IP Project

apoc store

Proposal (03-17)

Defining context (04)

Introduction (05)

System and mission (06)

Audience Profiles (07)

Archetypes (08)

Proposed solution (09)

Art direction Scheme (10)

Visualisations of outcomes (11-17)

Supporting Materials (18-40)

Ideation (23-32)

Apoc Store research (19-20)

Audience research (21-22)

Case Studies (23-27)

Conceptualising (28-31)

Prototyping and Production (33-40)

Crictial Evaluation (41)

Critical Reflection (42)

Biblography (43)

List of Illustrations (44-45)

Proposal apoc store

Defining Context

A summary of insights and foresights expanded from RFIP, focusing on the lack of physical space for creatives in London.

drivers

Fran (2024)

Problem Opportunity Context Rationale

There is an absence of spaces for young creatives in London. Currently, no venues offer designers a place to create, network, and collaborate simultaneously; these tend to happen separately and are often out of reach financially for those trying to break into the fashion industry, as they are limited in number. Therefore, they naturally become exclusive to those who can access them and those who cannot, feeding into the hierarchy that has long dominated the fashion industry. Young creatives are also seeking physical touch and interaction with communities, networks of relationships, and brands. Due to digital overconsumption, they are experiencing ‘media fatigue’ and deem interactions on digital platforms unauthentic.

Subsequently, the younger creative demographic is reshaping the consumer landscape in fashion. They increasingly value brands prioritising authenticity, community, and support over mere co-option. They also drive a demand for accessible spaces within the industry that foster collaboration and innovation. Thus, the imperative for inclusive creative spaces becomes increasingly evident in meeting the evolving needs of this demographic.

Therefore, this project aims to dismantle the hierarchical system that neglects young creatives and create a safe, accessible, inclusive, and functional space—implementing a new caring ecosystem. It aims to drive positive change within the London fashion industry to improve and fuse together young designer communities and individuals.

It is essential to highlight and focus on the absence of spaces for young creatives, given the shortage of brands and businesses providing a space for young designers’ support, advice, and networking opportunities. Therefore, how can a safe space be created to nurture young creatives who do not have the equipment or the funds to obtain them and redefine ‘structured’ spaces to make this space unrestrictive? A space that harnesses creativity and innovative ideas by integrating individuals to assemble a new caring community and infrastructure of young creatives.

system + mission

• Construct communal engagement spaces

• re-establish physical spaces and networks

• reconstructing the use of digital medias for purpose and caring infrastructures.

1. caring ecosystem

2. safe spaces

3. Multi-use spaces

• To create a physical spaces for APOC store communal engagement and improvement, espicially among young creatives. To nurture, sustain, and create communities.

• This project must be designed for longevity, a space with a multitude of uses, portable and sustainable to adapt to “multi-use spaces” foresight and the ethos of APOC store.

• To re-imagine and re-construct how digital media and platforms are use to adapt to the “caring ecosystem” foresight and improve interconnectivity between online and offline realms.

Fig 1. Project Ecosystem

Project’s Audience

Collaborating APOC’s audience with my project.

Demographics

Early to mid-late 20s into early 30s, mixed gender but mostly female (but not exclusive) and living in London. Students and young professionals across the creative fields but mostly design and fashion such as emerging stylists and photographers.

London presently faces a shortage of venues conductive to nurturing creativity. Many spaces priortise profit and corporate interests, leaving little room for young, independant and emerging designers. These creatives and the audience and consumers of APOC store seek environments with a supportive infrastructure.

Behaviours

All respondants seek intimate, comfortable, and welcoming open spaces. They need physical spaces for their networks, their creativity and their day-to-day lives; they are fundamental.

Physical spaces and in-person interactions are valued more than digital relationships and communications.They crave the feeling of belonging and highly value their community networks as they concept of home has revolutionised into collective living and these networks becoming a ‘family.’ They seek out comfortable, inclusive and free spaces for their creative practices. Sustainability and authenticity are deciding factors into products they buy and brands they support.

Fig 2, 3, 4. Screenshots of Google Forms

Project’s archetype

Audience:

The Creator

• Innovative, experimental and aspirational.

• They need a physical space to maintain and create a creative infrastructure and network.

The Everyman

• They need a sense of connection and belonging.

• Community is at their core.

• They want to resonate and connect with likeminded people.

The Outlaw

• non-comforming in every sense.

• Relentlessly on a pursuit of freedom and equality.

• They crave revolutionary spaces, concepts and ideas.

Project:

• Innovative, problem-solving, avant-garde designs and aesthetics, non-linear, nonconforming.

The Creator The Everyman

• Transparent, relatable, community building

• Cultural, caring.

The Rebel

• Out of the box thinking, pushing boundaries

• A catalyst for change.

Caring Infrastructure

Build connections

Leave a mark

Proposed solution

Fig 5. Screenshot of Proposed Solution

inspired by

Art direction scheme

Fig 6. Meanwhile Space homepage (2024)

Fig 7. Aesop Pitt Street (2018)

Fig 8. Screenshot of saved design inspirations board

Fig 9. Screenshot of APOC Store homepage

Fig 10. Screenshot of APOC Store instagram

Fig. 9.1 Screenshot of APOC Store homepage

Fig. 8.1 Screenshot of saved design inspirations board

Fig 11 - 13. Screenshot Crosby Studios homepage

Visualisations of outcomes

The 3D space

The work place has mutliple computers for designers and creators to use to aid and support their work.

The shop

The work place

The physical art market place; minimal so that artists can alter the space when they showcase their designs.

The lounge is intended for natural networking but the space is adaptable to the users wants and needs.

The lounge

Fig 14. APOC Store Space

Fig 15. APOC Store Space

Fig 16. APOC Store Space

Visualisations of outcomes

Social media touchpoints

An Instagram post alerts them to subscribe to the email chain (the weekly newsletter) to gain entry to the space but also to a website.

APOC Stores physical retail marketplace will be first touch pointed to the audience by a GIF that releases an indication and entices the costumers.

The weekly newsletter subscription indicates a button to press to sign up to a website to enable them access and invite to the space.

Fig 17. mock up of APOC store Gif on instagram

Fig 18. Mock up of APOC invite on instagram

Fig 19. Mock up of APOC weekly newsletter invite

Fig 20. Mock up of APOC weekly newsletter invite

Visualisations of outcomes

Social media touchpoints

The intended audience will also be able to access and find out about the space on the APOC website, clicking on the images of the spaces leads them to also subscribe and find out more on the community website

Fig 21. Mock up of APOC Space on their website

Visualisations of outcomes

Website user journey

storyboard

The website creates a narrative for the space and an interaction place when the store is shut or someone cannot access it that day. It advertises the events that will take place and has an online chat room to evoke networking and collaborating.

Fig 22. Screenshot of storyboard

Visualisations of outcomes

Website design

Fig 23. Mock up of APOC Space homepage

Fig 24. Mock up of APOC website account page

Fig 25. Mock up of APOC website sign up page

Fig 26. Mock up of APOC website login page

Visualisations of outcomes

Website design

Fig 27. Mock up of APOC website about page

Fig 28. Mock up of APOC website chat room

User journey

The spaces first touchpoint is a GIF on instagram displayed on APOC’s instagram

The multi-funcational store is then shown on APOC’s website as another touchpoint.

The store then opens and the last part of the journey is accessing the physical store.

1 2 3 4 5

The space and sign up link is sent through the weekly email newsletter.

The sign up link takes you to the stores website and your account when you sign up allows you to access events, more information about the space and a chat room.

Fig 29. User Journey

Supporting materials apoc store

Apoc Store Investigation

Main interactions on instagram

Clear aesthetic throughout every touchpoint Global expansion New innovative, emerging artists showcased regularly

Functional Use of social media: TIktok and instagram

Only e-commerce based ESSENCE VALUES

PERSONALITY IN ACTION

Inclusive Young Direct Experimental Democratic Accessible concise Clear Clear Contemporary New Unconventional

Transparency is also at their core Equality Innovative Engaging

Contemporary Luxury Fashion e-commerce store supporting Sustainability is at their core Collectivism and commu- nity is what they strive for Individuality Driven

Newsletter subscription

Overview:

* E-commerce art marketplace for emerging, independant artists.

* Curation of source progressive and ethically created pieces internationally.

Mission:

* Celebrating and supporting a new generation of artists and designers by offering fairer commission to aid and sustain them.

* Adapting to Anthropocene in an ethical manner (Geological change, where human activity primarily influences changes on the planet.

Values:

* Sustainability: Slow consumption / local consumer mindset.

* Avant-garde designs, although there is small for minimalism.

Goals:

* To reduce the detrimental effect of humans on the planet.

* Decrease capitalist ideogoloy; paying a fairer wage, deconstructs hierachy and offering a local consumer mindset.

Fig 30. APOC brand onion (2024)

Fig 31-32. Screenshot of APOC instagram page

Fig 33. Screenshot of APOC Store homepage

Apoc AudienceStore

APOC competitors have all established a physical space, therefore the store is lacking physicality and in the market that where is falling short to others.

E-COMMERCE

PHYSICAL STORE ESTABLISHED DESIGNERS

EMERGING DESIGNERS

Audience Profile:

1. Mid to late twenties into early thirties, majority female and non-binary but not exclusive to this.

2. Young professionals in a creative field such as fashion, music and film.

3. Experimental, innovative and actvism seekers.

4. Sustainability is one of their biggest values; they are constantly concious when they shop.

5. They do not adhere to mainstream trends.

6. They want to support (and do) young designers and emerging ones.

7. They are mostly like to have a local consumer mindset when shopping.

Female, Stylist, 25, based in London

Female, photographer, 24, Based in London, but orginally from Vienna.

Fig 34. Screenshot of APOC Store homepage

Fig 35. APOC Brand Positioning map

Fig 36. Screenshot of APOC customerinstagram

Fig 37. Screenshot of APOC customerinstagram

Project’s audience

Understanding and confining my audience: The Young Creatives: 20 - 24 year olds.

Fig 38. Answers from Google Forms

Collaboration Audience

Fig 39. Screenshot of Collab audience profiles

Case Study Meanwhile Spaces (1)

1. Sustainability, care and community are at the core of their ethos; they use unused spaces within in London to offer for affordable prices.

2. The enable new buisnesses and start-ups to exist physically.

3. The encourge creativity, inclusivity and diversity.

4. Their spaces are varied and are mostly multi purpose and functional such as Little Louie.

5. The company wants to provide help and support to everyone - non-exclusive.

Little Louie is an example of Meanwhile Spaces ethos and objective:

- Multi-used space; cafe, bar, music, bike shop and furniture sale.

- Inclusive due to functionality as it caters to many different consumer wants, needs and desires.

Fig 40. Screenshot of meanwhile Space Homepage

Fig 42. Screenshot of impact page

Fig 43. Screenshot of Little Louie Page

Fig 41. Screenshot of meanwhile Space instagram

Case Study StudioXAG (2)

1. StudioXAG creates immersive spaces for fashion brands to evoke costumer emotion, reconnection and drive brand loyalty - reshaping the experience and model of a retail shop.

2. Recently have started to push for sustainbility in their projects by reducing their carbon footprint.

3. They promote and harness innovative, creative and forward-thinking designs such as the Browns pop-up shop in Berlin.

4. Collaborating with brands to support and display narratives for purpose.

Browns Nomad (Berlin)

- Transformed an old supermarket into a concept luxury store for Browns.

- Multi-sensory, experimental, idiosyncratic

- Djs, tattoo artists, panel talks alongside capsule collections.

Fig 44-46. Screenshot StudioXAG instagram

Fig 47-51. Screenshot StudioXAG website

Case DoverStudyStreet Market (3)

1. Exists physically and digitally globally.

2. The physical stores causes costumers to experience shopping in an experimental and invigorating way.

3. Community led, represents expressionism, adapts to artist / designer.

4. Each designer has a space within the store where they can showcase their designs through any mediums to create a spectacle that represents their ethos, inspirations and meanings.

5. The spaces are designed for people to meet one and other, to encourage inspiration and exchange ideas to

- Transferred aesthetic and ethos into physical spaces.

- Physical store causes costumers to have an immersive experience through the designers - whereas the digital platforms lack this.

Fig 52. Screenshot of dover street market instagram

Fig 53. Screenshot of dover street market website

Fig 54. Screenshot of dover street market website

Fig 55. Screenshot of Dezeen website

Fig 56. Screenshot of Dezeen website

Fig 57. Screenshot of Dezeen website

Fig 58. Screenshot of GQ website

Case Study Set Social (4)

1. Set is a multifacted arts community organisation that holds programmes as well as affordable artists workplaces.

2. The programmes happen consistantly which has inclined the amount of people joining the memberships.

3. As well as programmes they hold performances, live music, exhibitions and excercise classes. This happens in different buildings around London; the rooms become multi-functional

4. Their ethos aligns with my project: Bridging the gap between different arts to encourage physical collaborations and innovation is at their core.

Physical and digital posters displayed to showcase events and workshops happening:

- Tactile, colourful, clear, creative

- Featured in spaces; physical touchpoint.

Fig 59. Screenshot set instagram

Fig 59.1. Screenshot of set spaces website

Fig 59.2. Screenshot of set about website

Fig 59.3. Screenshot of set about website

Fig 59.4. Screenshot of set google images

Fig 60-61. Screenshot of set events

Case Space10Study (5)

1. Space10 was a collective formed from the roots of IKEA to “create a better everyday for the people and the planet” (Space10, 2022)

2. Their headquaters orginally designed to be their offices became to the place of collaborating and events.

3. The first floor was open to the public; gallery, library, coffee shop.

4. The space was built to evolve and become multi-functional; it adapted to the projects that were underway.

5. Purpose driven was at their core - everything was done with a reason and questioning.

Mexico Space10 Pop-up

- Collective design

- The best designs are regional

- Designed with planet-concious values

- A space made to share: hosted lots of events with lots of people - made to be used with others.

Fig 62. Screenshot of Space10 instagram

Fig 63. Screenshot of Space10 website

Fig 64. Screenshot of Space10 website

Fig 65. Screenshot of Space10 website

Fig 66. Screenshot of Space10 office

Fig 67. Screenshot of Space10 mexcio pop-up

Fig 68. Screenshot of Space10 mexcio pop-up

Ideation

Summarising case studies to determine the best features to include when creating a physical space.

(1) Meanwhile Spaces

* Multi-purpose spaces.

* Caters to many consumer needs, wants and desires, therefore more likely will have more costumer loyalty.

(2) StudioXAG

* Reconstructs already existing spaces.

* The Berlin Browns Nomad (DJs, tattoo artists, panel talks) demonstrates how mutli-use spaces appeals to a wide range of people.

(3) Dover Street Market

* Creates an immersive experience for costumers who were introduced through an e-commerce store.

(4) Set Social

* Mutli-use creative space made to encourage collaboration.

* Open space with different activities.

(5) Space10

* Creating an adaptable office that causes creatives to come together and interact.

* Mutli-purpose space to encourage all creatvity.

To create a space, solving the probem I have identified, to evolve and adapt APOC stores identity into a physical space, to widen APOC’s audience by soothing the need, wants and desires of young creatives. Connecting two communitities together by constructing a immersive, multi-functional space that tells narratives of the designers involved with APOC whilst in tandem constucting a place where networking, creating and collaborating is at the core.

Ideation Inital concept

After showing my seminar group and tutor my intial concept and design proposal it was evident to them, that the space was a partial good solution and opportunity. However, it lacked a user journey and I was questionned on how the intended audience would find out about the space, how they’d use it and why.

Fig 69. Concept Mindmap

Ideation Developed concept

I used the speculative conceptualising task of rational, radical and ridiculous to exhaustively develop my intial concept. The task was benefical to improve my idea as it highlighted to me that I needed to expand my radical elements. It made me conceptualise my idea to extend the meaning of my physical space and how i can increase contact with it by using APOC’s digital media platforms.

Fig 70. Developed Mindmap

Ideation Finalised concept

To create a physical retail space for APOC Store inspired by Meanwhile Spaces, in London. This space will be constructed as a multi-functional space that young, emerging creatives can use for designing, networking and collaborating: soothing the absence of space for young creatives in London.

using ‘meanwhile spaces’ as an inspiration for the ethos and design for the space.

Using my google forms answers to help to construct the space, whilst maintaining the aesthetic, wants, needs, and desires of APOC Store’s audience and consumers.

The space will be featured on APOC’s website, instagram and weekly newsletter

Fig 71. screenshot of APOC Store website

Fig 72. screenshot of APOC Store instagram

Fig 73. screenshot of meanwhile space homepage

Fig 73. screenshot of google form answers

Prototyping and ideation space

designing

“bright with lots of energy”

“a big room, kind of like an artist studio, but minimal”

“something that is bright and welcoming.”

From my google form and my extensive research of APOC i created a moodboard that demonstrates the space I wanted to create. I communicated this moodboard to NIna who began creating iterations and plans.

Fig 74-78. screenshot of crosby studios

Fig 79-81. screenshot of zunc studio

Fig 82-83. screenshot of aesop pitt street

Fig 84. screenshot of holzweiler

Fig 85-86. screenshot of instagram chat with Nina

Prototyping and production

space designing

To ensure my concept was sustained through designs me and Nina constantly communicated through every design, protoype and iteration

After communicating and going back to the moodboard we found adding a touch of green and bright lights effectively produced the space.

The first designs did not coincide with my audience needs, wants and desires therefore I creative directed on how to improve the lighting and depth.

Figs 87-90 . screenshot of instagram chat with Nina

Prototyping and production

space design and communication

Final 3D space design outcomes

Once the space was designed, i had to envision how to communicate the space effectively to appeal to the target audience and how to bring people into the space to use whilst maintaining APOC Store’s clear and contemporary aesthetic.

Figs 91-93. Apoc Store Space

Figs 94-96. screenshot of Apoc Store website

Prototyping

Digital interface moodboard

To maintain APOC’s contemporary aesthetic and identity i found it crucial to get inspiration from similar website designs and layouts.

To speculate and conceptualise the space into a form of communication i made a board on Design Inspiration to explore different techniques, aesthetics and layouts for potential touch points for my audience.

Figs 97. screenshot of design inspiration board

Figs 98. screenshot of design inspiration board

Figs 99. screenshot of design inspiration board

Figs 100. screenshot of design inspiration board

Figs 101. screenshot of design inspiration board

Figs 102. screenshot of design inspiration board

Figs 102.1. screenshot of design inspiration board

GIF iterations Prototyping

To first interact with my audience i decided to create a GIF as the first touchpoint of the APOC stores physical manifestation.

Therefore, for my second iteration I used only one image and gave it a glitch effect with only the logo of APOC and the date release. However, when showing to my intended audience again the feedback was that it was now too ambiguous and they were not sure what was the main purpose but the idea of morphing the image in a different way was appealing to them.

For my firest design i experimented with using the images of the space sped up with text with the last frame being the date of the opening to excite and interest the audience. However, when i showed people part of my intended audience the feedback was to slow it down and play around with the images instead of directly showcasing them to build up more hype to increase interaction with the space.

Figs 103-105. screenshot of gif prototypes

Figs 106-108. screenshot of gif prototypes

With the previous feedback, I experimented with deconstructing and reconstructing the 3D images for the GIF touchpoint with more information on the visuals.

This GIF design was widely more appealing and interesting according to the audience, whilst maintaining APOC’s aesthetic throughout.

Figs 109-112. screenshot of gif outcomes

Fig 113. screenshot of gif prototype

Prototyping and production

Email newsletter

Despite instagram and APOC’s e-commerce marketplate, they also have a weekly newsletter email subscription so i wanted to replicate it to use it as a touchpoint that invites the audience to the space but also the website.

I wanted it to be interactive so that you could join the website from the email. I first experimented with a QR link however it was very flat and not exciting - feedback was that it did not encourage anyone to interact with it. As my main outcome is a 3D space i played around with this and created a 3D button that would lead you to the website.

Figs 114-123. screenshot of newsletter invite prototyping

Prototyping and production

designing the website

Numerous touchpoints that i had conducted already, led up to the website which main ethos is to create a safe and caring digital space for the stores community and intended audiences use of it.

Therefore, the website which you gain access from the newsletter’s button, takes you to the homepage but you need to sign up before accessing the other pages - such as the events page and chat room.

storyboard

I visualised onto a mock up the prototypes I had made for the website and the typography and layout did not fit the aesthetic of APOC so i experimented further into the design.

The interactive community website is to soothe the digital disconnect and lonliness insights i discovered and push for caring ecosystems and safe spaces for creatives.

Fig 124. Design Board

Fig

Production

designing the website

The prototypes i previously made did not fit the identity of APOC therefore, i took inspiration from their own website and made alterations to adapt and evolve into a new website.

I experimented with different ways to make the chat room interactive and created a large page with a sofa in the middle to mimick this comfortable space to write post-its to spark conversations, collabs and creativity.

I used figma to experiment with the order of the frames and to move the prototypes to mock ups to test whether the website would appeal to the target audince.

Fig 126-127. screenshot of website design

Fig 128. screenshot of figma storyboard

Critical evaluation

As I started this project, I knew I wanted to take this as an opportunity to showcase the adaptation and evolution of my skills over the last three years. Also, to demonstrate what I would like to do once I graduate, and to be an example of how I could seamlessly place myself into a brand or company and capture their essence and ethos’ through creative communication. Initially my project was constantly changing directions, until I identified a prevalent issue within in the industry – the lack of physical space in London for young creatives - propelled me towards an exciting opportunity to merge creativity with practicality. By focusing on APOC Store as my main collaborator and envisioning a multi-purpose venue aligned with their brand ethos, I aimed to fill a void while demonstrating my ability to capture a brand’s essence through creative communication.

I departed from my usual approach of focusing solely on project outcomes, I embraced a research-driven methodology, allowing insights and foresights to inform and shape my decisions. This shift facilitated a purpose-driven design process, prioritising a deeper connection with my target audience.

For instance, the conceptualisation of a “caring ecosystem” inspired the development of a website featuring embedded infrastructure and a chat room function, fostering community engagement and a caring network. Moreover, by focusing on the user journey and narrative communication through the lens of APOC Store, I deepened my understanding of visually crafting stories with purpose and mission.

This project set strict requirements and time restraints and was a true test to my organisation, teamwork, and individual work, as there was not one clear creative outcome but a few that would work together to provoke an emotive narrative. Although this project presented many challenges and difficulties and caused me to leave my comfort zone, it served also as a space for growth, exploration, and experimentation. It forced me to think and design more logistically and with purpose which simultaneously improved how I articulate my ideas and concepts. I learnt that always why persistently is how you curate something that can be sustained and nurtured as it is understood.

Critical reflection

My RFIP was started by my interest into the over-consuming nature of gentrification in London and how youth (Generation Z) seek out physical spaces day-to-day. Fashion is a physical manifestation, yet brands focus on digital promotions and advertisements, hence there is a neglection of physical spaces and interactions. I identified how there is a gap between the digital realm of social medias and technologies to physical interactions and spaces. We as a society have become saturation and inundated with the digital world, yet physical connections and networks are fundamental to human nature. Therefore, in this project I wanted to create a bridge to tie them together and defuse the tensions of loneliness and reconstruct a caring infrastructure into digital medias and platforms to encourage peoples use of physical spaces.

As I entered IP, it was bought to my focus by speaking to people in class and sending out a google forms that creatives are constantly neglected. There isn’t a space dedicated to nurturing and sustaining us, somewhere we can go to work outside of university and workplaces to work, collaborate and network authentically. Therefore, it felt right that APOC Store would be my brand collaboration, as their ethos aligns with my problem statement, yet they only exist online as an e-commerce marketplace. By combining their established audience of creatives and consumers with a local-consumer

mindset that want to support young, emerging and independent designers it made sense to create a platform and space to form a new community and a caring ecosystem.

I think throughout this project my biggest success has been establishing a problem that resonates with a lot of people, and including the people I chose to collaborate with, making my target audience feel more authentically represented and inclusive. I feel as if I pushed boundaries out of my creative comfort and constantly curated with purpose that makes this project feel more well-rounded than others.

My weakness was timing as I wanted to create a video that demonstrated the use of the website and its subpages. However, this is a concept I’ll want to take forward with me and potentially create in the near future. As I spoke to the co-founder of APOC Store, and they are keen to open a multi-functional space that hopefully I could be a part of. Overall, I am proud of my final outcome, and I feel as it has opened up a new path to explore which a project has never done before. I want to expand my ideas and potentially propose them to APOC Store.

Biblography

Antoniou, A. (2024) Google Form. Available at: https://forms.gle/nsySpMijTbgBWgdt9 (Accessed 20th Jan 2024)

Fran, N. (2024) Emoji Can’t Hug, But Real Friends Can: New Study by Ingka Centres Unveils Gen Zs Still Believe in the Power of In-Person Connection. Available at: https://www.prnewswire. com/sv/pressmeddelanden/emoji-cant-hug-but-real-friends-can-new-study-by-ingkacentres-unveils-gen-zs-still-believe-in-the-power-of-in-person-connection-302052284.html (Accessed 20th Jan 2024)

Raymond, M. Houghton, O. (2023) Third-space Culture. Available at: https://www-lsnglobalcom.arts.idm.oclc.org/viewpoints/article/29602/third-space-culture (Accessed 8th Feb 2024)

Space10 (2022) How do young people understand the home? And what does that mean for the homes of tomorrow? Available at: https://space10.com/projects/impermaculture (Accessed 20th Jan 2024)

The Cigna Group (2021) The Loneliness Epidemic Persists: A Post-Pandemic Look at the State of Loneliness among U.S. Adults. Available at: https://newsroom.thecignagroup.com/lonelinessepidemic-persists-post-pandemic-look (Accessed 15th Jan 2024)

List of figures

Figure 1. Antoniou, A. (2024) Project Ecosystem, London, 2024. [graph]

Figure 2. Antoniou, A. (2024) Screenshot of Google Form. Available at: https://docs.google.com/ forms/d/1gceXv5XGyZhFElpNwblN0DECUdBdauz3B6sEfrw9lXI/edit#responses (Accessed 13th Jan 2024)

Figure 3. Antoniou, A. (2024) Screenshot of Google Form. Available at: https://docs.google.com/ forms/d/1gceXv5XGyZhFElpNwblN0DECUdBdauz3B6sEfrw9lXI/edit#responses (Accessed 13th Jan 2024)

Figure 4. Antoniou, A. (2024) Screenshot of Google Form. Available at: https://docs.google.com/ forms/d/1gceXv5XGyZhFElpNwblN0DECUdBdauz3B6sEfrw9lXI/edit#responses (Accessed 13th Jan 2024)

Figure 5. Antoniou, A. (2024) Screenshot of Proposed Solution. Available at: https:// www.figma.com/file/Zls1hl4lNCOcgSEPB091ez/IP-2024?type=whiteboard&nodeid=0%3A1&t=1V9zALEgAwKmFDRl-1 (Accessed 15th Jan 2024)

Figure 6. Antoniou, A. (2024) Screenshot of Meanwhile Space Homepage. Available at: https:// www.meanwhilespace.com (Accessed 20th Jan 2024)

Figure 7. Antoniou, A. (2024) Screenshot of Aesop Pitt Street. Available at: https://www.snohetta. com/projects/aesop-pitt-street-sydney (Accessed 15th Jan 2024)

Figure 8. Antoniou, A. (2024) Screenshot of saved design inspiration board. Available at: https:// www.designspiration.com/save/14056091475620261/ (Accessed 15th Jan 2024)

Figure 8.1. Antoniou, A. (2024) Screenshot of saved design inspiration board. Available at: https:// www.designspiration.com/save/14056091475620263/ (Accessed 15th Jan 2024)

Figure 9. Antoniou, A. (2024) Screenshot of APOC Store homepage. Available at: https://apocstore.com (Accessed 20th Jan 2024)

Figure 9.1. Antoniou, A. (2024) Screenshot of APOC Store homepage. Available at: https://apocstore.com (Accessed 20th Jan 2024)

Figure 10. Antoniou, A. (2024) Screenshot of APOC Store instagram. Available at: https://www. instagram.com/apocstore/ (Accessed 13th Jan 2024)

Figure 1. Antoniou, A. (2024) Screenshot of Crosby Studios homepage. Available at: https:// crosbystudios.com (Accessed 11th Jan 2024)

Figure 12. Antoniou, A. (2024) Screenshot of Crosby Studios homepage. Available at: https:// crosbystudios.com (Accessed 11th Jan 2024)

Figure 13. Antoniou, A. (2024) Screenshot of Crosby Studios homepage. Available at: https:// crosbystudios.com (Accessed 11th Jan 2024)

Figure 14. Antoniou, A. Zenhausern, N. (2024) APOC Store Space, London, 2024 [photograph]

Figure 15. Antoniou, A. Zenhausern, N. (2024) APOC Store Space London, 2024 [photograph]

Figure 16. Antoniou, A. Zenhausern, N. (2024) APOC Store Space London, 2024 [photograph]

Figure 17. Antoniou, A. (2024) Mock Up of APOC Store GIF on instagram, London, 2024 [photograph]

Figure 18. Antoniou, A. (2024) Mock Up of APOC invite on instagram, London, 2024 [photograph]

Figure 19. Antoniou, A. (2024) Mock up of APOC weekly newsletter invite, London, 2024 [photograph]

Figure 20. Antoniou, A. (2024) Mock up of APOC weekly newsletter invite London, 2024 [photograph]

Figure 21. Antoniou, A. (2024) Mock up of APOC Space on their website, London, 2024 [photograph]

Figure 22. Antoniou, A. (2024) Screenshot of Storyboard. Available at: https:// www.figma.com/file/Zls1hl4lNCOcgSEPB091ez/IP-2024?type=whiteboard&nodeid=0%3A1&t=1V9zALEgAwKmFDRl-1 (Accessed 15th Jan 2024)

Figure 23. Antoniou, A. (2024) Mock up of APOC Space homepage London, 2024. [photograph]

Figure 24.Antoniou, A. (2024) Mock up of APOC website account page, London, 2024. [photograph]

Figure 25. Antoniou, A. (2024) Mock up of APOC website sign up page, London, 2024. [photograph]

Figure 26. Antoniou, A. (2024) Mock up of APOC website login page London, 2024. [photograph]

Figure 27. Antoniou, A. (2024) Mock up of APOC website about page, London, 2024. [photograph]

Figure 28. Antoniou, A. (2024) Mock up of APOC website chat room, London, 2024. [photograph]

Figure 29. Antoniou, A. (2024) User Journey London, 2024. [photograph]

Figure 30. Antoniou, A. (2024) APOC brand onion London, 2024. [photograph]

Figure 31-32. Antoniou, A. (2024) Screenshot of APOC Store instagram. Available at: https:// www.instagram.com/apocstore/ (Accessed 13th Jan 2024)

Figure 33. Antoniou, A. (2024) Screenshot of APOC store homepage. Available at: https://apocstore.com (Accessed 20th Jan 2024)

Figure 34. Antoniou, A. (2024) Screenshot of APOC store homepage. Available at: https://apocstore.com (Accessed 20th Jan 2024)

Figure 35. Antoniou, A. (2024) APOC Brand Positioning map, London, 2024. [photograph]

Figure 36. Antoniou, A. (2024) Screenshot of APOC customer instagram. Available at: https:// www.instagram.com/sashasadies/ (Accessed 10th Jan 2024)

Figure 37. Antoniou, A. (2024) Screenshot of APOC customer instagram. Available at: https:// www.instagram.com/byalinasantoso/ (Accessed 10th Jan 2024)

Figure 38. Antoniou, A. (2024) Answers from my google forms, London, 2024. [photograph]

Figure 39. Antoniou, A. (2024) Screenshot of Collab audience profiles. Available at: https:// www.figma.com/file/Zls1hl4lNCOcgSEPB091ez/IP-2024?type=whiteboard&nodeid=0%3A1&t=1V9zALEgAwKmFDRl-1 (Accessed 15th Jan 2024)

Figure 40. Antoniou, A. (2024) Screenshot of meanwhile space Homepage. Available at: https://www.meanwhilespace.com (Accessed 1st Feb 2024)

Figure 41. Antoniou, A. (2024) Screenshot of meanwhile space instagram. Available at: https://www.instagram.com/meanwhile_space/ (Accessed 1st Feb 2024)

Figure 42. Antoniou, A. (2024) Screenshot of impact page. Available at: https://www. meanwhilespace.com/impact (Accessed 5th Feb 2024)

Figure 43. Antoniou, A. (2024) Screenshot of Little Louie page Available at: https://littlelouie. london (Accessed 5th Feb 2024)

Figures 44-46. Antoniou, A. (2024) Screenshot StudioXAG instagram. Available at: https://www. instagram.com/studioxag/ (Accessed 10th Feb 2024)

Figures 47-51. Antoniou, A. (2024) Screenshot StudioXAG website. Available at: https:// studioxag.com/updates/a-space-for-belonging/ (Accessed 12th Feb 2024)

Figure 52. Antoniou, A. (2024) Screenshot of dover street market instagram. Available at: https:// www.instagram.com/doverstreetmarketlondon/ (Accessed 14th Feb 2024)

Figure 53. Antoniou, A. (2024) Screenshot of dover street market website. Available at: https://london.doverstreetmarket.com (Accessed 14th Feb 2024)

Figure 54. Antoniou, A. (2024) Screenshot of dover street market website. Available at: https://london.doverstreetmarket.com (Accessed 14th Feb 2024)

Figure 55. Antoniou, A. (2024) Screenshot of Dezeen website. Available at: https://www.dezeen. com/2016/03/18/comme-des-garcons-dover-street-market-haymarket-london-store-shoprei-kawakubo/ (Accessed 12th Feb 2024)

Figure 56. Antoniou, A. (2024) Screenshot of Dezeen website. Available at: https://www.dezeen. com/2016/03/18/comme-des-garcons-dover-street-market-haymarket-london-store-shoprei-kawakubo/ (Accessed 12th Feb 2024)

List of figures

Figure 57. Antoniou, A. (2024) Screenshot of Dezeen website. Available at: https://www.dezeen. com/2016/03/18/comme-des-garcons-dover-street-market-haymarket-london-store-shoprei-kawakubo/ (Accessed 12th Feb 2024)

Figure 58. Antoniou, A. (2024) Screenshot of GQ website. Available at: https://www.gq.com/ story/dover-street-market-los-angeles-tour (Accessed 14th Feb 2024)

Figure 59. Antoniou, A. (2024) Screenshot set instagram. Available at: https://www.instagram. com/setsetsetsetsetset/ (Accessed 13th Feb 2024)

Figure 59.1. Antoniou, A. (2024) Screenshot of set spaces website. Available at: https://setspace. uk/studios/ (Accessed 16th Feb 2024)

Figure 59.2. Antoniou, A. (2024) Screenshot of set about website. Available at: https://setspace. uk/about/ (Accessed 16th Feb 2024)

Figure 59.3. Antoniou, A. (2024) Screenshot of set about website. Available at: https://setspace. uk/about/ (Accessed 16th Feb 2024)

Figure 59.4. Antoniou, A. (2024) Screenshot of set google images. Available at: set peckham (Accessed 16th Feb 2024)

Figures 60-61. Antoniou, A. (2024) Screenshot of set events. Available at: https://setspace.uk/past/ (Accessed 18th Feb 2024)

Figure 62. Antoniou, A. (2024) Screenshot of Space10 instagram. Available at: https://www. instagram.com/space10/ (Accessed 19th Feb 2024)

Figure 63. Antoniou, A. (2024) Screenshot of Space10 website. Available at: https://space10. com/office (Accessed 19th Feb 2024)

Figure 64. Antoniou, A. (2024) Screenshot of Space10 website. Available at: https://space10. com (Accessed 19th Feb 2024)

Figure 65. Antoniou, A. (2024) Screenshot of Space10 website. Available at: https://space10. com/office (Accessed 19th Feb 2024)

Figure 66. Antoniou, A. (2024) Screenshot of Space10 office. Available at: https://space10.com/ office (Accessed 19th Feb 2024)

Figure 67. Antoniou, A. (2024) Screen of Space10 mexico pop-up. Available at: https://space10. com/projects/space10-mexico-city (Accessed 19th Feb 2024)

Figure 68. Antoniou, A. (2024) Screen of Space10 mexico pop-up. Available at: https://space10. com/projects/space10-mexico-city (Accessed 19th Feb 2024)

Figure 69. Antoniou, A. (2024) Concept Mindmap. Available at: https://www.figma.com/file/ Zls1hl4lNCOcgSEPB091ez/IP-2024?type=whiteboard&node-id=0-1&t=kUUh28u0nQmtfr3S-0 (Accessed 20th Feb 2024)

Figure 70. Antoniou, A. (2024) Developed Mindmap Available at: https://www.figma.com/file/ Zls1hl4lNCOcgSEPB091ez/IP-2024?type=whiteboard&node-id=0-1&t=kUUh28u0nQmtfr3S-0 (Accessed 20th Feb 2024)

Figure 71. Antoniou, A. (2024) screenshot of APOC Store website. Available at: https://apocstore.com (Accessed 20th Feb 2024)

Figure 72. Antoniou, A. (2024) screenshot of APOC Store instagram. Available at: https://www. instagram.com/apocstore/ (Accessed 20th Feb 2024)

Figure 73. Antoniou, A. (2024) screenshot of meanwhile space home. Available at: https://www. meanwhilespace.com (Accessed 16th Feb 2024)

Figure 73.1. Antoniou, A. (2024) screenshot of google form answers. Available at: https://docs. google.com/forms/d/1gceXv5XGyZhFElpNwblN0DECUdBdauz3B6sEfrw9lXI/edit (Accessed 12th Jan 2024)

Figure 74-78. Antoniou, A. (2024) screenshot of crosby studios. Available at: https:// crosbystudios.com (Accessed 13th Jan 2024)

Figure 79-81. Antoniou, A, (2024) screenshot of zunc studio. Available at: https://www.zunc. studio/featured/future-laboratory-future-retail (Accessed 13th Feb 2024)

Figure 82-83. Antoniou, A, (2024) screenshot of aesop pitt street. Available at: https://www. snohetta.com/projects/aesop-pitt-street-sydney (Accessed 14th Feb 2024)

Figure 84. Antoniou, A. (2024) screenshot of holzweiler-beijing. Available at: https://www. snohetta.com/projects/holzweiler-beijing (Accessed 14th Feb 2024)

Figures 85-86. Antoniou, A. (2024) screenshot of instagram chat with Nina, London, 2024 [screenshot]

Figures 87-90. Antoniou, A. (2024) screenshot of instagram chat with Nina, London, 2024 [screenshot]

Figures 91-93. Antoniou, A. (2024) Apoc Store Space, London, 2024 [photograph]

Figures 94-96. Antoniou, A. (2024) screenshot of Apoc Store website. Available at: https://apocstore.com (10th Jan 2024)

Figure 97. Antoniou, A. (2024) screenshot of inspiration design board. Available at: https://www. designspiration.com/save/14056091475620263/ (Accessed 20th Feb 2024)

Figure 98.Antoniou, A. (2024) screenshot of inspiration design board. Available at: https://www. designspiration.com/save/14056091475620123/(Accessed 20th Feb 2024)

Figure 99.Antoniou, A. (2024) screenshot of inspiration design board. Available at: https://www. designspiration.com/save/14056091475620120/ (Accessed 20th Feb 2024)

Figure 100.Antoniou, A. (2024) screenshot of inspiration design board. Available at: https://www. designspiration.com/save/14056091475620261/ (Accessed 20th Feb 2024)

Figure 101.Antoniou, A. (2024) screenshot of inspiration design board. Available at: https://www. designspiration.com/save/14056091475620125/ (Accessed 20th Feb 2024)

Figure 102.Antoniou, A. (2024) screenshot of inspiration design board. Available at: https://www. designspiration.com/save/14056091475620126/ (Accessed 20th Feb 2024)

Figure 102.1.Antoniou, A. (2024) screenshot of inspiration design board. Available at: https:// www.designspiration.com/save/14056091475620262/ (Accessed 20th Feb 2024)

Figures 103-105. Antoniou, A. (2024) screenshots of gif prototypes, London, 2024 [screenshots]

Figures 106-108. Antoniou, A. (2024) screenshots of gif prototypes, London, 2024 [screenshots]

Figures 109-112. Antoniou, A, (2024) screenshots of gif prototypes, London, 2024 [screenshots]

Figure 113. Antoniou, A. (2024) screenshot of gif prototypes, London, 2024 [screenshot]

Figures 114-123. Antoniou, A. (2024) screenshot of newsletter invite prototyping [screenshots]

Figure 124. Antoniou, A. (2024) Design Board. Available at: https://www.figma.com/file/ Zls1hl4lNCOcgSEPB091ez/IP-2024?type=whiteboard&t=EZXjanShh0QwCL76-0 (Accessed 12th Feb 2024)

Figure 125. Antoniou, A. (2024) mock up prototype, London, 2024 [screenshot]

Figure 126-127. Antoniou, A. (2024) screenshot of website design, London, 2024 [screenshot]

Figure 128. Antoniou, A. (2024) screenshot of my figma storyboard, London, 2024 [screenshot]