Stores that curate business offerings based on customer input and reaction, prioritising community needs for services. The same model was looking at enabling innovative collaboration among the parties involved and promoting unique opportunities for social and economic development. It was developed from the premise of the visitor as a user, an inhabitant with the aim for the visitor to increase its time

29

INDICATOR OF EMERGING PARADIGMS IN RETAIL ARCHITECTURE

PRAXIS AS AN EARLY

spent within the premises and participate in creating an experience that is equally enriching for businesses as well as for the visitors.

Retrospectively, the ‘added value’ in this situation becomes very clear, and the role that the ‘user’ acquires in promoting and shaping such developments, I would hope, even more important.

Positioned in satellite cities around London, more precisely, commuter towns, the target audience quickly became young professionals that desire and dream of a ‘piece of London’ but due to the housing prices in the capital, could not afford to live there.

Therefore, during a brainstorming session, I have argued for the idea of bringing a piece of London to them instead, and capitalise on this new movement within retail architecture, that places the ‘user’ at its core. In doing so, I have looked within myself and my wider social groups in understanding what the life of a young professional meant from a cultural perspective in London. There were museum visits to Tate Modern, Saatchi Gallery, The V&A and the National Portrait Gallery. There were art exhibitions and exciting events that were only available because London is a global hotspot for all artistic movements. There were the coffee shops and co-working spaces, the beautiful London parks and the rise in independent restaurants and shops. So I proposed a solution where museum branches could become the anchors, independent shops would work with local businesses and co-working spaces as part of a new business hub, and the awkward ride on the London underground is replaced by a more indulging train ride that offers relief from the pressure of the overcrowded city. The positive reactions that my proposal received allowed me to attend a series of Business Development meetings to further expand on this.

30

MUSEUMS

BUSINESS INCUBATORS

HOUSING

ART CO-WORKING

HEALTHCARE

TRADITIONAL OFFICES

RETAIL HEALTHCARE FACILITIES

EDUCATION LEISURE SERVICES

the flagship 2.0

GOVERNMENTAL SERVICES

Fig. 14 - The Community Department Store, Paul Cristian. This Diagram is used to explained the potential for different uses to create engagement and ‘added value’ for this new model.

31

INDICATOR OF EMERGING PARADIGMS IN RETAIL ARCHITECTURE

PRAXIS AS AN EARLY

This model is meant not only to create higher footfall but to ultimately reinvigorate these commuter towns. In working with these new trends, I was hoping to use retail as a generator of new forms of inhabitation that are beneficial and positive to the ‘user’ while still creating value for the businesses. While it cannot be denied that there is a financial incentive in creating footfall and increase the number of visitors and implicitly, transactions, architects are perfectly positioned to be the mediators between businesses and ‘users’. I truly believe in architecture’s ability to create value not only for the business but for society as a whole, and as professionals, we have a duty in reflecting on our practices and their impact particularly as we have seen in Koolhaas’ research how important retail architecture is in the wider narrative of public space and city-making. It is in this context that the role of the architect becomes even more important in understanding the trends within retail.

In the case of The Flagship 2.0, the slow reveal of a new design relationship between architect and ‘user’ is made possible by observing practice and not by employing a study of morphologies. I, therefore, want to use this opportunity and argue that the traditional tools for discourse within architecture are outdated in the case of Retail Architecture. Historical and typological analysis can be limiting and as proven in this case not fit for purpose. The focus on form can create a blind spot for such analysis and inhibit the potential to reveal new directions from the processes that produce them. If we were to draw an analogy to the principle ‘form follows function’ it would be like observing the form but removing the function. Therefore Praxis as a generator of theoretical knowledge on these phenomena becomes more suitable. To understand the full potential of the design process as a tool for research within retail architectural practice we need to look deeper and observe its potential in generating new theoretical frameworks.

The issues surrounding the lack of theoretical frameworks in retail architecture are perhaps more pervasive as Daniel Herman claims in the Guide to Shopping: ‘Architecture, as a whole, has nothing but contempt for shopping. The paucity of material published in architecture journals demonstrates just how much shopping is avoided. For instance, the Avery Index to Architectural Periodicals, for the years 1977 to 1997, yields but 355 citations for keyword: “mall,” where as keyword: “museum” generates 5,987 citations. The Museum of Modern Art alone has 524 listings; the Mall of America has 12’ [Koolhaas et al.(2002), pp. 736-748]. It is in this context that I would propose praxis as a more suited indicator of trends and phenomena in retail architecture. As Herman continues: ‘Architecture has resisted any correspondence between commerce and utopia. Shopping’s cheap tricks and gaudy gestures are signs of a flagrant commercialism that 32

INDICATOR OF EMERGING PARADIGMS IN RETAIL ARCHITECTURE

PRAXIS AS AN EARLY

repels even the novice design aficionado. But the shopping architect has survived the disdain of official architecture by responding to a higher calling. He has produced idealized cities equal to the visions of his most esteemed counterparts’ [Koolhaas et al.(2002), pp. 736-748], it shows that in this struggle the architects have tried to find a way to instil critique in retail through practice. This I would argue is born out of the primary role that the architect plays in being a creator of forms of inhabitation aimed at the user of these spaces. In the context of the transition towards ‘user’ this becomes both an opportunity and a challenge. Reconnecting with this way of distilling retail in architecture and reflecting on the critique around it might actually offer solutions to our dilemmas, ‘optimizing profits and forging perfect communities may become one and the same’ [Koolhaas et al.(2002), pp. 736-748].

Ultimately, there is an interdependency between praxis and academic discourse which lies at the very core of the architectural profession. I would therefore like to conclude by critiquing a quote from Jutiki T. Gunter and Jeffrey Inaba, reflecting on the success of the re-branding conducted by Nike: ‘Nike’s transformation arises from the sports company’s move away from athletic performance and its affiliation with the city. The city has been the source of Nike’s marketing content and brand credibility’ [Koolhaas et al.(2002), p.543]. If retail is quick at deducting value from architecture and urban landscapes, by seeking inspiration and constructing narratives around lifestyles designed by the architects, why is the wider conversation in Architecture so slow at embracing the value of retail in design and frame retail architecture as a driver for new modes of practising architecture?

33

BIBLIOGRAPHY

Gibbs, R. J. (2012) Principles of Urban Retail Planning and Development,Wiley; 1st edition (January 3, 2012) , 272 Pages Walter, B. (1999), The Arcades Project; translated by Howard Eiland and Kevin McLaughlin ; prepared on the basis of the German volume edited by Rolf Tiedemann. Cambridge, Mass. : Belknap Press of Harvard University Press, 1999, 1073 p.

Jacobs, J. (2000), The death and life of great American cities [electronic resource], VLE Books, 1 online resource (474p.) ;Originally published: New York: Random House, 1961; London: Jonathan Cape, 1962.

Koolhaas, R.; Chung, C. J.; Inaba, J.; Leong, S. T. (2002) ; The Harvard Design School Guide to Shopping/ Harvard Design School Project on the City 2, January 2002, 1st Edition, Taschen, 800 p.

Petermans, A.; Kent, A. (2017), Retail Design: Theoretical Perspectives, Routledge 2016, 1st edition, 246 p.

Yaneva, A. (2009) Made by the Office for Metropolitan Architecture : an ethnography of design / Albena Yaneva, Rotterdam : 010 Publishers, 2009, 111 p.

Petermans, A., Janssens, W., & Van Cleempoel, K. (2013). A holistic framework for conceptualizing customer experiences in retail environments. International Journal of Design, 7(2), 1-18.

Fisher, S. (2016) “Philosophy of Architecture”, The Stanford Encyclopedia of Philosophy (Winter 2016 Edition), Edward N. Zalta (ed.), as accessed on 25 February 2021 <https://plato.stanford.edu/archives/win2016/entries/ architecture/>.

Oldenburg, R. (1989). The Great Good Place: Cafes, Coffee Shops, Community Centers, Beauty Parlors, General Stores, Bars, Hangouts, and How They Get You Through the Day. New York: Paragon House Thompson, D. (2017), The Great Retail Apocalypse of 2017, The Atlantic, as accessed on 20 Feb 2021 <https:// www.theatlantic.com/business/archive/2017/04/retail-meltdown-of-2017/522384/> Fischli, F.; Olsen, N. (2020), Retail Apocalypse, gta Exhibitions, ETH Zurich, Hönggerberg - as accessed On 20 February 2021) <https://retailapocalypse.gta.arch.ethz.ch> Lal, R.; Roth, S.; Symon, E.; Blumenthal, N.; Robins, C.; Keenan, J. M. (2017) Future Retail Lecture, Harvard Graduate School of Design, Gund Hall, Piper Auditorium March 1 2017, as accessed on 22 February 2021 <https://www.gsd.harvard.edu/event/future-retail/ > Fischli, F.; Olsen, N.; Herzog, J. (2020), Retail Apocalypse – Conversation with Jacques Herzog, gta Exhibitions as accessed on<https://ausstellungen.gta.arch.ethz.ch/events/retail-apocalypse--conversation-withjacques-herzog> Borden, I.; Rendell, J. (2000), Intersections: Architectural Histories and Critical Theories, Edited By Iain Borden, Jane Rendell, Published August 17, 2000 by Routledge, 1st Edition, 352 Pages Otero-Pailos, J. (2005); Echoing: How to situate the new, Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism , Summer 2005, Vol. 2, No. 1 (Summer 2005), pp. ii-vii Published by: University of Minnesota Press Borghini, S.; Diamond, N.; Kozinets, R. V.; McGrath, M. A.; Muñiz, A. M.; Sherry, J. F. (2009); Why Are Themed Brandstores So Powerful? Retail Brand Ideology at American Girl Place, Journal of Retailing, Volume 35

85, Issue 3, 2009, Pages 363-375, ISSN 0022-4359, https://doi.org/10.1016/j.jretai.2009.05.003. (https://www. sciencedirect.com/science/article/pii/S002243590900027X) Kozinets, Robert & Sherry, John & DeBerry-Spence, Benet & Duhachek, Adam & Nuttavuthisit, Krittinee & Storm, Diana. (2002). Themed flagship brand stores in the new millennium: theory, practice, prospects. Journal of Retailing. 17-29.

Turner, M. L. (2017); New Nordstrom Local Concept Store Combines Personal Styling With Personal Services, Forbes, Published on 14/09/2017 < https://www.forbes.com/sites/marciaturner/2017/09/14/new-nordstromlocal-concept-store-combines-personal-styling-with-personal-services/#4358b4615db6> Bajarin, B. (2015); Apple and the user experience business model, iMore, Published on 21/07/2015, < https:// www.imore.com/apple-and-user-experience-business-model> Sadler,S. (2013); “Steve Jobs: Architect,” Places Journal, March 2013. Accessed 30 Mar 2021. <https://doi. org/10.22269/130312> Jahn,S.; Nierobisch, T.; Toporowski, W.; Dannewald, T. (2018); Selling the Extraordinary in Experiential Retail Stores, Journal of the Association for Consumer Research, Volume 3, Number 3, July 2018, Consumer Response to the Evolving Retailing Landscape, Guest Editors: Barbara E. Kahn, J. Jeffrey Inman, and Peter C. Verhoef, <https://doi.org/10.1086/698330> Sonsev, V.(2017); How Online Brands Are Winning In The Offline World, Forbes, 12/10/2017, < https://www. forbes.com/sites/veronikasonsev/2017/10/12/how-online-brands-are-winning-in-the-offline-world/> Lohr,S. (2013); Steve Jobs and the Economics of Elitism, The New York Times, January 31, 2010, < https:// www.nytimes.com/2010/01/31/weekinreview/31lohr.html> ↩ Alton, L. (2015); How User Data Is Becoming the Ultimate Marketing Commodity, London Datastore, <https://data.london.gov.uk/blog/how-user-data-is-becoming-the-ultimate-marketing-commodity/ > Bishop, C. (2006); Participation - Documents of Contemporary Art, Paperback (01 Oct 2006), Whitechapel Gallery, pp207 Hollenbeck, C.; Peters, C.; Zinkhan, G.(2008), Retail Spectacles and Brand Meaning: Insights from a Brand Museum Case Study. Journal of Retailing. 84. 334-353. 10.1016/j.jretai.2008.05.003.

White, K. (2018), Customer vs. User, Medium Magazine, < https://medium.com/nyc-design/customer-vs-user157d8e2400cc>

36

ANNEXE

ANNEXE 1

The First Annexe, presents a timeline of the events, etymologies, typologies, theories and literature that through my research become central to my essay. It is by no means exhaustive and is instead meant to support the evolutionary process that becomes the method of enquiry.

1760 1765 1770 1775 1780 1785 1790 1795 1800 1805 1810 1815 1820 1825 1830 1835 1840 1845 1850 1855 1860 1865 1870 1875 1880 1885 1890 1895 1900 1905 1910 1915 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020 2025 2030

ARCADES

THE SUPERSTORE

DEPARTMENT STORES

THE SHOPPING MALL

THE SHOPPING MALL

DEPARTMENT STORES Apple Dubai Mall, 2017 Apple Champs-Élysées, Paris 2018 Apple Kyoto, 2018 Apple Carnegie Library, Washington DC 2019

Regent Street, London 2016 Michigan Avenue, Chicago 2017 Cotai Central, Macau 2018 Fifth Avenue, New York 2019 Apple Marina Bay Sands, Singapore 2020

Apple Apple Apple Apple

MIU MIU, Herzong & MEURON

DEBENHAMS FILES FOR ADMINISTRATION DEBENHAMS FILES FOR ADMINISTRATION START OF NATION WIDE LOCKDOWN IN UK - MARCH 2020 aRCADIA FILES FOR ADMINISTRATION NON ESSENTIAL PHTSICAL STORES CLOSED

Apple Union Square, San Francisco 2016 Apple Orchard Road, Singapore 2017 Apple Piazza Liberty, Milan 2018 SARS-COV2 DISCOVERED IN CHINA, DECEMBER 2019

Apple Zorlu Centre, Istanbul 2014 Apple Westlake, Hangzhou 2015

STING ALBUM SALES - FIRST ONLINE SALE

Galleria Piazza Colonna, Rome

Peachtree Arcade, Atlanta

Mädler Passage, Leipzig

Piccadilly Arcade, London

Pariser Hof, Budapest

Friedrichstrassenpassage, Berlin

Central Arcade, Wolverhampton

City Arcades, Birmingham Kaiser Wilhelm Passage, Frankfurt am Main Georgs Passage, Hannover

County Arcade, Leeds

Alexandra Arcade, Swansea

Galleria Nazionale, Turin

Passage du Nord, Brussels Passage, The Hague

Galleria Manzini, Genoa

Thornton’s Arcade, Leeds Royal Arcade, London

Great Western Arcade, Birmingham

Lancaster Avenue, Manchester Galleria Subalpina, Torino

Barton Arcade, Manchester

Royal Arcade, Melbourne

Konigin Augusta Halle, Cologne

Queen’s Arcade, Melbourne

Kaiser Passage, Karlsruhe Queen’s Arcade, Leeds

FIRST WALMART STORE ROGERS, ARKANSAS, 1962

THE SUPERSTORE

Aesop Duke of York Square, 2017 Apple Park, Palo Alto 2018 The Rise Of ‘The Spectacle Store’, From Apple Aventura, Miami 2019

Mall of America

Largest mall: West Edmonton

The Galleria, Houston

Dominion Center, Toronto

Yorkdale Shopping Plaza, Toronto: 72 acres; parking for 6,736

FIRST INDOOR SHOPPING MALL, EDINA, MINESSOTA, 1956

Victor Gruen’s first mall: Northland, Detroit

First Open air mall: Northgate, Seattle First dumbellLijnbaan, plan: Framingham, Rotterdam Mass. (van den Broek & Bakema)

Galerie de Cristoforis, Milan

Passage Jouffroy, Paris Galeries St. Hubert, Brussels

Exeter Arcade, London

Passage Pommeraye, Nantes

Passage Lemonnier, Liege

Royal Arcade, Newcastle

Cleveland Arcade, Cleveland

ARCADES

FIRST OUTDOOR SHOPPING MALL (PLAZA) KANSAS CITY 1922

Sillem’s Bazar, Hamburg

Galerie Bordelaise, Bordeaux

Passage Choiseul, Paris Philadelhpia Arcade, Philadelhpia Weybosset Arcade, Providence Galerie d’Orleans, Paris Lowther Arcade, London

Passage de l’Opera, Paris

Passage de la Monnaie, Brussels

Burlington Arcade, London

Royal Opera Arcade, London

Passage Montesquieu, Paris

Passage Delorme, Paris

Passage des Panoramas, Paris

Passage du Caire, Paris

Passage Feydeau, Paris

1760 1765 1770 1775 1780 1785 1790 1795 1800 1805 1810 1815 1820 1825 1830 1835 1840 1845 1850 1855 1860 1865 1870 1875 1880 1885 1890 1895 1900 1905 1910 1915 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020 2025 2030

SPRINKLER SYSTEM

SKYLIGHT ELEVATOR

DISPLAY CASE

PHYSICAL INFRASTRUCTRES ESCALATOR

*

WEB 2.0 * AMAZON INTERNET SHOPPING

CRISIS

*

INTERNET EMERGES DEATH OF CONVENTIONAL RETAIL COVID 19

FLAGSHIPS 2.0

*

*

*

*

THE SUPERSTORE *

*

SELFRIDGES *

Self-service introduced, Los Angeles *

First supermarket: King Kullen, N.Y.

* THE APPLE PROJECT

SOCIAL MEDIA

*PRADA HERZOG & MEURON

*Fondazione Prada

*

Glossier, Inc. was founded

In 2018, US Retailer Walgreens

*

DEBENHAMS FILES FOR ADMINISTRATION START OF NATION WIDE LOCKDOWN IN UK - MARCH 2020 aRCADIA FILES FOR ADMINISTRATION NON ESSENTIAL PHTSICAL STORES CLOSED

DEBENHAMS FILES FOR ADMINISTRATION

*

Armani Silos

Apple Marina Bay Sands, Singapore 2020

*

Apple Union Square, San Francisco 2016 Apple Orchard Road, Singapore 2017 Apple Piazza Liberty, Milan 2018 SARS-COV2 DISCOVERED IN CHINA, DECEMBER 2019

Houston 1975,

Regent Street, London 2016 Michigan Avenue, Chicago 2017 Cotai Central, Macau 2018 Fifth Avenue, New York 2019

*SITE - BEST Showroom,

Project on the City II: The Harvard Guide to Shopping

*

Apple Apple Apple Apple

OCADO

Marketing 3.0 * OMNICHANNEL RETAILING

*

RTR Unlimited is a Netflix-like subscription

*Missguided in Selfridges

*Louis Vuitton Foundation

Apple Dubai Mall, 2017 Apple Champs-Élysées, Paris 2018 Apple Kyoto, 2018 Apple Carnegie Library, Washington DC 2019

Arcades Project

Apple Zorlu Centre, Istanbul 2014 Apple Westlake, Hangzhou 2015

*

Bonobos O2O

*AMAZON GO, US

Aesop Duke of York Square, 2017 Apple Park, Palo Alto 2018 The Rise Of ‘The Spectacle Store’, From Apple Aventura, Miami 2019

MIU MIU, Herzong & MEURON

IBM OLTP

STING ALBUM SALES - FIRST ONLINE SALE

*

Mall of America

1981 LARGEST MALL WEST EDMONTON

GALLERIA VITTORIO EMANUELE II

Largest mall: West Edmonton

The Galleria, Houston

GALERIES LAFAYETTE

Dominion Center, Toronto

* FIRST WALMART STORE ROGERS, ARKANSAS, 1962

AU BON MARCHE FIRST APPLICATION OF IBM ONLINE TRANSACTION PLATFOMR SABRE

1956 - FIRST ENCLOSED MALL SOUTHDALE MINNEAPOLIS

Galleria Piazza Colonna, Rome

Peachtree Arcade, Atlanta

Mädler Passage, Leipzig

Piccadilly Arcade, London

Pariser Hof, Budapest

Friedrichstrassenpassage, Berlin

Central Arcade, Wolverhampton

City Arcades, Birmingham Kaiser Wilhelm Passage, Frankfurt am Main Georgs Passage, Hannover

County Arcade, Leeds

Alexandra Arcade, Swansea

HALLES CENTRALES

Yorkdale Shopping Plaza, Toronto: 72 acres; parking for 6,736

Galleria Nazionale, Turin

Kaiser Passage, Karlsruhe Queen’s Arcade, Leeds

Passage du Nord, Brussels Passage, The Hague

Galleria Manzini, Genoa

Thornton’s Arcade, Leeds Royal Arcade, London

Great Western Arcade, Birmingham

Lancaster Avenue, Manchester Galleria Subalpina, Torino

Barton Arcade, Manchester

Royal Arcade, Melbourne

UTOPIAN ARCADE PROJECTS, LONDON

FIRST INDOOR SHOPPING MALL, EDINA, MINESSOTA, 1956

DEPARTMENT STORES

Victor Gruen’s first mall: Northland, Detroit

HARRODS

Konigin Augusta Halle, Cologne

Queen’s Arcade, Melbourne

ARCADES INFLUENCE PRISON REFORM

First Open air mall: Northgate, Seattle First dumbellLijnbaan, plan: Framingham, Rotterdam Mass. (van den Broek & Bakema)

ARCADES Cleveland Arcade, Cleveland

Galerie de Cristoforis, Milan

Passage Jouffroy, Paris Galeries St. Hubert, Brussels

Exeter Arcade, London

Passage Pommeraye, Nantes

Passage Lemonnier, Liege

Royal Arcade, Newcastle

*

FIRST OUTDOOR SHOPPING MALL (PLAZA) KANSAS CITY 1922

Sillem’s Bazar, Hamburg

Galerie Bordelaise, Bordeaux

Passage Choiseul, Paris Philadelhpia Arcade, Philadelhpia Weybosset Arcade, Providence Galerie d’Orleans, Paris Lowther Arcade, London

Galeries de Bois, Paris

Passage de l’Opera, Paris

Passage de la Monnaie, Brussels

Burlington Arcade, London

Royal Opera Arcade, London

Passage Montesquieu, Paris

Passage Delorme, Paris

Passage des Panoramas, Paris

Passage du Caire, Paris

Passage Feydeau, Paris

1760 1765 1770 1775 1780 1785 1790 1795 1800 1805 1810 1815 1820 1825 1830 1835 1840 1845 1850 1855 1860 1865 1870 1875 1880 1885 1890 1895 1900 1905 1910 1915 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020 2025 2030

*GRADUAL DEMISE OF DEPARTMENT STORES

*Boll&Branch O2O *

22% OF AMERICAN

THE SHOPPING MALL

FORM AND FUNCTION CONCEPT-LED

DIGITAL INFRASTRUCTRES

*

SPRINKLER SYSTEM

*

SKYLIGHT *

ELEVATOR

DISPLAY CASE *

PHYSICAL INFRASTRUCTRES *

ESCALATOR

IBM OLTP

INTERNET EMERGES * DEATH OF CONVENTIONAL RETAIL COVID 19

*

WEB 2.0 * AMAZON INTERNET SHOPPING

CRISIS

*

FUTURE RETAIL, HARVARD GSD (2017)

*

*

*

Petermans,A.;Kent,A.(2017),RetailDesign: Theoretical Perspectives,

Petermans, A., Janssens, W., & Van Cleempoel, K. (2013). A holistic framework for conceptualizing customer experiences

*

*

Walter,B.(1999),The Arcades Project

*

* *

Thompson, D. (2017), The Great Retail Apocalypse of 2017

* *

*

THE SUPERSTORE *

*

SELFRIDGES *

*

Jacobs, J. (2000), The death and life of great American cities

FLAGSHIPS 2.0

* THE APPLE PROJECT

SOCIAL MEDIA

*PRADA HERZOG & MEURON

*Fondazione Prada

Kozinets, Robert & Sherry, John & DeBerry-Spence, Benet & Duhachek, Adam &

*

Glossier, Inc. was founded

In 2018, US Retailer Walgreens

*

Jahn,S.;

*

*

*

DEBENHAMS FILES FOR ADMINISTRATION START OF NATION WIDE LOCKDOWN IN UK - MARCH 2020 aRCADIA FILES FOR ADMINISTRATION NON ESSENTIAL PHTSICAL STORES CLOSED

DEBENHAMS FILES FOR ADMINISTRATION

* *

Sonsev, V.(2017); How Online Brands Are Winning In The Offline World,

Sadler,S. (2013); “Steve Jobs: Architect,”

Armani Silos

Bajarin, B. (2015); Apple and the user experience business model

Apple Marina Bay Sands, Singapore 2020

*

Apple Union Square, San Francisco 2016 Apple Orchard Road, Singapore 2017 Apple Piazza Liberty, Milan 2018 SARS-COV2 DISCOVERED IN CHINA, DECEMBER 2019

* *

*

Regent Street, London 2016 Michigan Avenue, Chicago 2017 Cotai Central, Macau 2018 Fifth Avenue, New York 2019

Oldenburg, R. (1989). The Great Good Place: Cafes,

*

Project on the City II: The Harvard Guide to Shopping

Gibbs,R.J.(2012) Principles of Urban Retail Planning

*

Apple Apple Apple Apple

*

Marketing 3.0 * OMNICHANNEL RETAILING

*

RTR Unlimited is a Netflix-like subscription

Hollenbeck, C.; Peters, C.; Zinkhan, G.(2008), Retail Spectacles and Brand Meaning:

Self-service introduced, Los Angeles

*

First supermarket: King Kullen, N.Y.

*Missguided in Selfridges

Alton, L. (2015); How User Data Is Becoming the Ultimate Marketing Commodity,

*Louis Vuitton Foundation

Apple Dubai Mall, 2017 Apple Champs-Élysées, Paris 2018 Apple Kyoto, 2018 Apple Carnegie Library, Washington DC 2019

*

Bonobos O2O

*AMAZON GO, US

Aesop Duke of York Square, 2017 Apple Park, Palo Alto 2018 The Rise Of ‘The Spectacle Store’, From Apple Aventura, Miami 2019

*SITE - BEST Showroom,

Apple Zorlu Centre, Istanbul 2014 Apple Westlake, Hangzhou 2015

OCADO

MIU MIU, Herzong & MEURON

Arcades Project

STING ALBUM SALES - FIRST ONLINE SALE

Houston 1975,

Mall of America

1981 LARGEST MALL WEST EDMONTON

GALLERIA VITTORIO EMANUELE II

Largest mall: West Edmonton

GALERIES LAFAYETTE

FIRST APPLICATION OF IBM ONLINE TRANSACTION PLATFOMR SABRE

1956 - FIRST ENCLOSED MALL SOUTHDALE MINNEAPOLIS

Galleria Piazza Colonna, Rome

Peachtree Arcade, Atlanta

Mädler Passage, Leipzig

Piccadilly Arcade, London

Pariser Hof, Budapest

Friedrichstrassenpassage, Berlin

AU BON MARCHE

The Galleria, Houston

DEPARTMENT STORES

Central Arcade, Wolverhampton

*

Dominion Center, Toronto

* FIRST WALMART STORE ROGERS, ARKANSAS, 1962

UTOPIAN ARCADE PROJECTS, LONDON City Arcades, Birmingham Kaiser Wilhelm Passage, Frankfurt am Main Georgs Passage, Hannover

County Arcade, Leeds

Alexandra Arcade, Swansea

HALLES CENTRALES

*

Yorkdale Shopping Plaza, Toronto: 72 acres; parking for 6,736

Galleria Nazionale, Turin

Kaiser Passage, Karlsruhe Queen’s Arcade, Leeds

*

FIRST INDOOR SHOPPING MALL, EDINA, MINESSOTA, 1956

*

Victor Gruen’s first mall: Northland, Detroit

ARCADES

Passage du Nord, Brussels Passage, The Hague

Galleria Manzini, Genoa

Thornton’s Arcade, Leeds Royal Arcade, London

Great Western Arcade, Birmingham

Lancaster Avenue, Manchester Galleria Subalpina, Torino

Barton Arcade, Manchester

Royal Arcade, Melbourne

*

First Open air mall: Northgate, Seattle First dumbellLijnbaan, plan: Framingham, Rotterdam Mass. (van den Broek & Bakema)

HARRODS

Konigin Augusta Halle, Cologne

Queen’s Arcade, Melbourne

ARCADES INFLUENCE PRISON REFORM

Cleveland Arcade, Cleveland

Galerie de Cristoforis, Milan

Passage Jouffroy, Paris Galeries St. Hubert, Brussels

Exeter Arcade, London

Passage Pommeraye, Nantes

Passage Lemonnier, Liege

Royal Arcade, Newcastle

*

FIRST OUTDOOR SHOPPING MALL (PLAZA) KANSAS CITY 1922

Sillem’s Bazar, Hamburg

Galerie Bordelaise, Bordeaux

Galeries de Bois, Paris

Passage Choiseul, Paris Philadelhpia Arcade, Philadelhpia Weybosset Arcade, Providence Galerie d’Orleans, Paris Lowther Arcade, London

*

Passage de l’Opera, Paris

Passage de la Monnaie, Brussels

Burlington Arcade, London

Royal Opera Arcade, London

Passage Montesquieu, Paris

Passage Delorme, Paris

Passage des Panoramas, Paris

Passage du Caire, Paris

Passage Feydeau, Paris

1760 1765 1770 1775 1780 1785 1790 1795 1800 1805 1810 1815 1820 1825 1830 1835 1840 1845 1850 1855 1860 1865 1870 1875 1880 1885 1890 1895 1900 1905 1910 1915 1920 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010 2015 2020 2025 2030

* ETH [Fischli, F.; Olsen, N. (2020)]

*GRADUAL DEMISE OF DEPARTMENT STORES

Nierobisch,

FORM AND FUNCTION DIGITAL INFRASTRUCTRES

T.; Toporowski, W.; Dannewald, T. (2018); Selling

*Boll&Branch O2O *

22% OF AMERICAN

THE SHOPPING MALL

CONCEPT-LED

the

Turner, M. L. (2017); New Nordstrom Local Concept Store Combines Personal Styling

ANNEXE 2

The Second Annexe, presents a series of investigations in mapping different terms and their use in specialty literature through time using the Google nGram Tool. This helps highlight trends in conversations around the topic of Retail and Experiential Design.

ANNEXE 3

The Third Annexe is a transcript of an interview carried out as part of my research with Edward Newton, Director at Pragma Consulting. Pragma Consulting is a world leading retail consultancy, operating under the Handely House group and a sister company of Benoy ltd, where I have undertaken my work experience.

INTERVIEW

Paul: Just to give some context, you are working in Retail Consultancy, advising businesses in the retail sector but also working with architecture firms, is this correct?

Edward: Yes, I spent more time looking at the airport side of the business. I have some views and opinions [on flagships] but, it might be worth also talking with either Alex or Andrew. Alex heads the whole of Pragma and has a lot of thoughts [and expertise] in the field, as well as Andrew who is the director on the property side [of the business]. A combination of our thoughts and opinions[...] may be good and could help you answer some of the questions you might have. We tend to (as I said, I work a lot in the airport space) [work] with architects on mixed-use developments mainly, (...)trying to advise on feasibility and positioning within the (more) strategic side of how a development should work and therefore working with the architects to try and help deliver that in the best way possible.

Paul: In my work, I am looking at the Flagship Store as a concept, and particularly at where it is heading. Unfortunately there is little information and research originating from within Architecture and, most of it is generated actually from Business Research and Marketing Research so that’s what I’ve been trying to piece things together. What is your view on the Flagship within Archtiecture?

Edward: Having read the abstract, there is a lot of [information], as you say, coming out from research and consultancy [in these fields]

INTERVIEW

looking at the future [directions]. There is not necessarily a lot (...) happening in [terms] of good examples, where it has been executed.

So yes, there are not many real-world examples you can look into and say this is a great success, and this has worked incredibly well in terms of the flagship versus the showroom. There is a lot of talk about showrooming but very few people truly showroom. There are [examples] where they do this and it revolves a little more around being an experience [rather] but it is still being geared towards making sales, at that point, as well as having a brand experience. It is still very much transactional. I feel most examples where people have done anything even slightly more experiential or more engaging or flamboyant, it is still trying to facilitate sales whilst incorporating other [elements]. I think you always need to have that ability, [...] and that is where that waiting shifts. I think that is what time and experimentation will tell.

Paul: I think this connection between the showroom and flagship as you mentioned becomes very interesting. I was looking at the Prada project by Herzog de Meuron in Ginza in Tokyo. There was an academic conversation between Jacques Herzog and Niels Olsen about how this store was seen as one of the earliest most successful example of removing the focus from the display window and embracing the idea of the showroom flagship. They now decide: it is not about display windows it is all about what is happening inside the building, the building as a whole.This prompted my interest in experieantial design .

I am trying to understand then, is this the direction where retail is headed ? Is this transition, maybe, more noticeable from an architect’s perspective, because of the built form ?

Edward: I suppose from the Pragma point of view we always take that consumer-centric approach and try to maximise the engagement with space, particularly when talking about airport or development design. It becomes about maximising the footfall past any retail or commercial potential zone. Therefore [we are also] trying to create pause points, to enhance that ability to engage with the offer, so I suppose that can draw into the units as well. But for us, it is really looking at [...] what would make them successful, from a commercial perspective. But in order to facilitate and create that opportunity for a transaction, you have to have the footfall. So what draws people to the centre, or through the airport, and all the supposed logistical side of it. Then it is about the product, environment, accessibility. Looking at the type of things that people want and are relevant to them whilst they are in that space and in that environment. A place that I want to spend time in. A place can be improved, it is not just a row of shops on either side, it is less about that primary purpose to shop. What we do is trying to encourage people to those impulse purchases. I think

becoming more [apparent] outside of transport architecture as well. So when we have been looking at a lot of the developments that some say how do you increase it to being experienced, to create an all-day event, how to increase that [experience]. If you look at shopping centres, they transitioned from shops shops shops with a few opportunities for food to entire restaurants. [They] are trying to create an environment, a day out experience, and I think now it [becomes] more about how you build on that and expand it.

INTERVIEW

Paul: How would you apply that, when it comes to individual businesses? How is this reflected and how do businesses start to embrace this idea in order to create a relationship with the user?

Edward: I think that is where it is starting to bleed into [the store].

How do you get people from these spaces into your store? I suppose that is where you need to have that experience, [...] that engagement [which draws] people. They want to come in for something that is not [...] always retail or purchase driven. I am here for spending time. I am spending time with friends, I am doing something [different]. So either has to be eye-catching, engaging. As mentioned [...] the North Face store is a good example. The floor starts disappearing and you start climbing up the walls. You might go there just to see it. Basically building something a little more interesting.

There is also real value in the engagement with the e-commerce and how the way it facilitates transactions. It can also draw people to the store because let’s say you have looked at a product and you want to see it in front of you before you purchase it. You want touch and feel that prodcut before making that commitment of purchase particularly if it is a larger size product it is difficult to just package it up and return.

Therefore, you have a dual role of either having that unit to facilitate that transaction. There is a multitude of ways in which you can interact with the space and online in retail nowaays. It is easier to create client engagement and personalization. There is an element of creating that environment in which people want to spend time getting engaged with that space. Then I suppose there is the other layer of pushing your retail store into other space therefore not engaging with your unit direcly. There are examples of placing products into the public realm. For example at Schiphol airport, Made.com a positioned their furniture all throguhout the airport, therefore you are engaging with the product and you are actually interacting and testing it without thinking about it, and this creates the potential for converting visitors to customers, as they can complete the purchase online at a later date.

All this is happening without having actually been inside a store.

North Face, Seoul, Unknown Author

Paul: Based on what you said I have two main questions.

You were talking about the idea of the physical interaction with the object and I was wondering if from the work you do there is any analysis on these trends, any explanation on why people still have a preference for this type of interaction. I was also curious about the expectation around this preference in the future: are we moving away from it or is there an expectation about always retaining an element of it?

INTERVIEW

The second question revolves around the public space. As Koolhaas says in his Guide to Shopping, retail is the last form of public space, I am wondering to what extent would you see shops as public spaces, rather than just retail permeating public space as you mentioned in the example of Made.com. Where is the overlap and where is the divide?

Edward: [These are] very good questions. The physical interaction, I think[...] I think it is very difficult to work out where exactly that is going to be, what drives different people. I think if we look at the subtrends on what the proportion of online sales have been over the last couple of years in the different categories, that does give you a guide as to what elements people want to interact with more. But I think this whole last year has really broken down some of the barriers to that.

I think what was it that was driving that slow penetration of online was a need to interact or the thought that: why would I do that online you know it’s it’s it’s just it’s easy to go to the supermarket, it’s in our routine. But now, that portion of online penetration has gone way up.

Will it come back down? I think once people have become used to that convenience of it, maybe not. But there will be certain elements, certain instances in which people do want to go out. I think that basics level, the barrier before was why would I do it online it is easy to go[to the store] but now it is really easy to get it online, why would I go [to the store]. I think that might have been reversed. However, in the case of the more artisan and more high end [retail], people do probably still want to feel that [interaction] or in the case of those considering the purchase of larger items.

Paul: Touching on one of the last elements in my essay is the change in form of the flagship enabled by the transition of the online stores to offline. There seems to be a very interesting phenomenon in there, as they originate in a completely different environment, born out of different models which enables them as disruptors. What is your view on this process?

INTERVIEW

Edward: I think this [...] is a great example of why when people say retail is dead, the brick and mortar is not relevant anymore, it becomes a perfect example of why it is relevant. You have had a lot of these brands that have started online they have a set of values and uniqueness about them that they want to communicate and it is much easier to communicate that in the physical world and to really get across who you are what you are. Having that physical presence and that ability to interact and really experience [the essence of a brand] is where [the physical store] becomes so important again. These are [now] meeting in the middle. Traditional bricks and mortar need to get better at being more agile being quicker having those values, rather than just being there, and communicating that experience, what does the brand mean.

The online players [...] want [to create an opportunity for] people to go to that next level of understanding and then they [start] moving into that [physical] space. So, I think, there is a situation where the [two are] moving together to try and create, as you say, an experience where you understand the brand you understand their values and you understand what they are all about.

Paul: Would you then go as far as saying that the purpose of these shops is not transactional anymore ?

Edward: I think with the online to bricks and mortar there may be an element of improving transactions. Are they going to be through that unit? I think where they happen is less important. If the [visitors] are there, they are engaged, they understand, they go away, and they [complete the] purchase after. Obviously, there is always the goal of pushing transactions, but where they happen becomes less important.

It is just about having that exposure and having that network where people can do it if they want to.

Paul: Ultimately, in this whole transition, I am trying to understand what is the role of the architect in this whole conversation. All this discourse is happening mainly in Marketing Research and Business Research but seems to be fundamentally lacking in Architecture. I am particularly interested in your view on the online-offline stores in particular because of the change in focus around the nature of the store, whereas you mentioned the transaction is not at the centre of it anymore. In my work, I am looking at how this can be removing the constraints imposed on design and I started by focusing on the Apple Store, which maybe is not the best example, but it is an early promoter of the online to offline drive. There are, however, very interesting design changes: removing the cash points and conducting transactions on tablets with your dedicated ‘shoppign assistant’, all interaction is

moved around tables to enable conversations and the implementation of the genius bar among others. My question then is how much of these changes are forcing traditional retailers to adapt their models to fit these new expectations?

INTERVIEW

Edward: I think it depends I suppose on the level of Architecture you are looking at. Ultimately it is going to be driven by the brand. Brands have to decide to change their business model to enable the things you just described. Within these developments it is about creating a space that removes those barriers essentially, to allow a certain flexibility, to facilitate different types of business models for various users and allow it to be, I suppose, less rigid. Those lines can become more blurred, can be moulded as that discussion and as time evolves rather than creating a fixed moment.

I suppose it becomes about integrating, retail within architecture.

There have been times when retail has been an ‘eyesore’ for the architects. Where now, [retail] needs to become seamlessly integrated.

By engaging and involving it within the architecture, means that it is not a conscious decision to [...] engage with retail. It is there as you are experiencing it. You are almost feeling like there is no crossing, no threshold into another world. You can just enjoy the space whilst being there [as a visitor]. I suppose, [the role of the architect would be in] looking at a more holistic approach to the development, creating the right pause points from which you can see and experience, rather than just rows of shops with frontage on either side. I think that is where that is going to morph over time.

Paul: The last question is expanding on the impact of the Online to Offline transition. As we see this new model permeate the High Street, I wanted to ask you what do you think would be the implications on the notion of the customer as opposed to user? Online retail is heavily associated with the use of Social Media and we know now that the revenue model in social media is centred around the notion of the user as a commodity, which led to a series of conversation around the social contract in recent years. How much of this do you think can become a problem for the Online to Offline stores and how much of these pervasive technologies can be or are already ingrained in these stores?

Edward: I think the technology is available to capture all of that data.

In most stores, nowadays, you will be signing up as you are creating a purchase. You will be creating an account with that particular brand, especially the brands that have an online presence. It will be [perhaps] used to email you a receipt.

You have that ability [nowadays] to [...] understand, create that profile,

INTERVIEW

create that personalisation, and recommendation. There is already that technology available but, it becomes [more of a question about] choosing to implement it. It essentially means linking the two [worlds] so, you are [enabling a] crossover. [...] I think it becomes about creating that ecosystem, where it does not matter where you are making that transaction. The same information, the same interaction, is essentially happening, whether in the store or online. That is what brands are trying to work towards.