Gunawan & Co

GUNAWAN & CO. Maria J. Gunawan

Chicago was the first new city to grow to international prominence after the advent of the commercial age. Chicago grew because through it the world could be fed. From sourcing grain, which was the first and most dependable source of prosperity for the city. It also attracts bigger industry such as Meat Packing Industry to supply the army and meat canning produce and attracts one of the biggest steel company in the 19th century which was Illinois Steel that turn to Union Steel Company. Therefore, Chicago has become one of the central economy and industrialized city in the United States.

Not only Grain, Meat Packing, and Steel built Chicago, but also Industrial and Commercial Industry have brought Chicago together. Commerce and industry have always been closely related. Sometimes one is ahead and sometimes the other, but the one behind is always trying to catch up. Beginning in about 1400, world commerce grew and changed so greatly that writers sometimes use the term “commercial revolution� to describe the economic progress of the next three and a half centuries.

Many factors helped bring about this revolution in trade and trade start to expand, and causing more money was needed. Large-scale commerce could not be carried on by barter, as much of the earlier trade had been. Gold and silver from the New World helped meet this need. Banks and credit systems developed. By the end of the 17th century Europe had a large accumulation of capital. Money had to be available before machinery and steam engines could come into wide use for they were costly to manufacture and install.

By 1750 large quantities of goods were being exchanged among the European nations, and there was a demand for more goods than were being produced.

England was the leading commercial nation, and the manufacture of cloth was its leading industry. But it is not enough, in the cities merchandise was made in shops much like those of the medieval craftsmen, and manufacturing was strictly regulated by the guilds and by the government. The goods made in these shops, though of high quality, were limited and costly.

However, to make more money the merchants needed cheaper items, as well as larger quantities, for their growing trade. As early as the 15th century they already had begun to go outside the cities, beyond the reach of the hampering regulations, and to establish another system of producing goods. hives - projects - 3

Source: CarolynFaber Hart, Schaffner & Marx Garment Industry in Chicago

But after the Industrial Revolution in 18th century, the methods of manufacturing has changing into mass produce and machinery based work. There are three most important reason that this Revolution changes the way we think and work, it changes the invention of machines to do the work of hand tools, the use of steam and later of other kinds of power, in place of human beings and of animals, and lastly the adoption of the factory system. More people able to buy clothes and shoes, instead of custom made in tailors which were slow, long process, pricy and limited.

The textile industry in particular, was transformed by industrialization. Before mechanization and factories, textiles were made mainly in people’s homes (giving rise to the term cottage industry), with merchants often providing the raw materials and basic equipment, and then picking up the finished product. Workers set their own schedules under this system, which proved difficult for merchants to regulate and resulted in numerous inefficiencies. In the 1700s, a series of innovations led to ever-increasing productivity, while requiring less human energy. A machine that enabled an individual to produce multiple spools of threads simultaneously. And the industry was highly relied with women and children workers because of cheap labour, easily replaceable if accidents occurred. These improvements in spinning machinery called for further improvements in weaving. Many other machines contributed to the progress of the textile industry. They invented cylinder printing of cotton goods which was a great improvement on block printing. It made successive impressions of a design “join up� and did the work more rapidly and more cheaply. hives - projects - 4

Source: Chicago Tribune Online Chicago State Street Chirstmas Shoppers c.1960

It does not stop there, its just the beginning of the commercial industry in Chicago, big department stores start to grow because of the mass producing printing advertisement from the Printers Row and garment industry. People start to be more consumerism, purchasing goods and consuming materials in excess of their basic needs. The growing middle-class especially who embraced new ideas about luxury consumption and the growing importance of fashion as an arbiter for purchasing rather than necessity. And the concept of Fleneur can only be experienced by middle and upperclassmen since it considered as luxury activity to idling around the city. While lower class society does not have the time to idle around since they have to work.

The commercial industry began growing thanks to printers row, the advertising company is playing big role to create shopping habit and Chicago became the host advertisement of marketing. There are three big department store companies in Chicago that has a really significant impact to Chicago Commercial Industry.

These are Marshall Field & Co., Carson, Pirie & Scott, Sears, Roebuck & Co. Not only commercial, but also the apperance of giantic warehouses in Chicago are impactful to Chicago’s economy and industry.

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MARSHALL FIELD & CO. 1897

The Romanesque-styled Marshall Field’s Wholesale Store opened on Franklin Street between Quincy and Adams in the 1930’s. Though little remembered today as it was razed in 1930, the wholesale division sold merchandise in bulk to smaller merchants throughout the central and western United States and at that time did six times the sales volume of the local retail store. Chicago’s location at the nexus of the country’s railroads and Great Lakes shipping made it the center of the dry goods wholesaling business by the 1870s. It was the scale of the profits generated by the wholesale division, led by John G. Shedd, during this time that made Marshall Field the richest man in Chicago and one of the richest in the country.

He invented a specific space for ladies in the19th century to have lunch and rest by creating the tearoom there. He also created the lifestyle of window shopping, offering revolving credit which means there is no fixed numbers of payment that later become credit card, and also the first building to use escalator. Marshall also invented the themes decorated windows filled with animated displays as part of the downtown shopping district display which very important for tourist and residences. The department stores later then expanded and built an opulent building and luxurious merchandise differentiated Marshall Field’s from the other wholesale dry goods merchants in town in State St. Then they later expanded in suburbs, and other states.

Architect: Henry Hobson Richardson hives - projects - 7

Marshall Field & Co. Wholesale Retail Store Ground Plan 1/64 1. Store 2. Elevator 3. Hall 4. Bathroom

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Marshall Field & Co. Wholesale Retail Store Typical Floor Plan 1/64 1. Store 2. Elevator 3. Hall 4. Bathroom

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Top: Source: Library of Congress

In the begining, the Marshall Field & Company started by partnering with Leiter & Potter Palmer to create a new dry-goods house; After Palmer holdout in 1867, the company expanded more in a very large scale with about $9 million in wholesale and retail sales in 1867. Although two of its stores burned during the 1870s, the company continued to do an immense business. After Leiter retired in 1881, the name of the enterprise became Marshall Field & Co. By the late 1880s, when annual sales rose to over $30 million (about $5 million retail and $25 million wholesale), the company employed a total of nearly 3,000 people at its retail store on State and Washington Streets and its massive seven-story wholesale building at Quincy and Adams.

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Marshall Field & Co. Wholesale Retail Store Front Elevation and Section Cut 1/64

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Source: Chicago Daily News Boy meets girl under the Marshall Field’s clock on State Street, September 20, 1947.

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Top: Source: Tumblr Pedestrians looking at Marshall Field’s window in 1909 Bottom: Source: The Story of a House the Jewelry Department of Marshall Field & Company

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MARSHALL FIELD RIVER WAREHOUSE 1905

The Marshall Field River Warehouse is a unique industrial structure that was designed by an important national architect for a prominent Chicago business.

Its significance is derived from its design, setting on the Chicago River, and details and craftsmanship of its exterior. The placement of the River Warehouse is unique. It was designed to permit access by river barges on the east, and railroad cars on the west. It also has a space for ground transportation to load and unload goods. The building was connected to the distant Macy’s at State Street by the Loop’s extensive system of underground coal and freight tunnels for narrowgauge railcars. With its corbeled brick eaves, solid walls, and small windows, the building resembled an industrial version of a Florentine palace. The interior columns were echoed on the facade by raised brick piers, which were joined at the 12th floor by shallow arches. The warehouse’s floors used clay tile flooring, an alternative to the emerging building technology of reinforced concrete. The floor plates were covered with maple floorboards. On the other hand, the sturdylooking brick tower which disguised the mechanical penthouse was a counterpart to the tower of Grand Central Station across the river.

Architect: D.H. Burnham & Company

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Marshall Field River Warehouse Plan 1/64

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Marshall Field River Warehouse Elevation and Cross Section 1/64

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The design of this warehouse was the model for three later structures to the north: River Center, Randolph Place Lofts, and the second Butler Brothers Warehouse.

The building was owned successively by Marshall Field & Co. (1904-1919), Pittsburgh, Fort Wayne & Chicago Railroad (1919-c.

1924), Merchant’s Warehouse (1952-1973), 310 W. Polk Building Corp. (19731974), and the US Postal Service (1974-demolition).

Demolished in the mid-1990s to make way for the new Central Post Office. Most of the site is currently an access ramp, since the post office does not border the river.

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CARSON PIRIE & SCOTT COMPANY 1899 The second leading Chicago department store originated with a business founded in Amboy, Illinois, in 1854 by Samuel Carson and John T. Pirie, two Scotch-Irish immigrants. By the end of the Civil War, Carson & Pirie was based on Lake Street in Chicago; during the late 1860s, annual sales (wholesale and retail) reached $800,000. In 1890, the entry of Robert Scott as a partner led the growing firm to change its name to Carson Pirie Scott & Co. By 1900, its two downtown Chicago stores on State and Washington and Franklin and Adams each employed about 1,000 men and women.

The Carson, Pirie, Scott and Company was first home of the dry-goods merchant Schlesinger & Mayer which was founded in Chicago in 1872 by Leopold Schlesinger and David Mayer, both immigrants from Germany.

The company soon opened branches in New York and Europe. In 1899, the company commissioned architect Louis Sullivan to dramatically redesign its large downtown Chicago department store at State and Madison Streets, where it employed nearly 2,500 people.

The Schlesinger & Mayer retail team was thinking big when in 1881 they moved from the fading retail district on Lake Street to the marvelous new shopping thoroughfare on State Street. Along with Potter Palmer and Marshall Field, they took up their spot along the post-fire miracle street. And Schlesinger & Mayer found prime real estate for their store: the 1873 Bowen building at the busy corner of State and Madison – where all the major city streetcar lines intersected.

Expecting to take their rank among the soon-to-be eight giant department stores along a six block stretch of State Street, they called upon the architectural firm of Adler & Sullivan initially to remodel and expand existing structures. When this proved inadequate, they decided to start from the ground up and gave the commission to Sullivan (whose partnership with Adler had ended in 1895).

Schlesinger & Mayer clearly wanted something bold when they commissioned Louis Sullivan. In the years following the 1893 World’s Fair and the sensation of the White City architecture, all of America, it seemed, was crazy for neoclassical design. The architectural firms who were delivering those goods – D.H. Burnham and Co., McKim, Mead & White – found their firms flooded with work for years to come. Yet, here was renegade Sullivan – fresh from his non-white, nonclassical, non-Court-of-Honor Transportation Building at the Fair – rejecting all things historicist – ready to design a large department store in a most significant spot in Chicago. They must have known that they were going to get an original American take on the department store –rather than a design looking to Europe for inspiration (as had competitor Marshall Field).

Architect: Louis Sullivan hives - projects - 21

Carson Pirie, Scott Front Elevation Scale: 1/64

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Source: Library of Congress

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Source: Chicago Tribune Carson, Pirie and Scott highly ornamented first and second facades designed by Louis Sullivan.

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Carson Pirie, Scott Section Cut 1/64

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Source: Flickr.com Carson Pirie, Scott Lobby View of highly ornamented iron facade by Louis Sullivan in 1899

When the refurbished structure was completed in 1904, Schlesinger & Mayer was no longer financially able to operate there. Rival Carson Pirie Scott moved in immediately, attaching its name to the ornate building. An iron and steel framework supports this National Historic Landmark, which is most notable for its elaborate ironwork ornament on the first and second floor facades. The building is remarkable for its steel-framed structure, which allowed a dramatic increase in window area created by bay-wide windows, which in turn allowed for the greatest amount of daylight into the building interiors. This provided larger displays ofv merchandise to outside pedestrian traffic creating the idea of the sidewalk showcase.

Sullivan’s designs combine organic and geometric shapes in intricate and delicate patterns that are the hallmark of his work. The interior space is mixed-use on all floors with main stairways in the Northeast and southeast corners of the building. Sullivan held that the display windows were like pictures and deserved rich frames which further elevated the competitive nature of Chicago’s window displays.

The urban department store in the late nineteenth century was a new building type with its own particular needs – and those needs were best met with large, versatile floors stacked atop one another. Retail space was all about good light, open space for display of a vast array of merchandise, easy flow of movement for shoppers, and accessibility of goods. The wide open expanses that steel-frame construction made possible and the greater illumination thanks to plate glass made the modern American department store a completely new and thrilling experience.

During the twentieth century, the retail operations of Carson’s (as it came to be known) continued to grow; by the beginning of the 1960s, it operated 11 stores around the Chicago region, where it employed about 8,000 people and did about $150 million in annual sales. The flagship store in State st. is important because it was originally bought from a company called Schlesinger & Mayer, which financially no longer operate and it was designed by Louis Sullivan with an impressive detail ornamentation of the facade, which now is one of the National Historic Landmark in Chicago.

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Carson Pirie, Scott Floor Plan and Typical Plan 1/64 1. Store 2. Elevator 3. Bathroom

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SEARS ROEBUCK & CO. 1904

Sears Roebuck was founded by Richard W. Sears (1863-1914) in 1886 in Minneapolis, MN, and moved to Chicago IL in 1887, where Alvah C. Roebuck joined the business. Initially they sold watches and jewelry by mail, and quickly expanded to include many other household items. In 1893 the business became Sears, Roebuck and Co. By 1895 the firm was producing a 532-page catalog with “shoes, women’s garments and millinery, wagons, fishing tackle, stoves, furniture, china, musical instruments, saddles, firearms, buggies, bicycles, baby carriages and glassware, in addition to watches and jewelry.

One of the first buildings completed for the Mail Order Plant in 1905-1906. It was designed by the nationally-known architectural firm of Nimmons & Fellows, with additions designed by successor firms George C. Nimmons & Co. and Nimmons & Co. The Merchandise Building was the largest building and housed the majority of the company’s employees at the Mail Order Plant. In a bustling complex, the Merchandise Building was the center of activity. The building comprised almost a million square feet of floor space and an office building comprised almost half a block. The complex included a printing building, and a powerhouse with a prominent clock tower helping define the building’s architecture. The ’U’ shaped merchandise building incorporated railroad tracks into the design. When it opened in 1906 on Chicago’s West Side, the 9 story, 3 million square foot mail order plant was the largest business building in the world comprising the 41-acre plant and office building.

Architect: Nimmons & Fellows hives - projects - 29

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1. Merchandise Building 2. Administration Building 3. Power House 4. Automotive Center 5. Painting Building 6. All State Building 7. YMCA 8. Pavilion 9. Garden 10. Service Station 11. Maintenance Storage 12. Carpenter Shop 13. Property Building 14. Railroad Baltimore & Ohio Chicago Terminal R.R 15. City of Chicago Pumping Statio 16. Shop & Storage 17. CINC MPG Co. 18. Spaulding Building SRG Co. - 30 hives19.

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Sears Roebuck & Co. 1. Merchandise Building 2. Administration Building 3. Power House 4. Automotive Center 5. Painting Building 6. All State Building 7. YMCA 8. Pavilion 9. Garden 10. Service Station

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11. Maintenance Storage 12. Carpenter Shop 13. Property Building 14. Railroad Baltimore & Ohio Chicago Terminal R.R. 15. Chicago Pumping Station 16. Shop & Storage 17. CINC Mpo Co. 18. Spaulding Building 19. SRG Co. 20. Garage 21. Parking Lot

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Sears Roebuck & Co. 1. Merchandise Building 2. Administration Building 3. Power House 4. Automotive Center 5. Painting Building 6. All State Building 7. YMCA 8. Pavilion 9. Garden 10. Service Station hives - projects - 32

11. Maintenance Storage 12. Carpenter Shop 13. Property Building 14. Railroad Baltimore & Ohio Chicago Terminal R.R. 15. Chicago Pumping Station 16. Shop & Storage 17. CINC Mpo Co. 18. Spaulding Building 19. SRG Co. 20. Garage 21. Parking Lot

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22. Train Shed 23. Shipping Station 24. Shiping Room 25. Court 26. Grocery Building 27. Section 28. Clock Tower

1. Merchandise Building 2. Administration Building 3. Power House 4. Automotive Center 5. Painting Building 6. All State Building 7. YMCA 8. Pavilion 9. Garden 10. Service Station 11. Maintenance Storage 12. Carpenter Shop 13. Property Building 14. Railroad Baltimore & Ohio Chicago Terminal R.R 15. City of Chicago Pumping Statio 16. Shop & Storage 17. CINC MPG Co. 18. Spaulding Building 19. SRG Co. 20. Garage 21. Parking Lot

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Train Shed Shipping Train Shed Shipping Room Court Grocery Building Section Clock Tower

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All incoming and outgoing goods passed through it. All of the other buildings at the site provided support for the activities within the Merchandise Building by offering administration, manufacturing, and other support functions. The Mail Order Plant and its central Merchandise Building have been described as “a huge, finely tuned machine for receiving and holding merchandise and for filing and shipping orders.� This huge complex was Sears Headquarters for almost seventy years until Sears built the Sears (now Willis) Tower in 1974. Most of the buildings in the complex have been converted to a rental community called Homan Square.

Over the years Sears enlarged the Merchandise Building numerous times. These expansions helped make the building at one time the second largest business structure of its kind in the world. The electricity supplied by the powerhouse operated the ventilating system, escalators, and transmission belts for carrying merchandise between the stock departments and the shipping departments. Over nine miles of pneumatic tubing quickly transported letters and other papers from one department to another.

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System components: spiral chutes & Pneumatic tubes, conveyor belts Orders were designated and shipped according 3 methods: single, mixed and control deliver service (CDS) orders. Single, Mixed orders (more than one item ordered by individual customers) were shipped directly to the customers. CDS orders were shipped to retail and catalogue stores for pickup by customers.

Section A (Normal orders) or Section B (Large orders)

Single Orders: S.1 Order picker locates item on shelves S.2 Item is packaged and placed on conveyor to spiral chute S.3 Single item received from spiral chute and travels on conveyor to processing station S.4 Single item received in Section 1, first floor, for labelling and weighing, after which it continues via conveyor to Catalogue Operations Building

Mixed Orders: M.1 Order picker locates items on shelves, order were required to be filled and sent via spiral chute and conveyor to the package station within 20 minutes, so that all order items could be packaged together.

M.2 Mixed order items placed on conveyor to spiral chute M.3 Mixed order items received from spiral chute and travel on conveyor to sorting station M.4 Mixed order items received from sorting station, size of order determines whether order is packaged in Section A or B M.5A Mixed orders transferred to one of six “crow’s nest” substation conveyors in section A M.6A At each “crow’s nest,” personnel sort orders to one of eight package stations M.7A All mixed order items for each customer are packaged together and placed on conveyor M.5B Larger mixed orders travel to sorting level in Section B M.6B All larger mixed order items for each customer are packaged together and placed on conveyor M.7B Packaged mixed orders continue to Catalogue Operation Building

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CDS Orders: CDS.1 Order picker locates item or items on shelves CDS.2 Order items placed on conveyor to spiral chute CDS.3 CDS order items received from spiral chute and travel on conveyor to sorting station CDS.4 CDS order items proceed to sorting station, passing by supervisor who controls distribution to either side of sorting station CDS.5 CDS order are sorted by store region to one of eight conveyors to carry merchandise to each sorting substation CDS.6 Substation personnel sort merchandise to bins, with one or more bins per store CDS.7 Merchandise is retrived from bins and placed in box on conveyor for shipping CDS.8 CDS order continue to Catalogue Operations Buildings

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MONTGOMERY WARD TOWER 1885

Montgomery Ward was the first mail-order catalog company. As new type of business, people were nervous about sending money away to a far off city.The company designed its headquarters in a style that was popular with banks at the time to help reinfoce its status as a reputable, stable company. Following it’s enormous success a tower was constructued adjoining the original warehouse structure. The tower was the tallest building in Chicago at 394 feet where there was a public observation deck. The Spirit of Progress capped the building.

However this and the pyramidal roof structure was removed due to structural issues that arose from neglect. The building is still standing across from the Art Institute and is now condominiums.

Architect: Richard Schmidt

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Montgomery Ward Tower Cross Section and Plan 1. Lobby 2. Rail Sorting 3. Warehouse 4. Courtyard 5. Shipping/Receiving

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Source: “Busy Hive” Originally Published in Montgomery Ward Catalog, 1899 Sectional View of the Montgomery Ward Tower in 1855 which lead to the expansion of Montgomery Ward Company’s Complex

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MONTGOMERY WARD COMPLEX 1908

Montgomery Ward’s success was unprecedented. It quickly outgrew its original location on Michigan Avenue and needed to expand. Once again Richard Schmidt was contracted to design the building. The new building was constructed at West Chicago Avenue and the Chicago River copmrised of an eight-story office building and a 2,000,000 sq.ft. mail order warehouse completed in 1908. Even this was soon too small for the rapidly expanding company and several more warehouses were added that were designed by Minoru Yamasaki, designer of the former World Trade Center. The final iteration of the building included its own post office and a private rail shipping house that could hold 24 rail cars and had 1,800 feet of river frontage. After the decline of the company, several structures were demolished however the majority of the structure remains. Current occupants include Groupon, the Big Ten Network, Wrigley and others as well as upscale condiminums.

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6 goose island

original mail order house mail order house extension rail shipping fullfillment montgomery ward post office 2 3 4 5

1. Office Tower 2. Mail Order House 3. Mail Order House Ext. 4. Rail Shipping Fullfilment 5. Montgomery Ward Post Office 6. Goose Island

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Montgomery Ward Complex Typical Plan

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Source: Chicago Past Montgomery Ward Complex The new building was constructed at West Chicago Avenue and the Chicago River copmrised of an eight-story office building and a 2,000,000 sq.ft. mail order warehouse completed in 1908.

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Montgomery Ward Complex Section Cut

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From all this, Gunawan & Co. project established an idea to accumulate the production line of Commercial, Garment Industry and Warehouse in one building. Where the exploration of production, retails, fashion merchandising, fashion designers,

Marketing, Photo Studio, and different type of textile affecting the plans, circulation and the industry itself.

The Garment Industry introduced the manufacturing of small garment shops or more known as sweatshops and large factories in the late 18th century. By the turn of the century, a market for quality clothes had compelled manufacturers to combine small shops into large factories as a way of assuring a standard product.

Much of the labor was contracted, meaning that manufacturers did not have to add employees during the busy season but simply contracted for extra work. Small sweatshops continued to compete by providing small orders directly to retailers As one of the largest clothing manufacturer in the nation, Hart, Scaffner & Marx company based in Chicago employed more workers than the Stockyards, and manufacturing close to $1 million worth of garments a year. From this number, its shows that textile industry has a huge amount consumer. hives - projects - 48

Studying the history of the Fashion Industry in Chicago and generate a new concept with the present - future development of the industry. The concept that Louis Sullivan created with window display and light has affect the visualization of merchandise until present days. The importance of manufacturing garment in the high consumerism society and highly depend on warehouses to distribute merchandise to people around the world from mail ordering system. From these industries and companies, Gunawan & Co. proposing free lancer Fashion Designers to work together and produce variety of merchandise to comply the consumerism in the society. The program of each floor will provide the necessity of the Fashion Industry, such as manufacturing and production space, retail, studios, events, offices, and private residences.

Located at 1204 N. Clybourn Ave Chicago, 11 Miles north from The Loop, North Branch District, intersection of Clyborn and Division created a unique triangulated rounded corner shape. These rounded corner of the Carson Pirie & Scott building inspired my tower since it created a direct visualization of that special corner, which will face Chicago’s Magnificent Miles. The evolution of North Branch from a highly industrialized area such as warehouses, lumber yards and factories, to one of the active commercial and retail site, with increasing amount of residential structures. Thus, this site is the perfect location for Gunawan & Co. to be located at, not only the accessibility to Chicago’s Downtown but also accessibility from the public transportation.

With the development of consumerism in present days have been monopolized with online shopping, people has reluctant to visit retail shop to be assisted in perhives - projects - 49

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Source: Socks Studio Project of “Café Samt & Seide” by Ludwig Mies van der Rohe and Lilly Reich (1927).

Collaboration commissioned by the Association of German Silk manufacturers to create a stand for the German Silk industry.

Thus, this new concept need to be improved since many free lancers designers are not able to work and exhibit their work. The Gunawan & Co. try to maximize the use of textile in architecture space which was inspired by Mies Van De Rohe and Lilly Reich, “Café Samt & Seide” in 1927. The temporary exhibition commissioned by the Association of German Silk manufacturers to create a stand for the German Silk industry in the context of the exhibition “Die Mode der Dame“ (Women’s Fashion). The architects developed the project as a continuos space organized only by means of hanging silks and velvets of different colors (velvets were in black, orange and red and silks in gold, silver and yellow) placed at different heights. The 300 sq metres stand , which in plan appears like an abstract composition, was punctuated only by Mies cantilever chairs as furnitures. The tissues hang from straights and curved steel pipes in a sequence which is very dissolved in the space. The lines densify around the centre on the right, almost composing a small cluster of rooms which then open up again.

By doing this on the plan, freelancers have the flexibility to create open and private space as they like. Many seen Fashion Industry as a luxury activity that only certain people could enjoy. Compare to many luxury brand in fashion industry, where they are making statement that only limited people are able to experience the luxury of buying or even collecting their products. The brands are believed to bring a statement into their social status and class. The brand is trying to create an ‘exclusive’ and the workmanship of these brands are believed to be the best and created the feeling of buying a piece of art. Luxury Brands are all about their brand universe, they have out sized their aura. They have rich brand heritage because there is always a story of their founder, an inspiration, their visual keys and language is very different from the mass brands, Luxury and life style brands are created around life style. hives - projects - 54

Source: Instagram Prada Flagship Store by OMA at New York City. Showing the curving Staircase and mannequin display.

The Wave – a curving space scooped out of the ground floor and opening it up to the basement – is the main element facilitating experimentation in what a fashion store can be. On one side, the slope has steps – ostensibly for displaying shoes and accessories – that can be used as a seating area, facing a stage that unfolds from the other side of the wave. The store thus becomes a venue for film screenings, performances, and lectures.

They are like life style codes, so you want to identify with a specific type of lifestyle in that sense the brand universe is paramount. The consumer focus is the key. They believed that, “Luxury is something expensive and not necessary or is it the enjoyment of best in life” In contrast to that, Gunawan & Co, want to be more accessible to their consumer and being treated as luxury customer. The glass wall to invite the interest of people who passing by, and the more open retail plans to invite the customer exploring their fashion style. Approachable event space with inviting ramps throughout the floor. The top floor is dedicated to residential housing with internal courtyard to allow light from the residential to the open work space below it. The unit can only be access from the stair that is located at the work floor below it and allow the residents to access the private roof garden as well. Transparency, open, and accessible is the main concept of Gunawan & Co. new tower to fight against the concept of luxury brands limited, exclusive and private.

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Ground Plan 1/64 1. Entrance 2. Retail Space 3. Ramps 4. Fitting Rooms 5. Restrooms 6. Storages 7. Break Room 8. Cafe 9. Garage Entrance 10. Interior Courtyard

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Level 1 Plan 1/64 Retail and Studio Floor Plan 1. Retail Space 2. Restroom 3. Ramp 4. Studio 5. Storage 6. Fitting Room 7. Seating Area

5

2

4

3

7

1 6

2

0

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Level 2 Plan 1/64 Big Event Space and Catwalk Floor Plan 1. Ramp 2. Catwalk Stage 3. Seating Area 4. Bar 5. Back Stage 6. Restroom

5

6

4

2

1

3 6

0

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Level 3 Plan 1/64 Typical Office Plan 1. Ramp 2. Restroom 3. Conference/Meeting Room 4. Courtyard 5. Open Seating Space

7 3

3 3

2

2

6

3

4

1

3

5 3

2

0

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Level 4 Plans 1/64 Curtain Office Plan 1. Ramp 2. Restroom 3. Balcony 4. Conference/Meeting Room 5. Open Seating 6. Courtyard

3 4

2

5

5

5 4 4

6

5

4

1 5

2

0

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4

Level 5 Plans 1/64 Curtain Office Plan 1. Ramp 2. Restroom 3. Balcony 4. Conference/Meeting Room 5. Open Seating 6. Courtyard

3 4

4 2

4

4

5 5 5

4

6

5

1 5

4

2

4

0

100

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Level 6 Plan details 1/64 Open Office Plan with staircases leading to each private residences and skylights.

1. Exposed Staircase 2. Restroom 3. Stair lead to private residences unit 4. Conference Room

2

2

4

4

1

3 3

0

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Level 7 Plan details 1/64 Private Residential Floor Plan with skylight holes and stair lead to private garden 1. Type A 2. Type B 3. Type C 4. Type D 5. Type E 6. Type F 7. Type G 8. Type H 9. Type I 10. Type J 11. Type K 12. Type L 13. Type M 14. Type N 15. Type O 16. Type P 17. Courtyard 18. Communal Garden 1 1

1

1 7

15 1

8

1

1

3 12

4

1

16 1

17

1

1

18

2

1

1

9

10

6 1

1

5 1

11 13 14

0

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Residential Unit Catalogue Plans 1/32 Type A: 5 bedrooms 2 Bathrooms Type B: 4 Bedrooms 2 Bathrooms 1 Den Type A

Type B

Type C: 5 Bedrooms 3 Bathrooms Type D: 4 Bedrooms 4 Bathrooms Type E: 1 Bedroom 1 Bathroom Type F: 3 Bedroom 1 Bathroom

Type C

Type D

Type G: 1 Bedroom 1 Bathroom Type H: 2 Bedrooms 1 Bathroom

Type E

Type G

0

100

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Type F

Type H

Residential Unit Catalogue Plans 1/32 Type I: 1 Bedroom 1 Bathroom Type J: 1 Bedroom 1 Bathroom Type K: 1 Bedroom 1 Bathroom

Type I

Type J

Type L: Studio Type M: 1 Bedroom 1 Bathroom Type N: 1 Bedroom 1 Bathroom

Type K

Type L

Type O: 3 Bedrooms 2 Bathrooms Type P: 3 Bedrooms 3 Bathrooms Type M

Type N

Type O

Type P

0

100

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Roof Plan 1/64 Showing the private garden that each type has

0

100

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Level B-1 Plans 1/64 Production space, Storages and Loading/Unloading area 1. Ramp 2. Loading Area 3. Storages 4. Production Space 5. Restroom 6. Communal Kitchen 7. Machine Room 8. Seating Area

6 3 7 5

1

2

4

3 5

8

5

0

100

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Level B-2 Plan 1/64 Parking Garage Ramp Level 1 1. Ramp 2. Security Area 3. Parking Spaces

2

1

3

0

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Level B-3 Plan 1/64 Parking Garage Ramp Level 2 1. Ramp 2. Parking Spaces

1

2

0

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Exploded Axon of Floor Plan (Left) 1/128 Showing the ramps between floor, walls and curtain walls and the relation with the column.

1. Lobby/Ground Floor 2. Retail/PhotoStudio 3. Event/Catwalk 4. Typical Office Plan 5. Curtain Office Plan 6. Curtain Office Plan 7. Open Work Space 8. Private Residential Unit 9. Private Roof Garden 10. Production Space 11. Parking Level 1 12. Parking Level 2

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6 2

Section Cut Axonometric (Right) 1/32 1. Groud Floor (Pedestrian Level) 2. Retails / Studio 3. Events Floor (Catwalk) 4. Typical Office 5. Curtain Office 6. Curtain Office 7. Open Office Plan 8. Residential Space 9. Roof 10. Production Space 11. Parking Garage 12. Parking Garage 13. Parking Garage 14. Exposed Stair Case

0

100

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4 1

3

10

11

12

14

5

2 13

1

10 11 12 0

100

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Office Space with Balcony View (previous page) Interior Curtain Working Space View (previous page) Private Residential Roof, Unit and Open Work Space View

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MARIA JOSEPHINE GUNAWAN mgunaw2@uic.edu (206) 458 9816 1461 S Halsted st. #3A Chicago, IL 60607 USA

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