Interior Design (2016 - 2019) Marleen Portfolio.Adiwangsa
Creative thinker with a passion in creating sustainable yet visually captivating spaces. I am also ambitious, hardworking, and motivated; I came to Sydney to study lighting and sustainable design in hopes of designing better performing spaces in the future. I am seeking an opportunity to utilize my skills whilst at the same time benefiting the company that I work for.
ContactProfile
+61 marleenadiwangsa@gmail.com480220686
- Able to work and collaborate with peers - Able to communicate ideas with peers and come to agreements
Education
2016 - 2019
- Designed two residential units in Hegarmanah Residence (Bandung, - Indonesia) and The Capitol (Canberra, Australia). For the second - project I am also responsible for sourcing furniture and other - decorative items according to the client’s wants and needs.
2020 - 2022
- Awarded with an Upper Second Class
First language and a native speaker
Bachelor of Art (Hons) Interior Architecture & Design Coventry University
Took intensive classes in Shanghai for 1.5 years and is able to understand intermediate level Mandarin, in writing and conversation
Indonesian
Leadership
Vectorworks, SketchUp, Rhino
Master of Architectural Science Illumination Design & Sustainable Design University of Sydney
English
2015 - 2016
- Lead several group projects successfully - Able to solve internal problems and creative differences between - members
ResourcefulnessCompetencies
International Foundation Programme Art & Design OnCampus Coventry
- Completed and passed all units of study with an estimated Australian GPA of 5.1
2017 - present
Fluent speaker and has been speaking the language for over 10 years
Work Experience
CADSkillsLanguages&BIMSoftware
Freelance Interior Designer
- Able to think logically and creatively - Able to do relevant research to solve design problems
Mandarin
Simulation & Data Analysis AGi32, Design Builder, Sefaira Adobe CC Photoshop, InDesign, Illustrator Microsoft Office PowerPoint, Word, Excel
Teamwork Skills
Content 03
Alternate World 2018
01
Pop Up! 2017
02
SHADE 2017 Outdoor exhibition concept in Centenary Square, Birmingham UK
Communal sanctuary concept in Rio dei Tolentini, Venice Italy
Postcard from Venice 2018
04
Pop-up retail store concept in Lower Precinct, Coventry UK
Indoor art exhibition concept in Drapers’ Hall, Coventry UK
Venice - main islandRio dei Tolentini
Year: Venice, Location:Italy
RioNovo RiodelMagazen
This project aims to design a structure that provides communal sanctuary for Venice’s residents and tourists, as well as tackle the city’s flooding and littering issues.
RiodelTrePont
Spatial Intervention
Background:
Jenna Foxley, Victoria Phillips, Anika Chowdury, Joshua Jean-marie, Emilia Andrews, Shannon Wright, Milena Lenarczyk
Postcards from Venice
Co-contributors:2018
Venice is predicted to sink by 2100 due to climate change; sea level has risen by 30 cm in the last 1000 years and is predicted to rise another 140 cm in the next century. At the moment, the only solution is to install elevated planks that act as temporary walkways in flood-prone areas. But at the speed the water level is rising, these walkways will not be enough to solve Venice’s flooding problem.
The Floating City
Venice is known as “The Floating City” - it was built on 118 islands in 421 AD and was inhabited by refugees from barbarian conquerors who used the marshy lagoon as protection. They dug hundreds of canals and placed wooden piles closely together to create foundations for the buildings. The weight of the city pushes down on the mud squeezing out the water compacting the soil. However, Venice began to sink the moment it was built and in the past 100 years it has sunk nine inches. Due to global warming, rising sea levels and cities sinking, it is believed the city will be completely flooded by 2100 (LivItaly Tours, 2017).
It is also important to note that Venice experiences acqua alta or “high water” on a constant basis, where during each acqua alta the water level can rise for more than 90 cm. Some of the areas most prone to flooding include The Piazza San Marco (St. Mark’s Square) and the Rialto Bridge (see images below).
Influence on the Arts
Venice is known for its strong use of wood and stone. It gives Venice its traditional and natural aesthetic. Carlos Scarpa (well-known Italian architect) contributes to this Venetian presence with designs spread over the island. He is known for his use of cheap materials including concrete and rustic steel. Materials become important in Venice during its well-known annual carnival in which people wear eccentric costumes with intricate masks. Black and gold are popular colours in the carnival; black symbolises elegance, dignity, mystery and sophistication. You will also see only black gondolas in the canals as they have strict policy that all the gondolas are to be painted black.
Material & Color Schemes
The theatre of the world was inspired by the Shakespeare global theatre and opened on the 11th of November 1979. The idea was to recall the floating theatres which were seen in Venice in the 18th century. The building is constructed on steel beams, and then welded together to form a raft then panelled with wood. The roof is made of a zinc material.
‘The Merchant of Venice’ was a play written by William Shakespeare in 1596 - 1598 which is based in Venice. This is extremely popular among both tourists and locals and a great way to indulge in Venetian culture. You can see many other Shakespeare plays in local theatres dotted around Venice.
Redefined Design Brief
Evironmental Issue
Venice surprisingly does not have a sewage system so all human and industrial waste goes into the canals. The city is surrounded by an open air sewage system which smells terrible. An estimated 90% of household waste goes directly into the surrounding canals and is flushed into the ocean which can no longer handle the overflow.
In 2015 it was recorded that 1 piece of litter was fished out every 13 meters and in 7km, 500 pieces of floating litter had to be fished
Without.
over 20 million tourists visiting Venice each year it is not a surprise that the city’s water pollution is worsening. Authorities have had to introduce fines up to £445 for those who are caught littering the canals. The Don’t Waste Venice survey found that 87% of the canal garbage is non-biodegradable plastic.
As such, we have decided to design a structure that provides a communal sanctuary for tour ists to go and socialise whilst simultaneously at tracting the locals. Due to Venice’s lack of pub lic seating it will also aim to accomplish this. It will link to the cities’ presence through the Car nival culture and islands. Materials for the struc ture will be made of recycled plastic to start the conversation of the issue of littering in Venice.
Design Concept
We started off with this idea of layers and stepping stones drawn from our research into Venice’s history of flooding. We initially came up with this concept of platforms at different heights in a secluded alleyway.
X - We could not manipulate the already existing walls
X - It didn’t allow for disabled access
AlleywayConcept
However the design flawed in:
Idea of layers. Shape taken inspiration from island shapes and extravagant mask shapes.
X The structure became an obstruction against Venices magnificent architecture.
We moved on to having our concept in an open space, we chose Fondamenta Vin Castello. We then had to develop our concept as an individual structure and each came up with an idea to sketch, in which a common theme among the group was the build up of the platforms. These were then combined into a final sketch which was a structure of platorms layered and set out like stepping stones. It has an eccentric decorative design behind to replicate the forms of masks seen in Venice’s carnivals.
However issues with this design:
Development
X It was not site specific had no links to that particular site.
We tested different shapes to test its boyancy. To do this we made sketch models out of foam to see how well it would float and balance. We decided upon one large base in the shape similar to a boat. This was the most stable form and allowed for a large quantity of air.
Location
BuoyancyResearch
We then decided to move the location directly onto the canal. It created a stronger link to Venices flooding and links to the floating city. This meant we had to research ways in which our structure could float.
B-B1 2 3 4 A-A B-B A-A Floor Plan Scale 1:50 100mm Galvanised
Final Concept
Drawing Number 1 Rio dei Tolentini RioNovo RiodelMagazen RiodelTrePontRiodelTrePont Top view
We have designed a structure that will float on a secluded canal in Venice. It will move along Rio dei Tolentini canal stopping at 3 main stops allowing people to walk onto the structure. It will provide a sanctuary for people to sit and escape from the busy city creating a social place to talk and meet new people. The mobility aspect for the design will add an element of mystery and interest for the locals. In relation to Venice’s plastic waste pollution, the structure is going to be constructed out of recycled plastics taken directly from Venice’s canals. The structure emphasises the issues of plastic waste pollution and simultaneously starts the conversation of recycling. steel Chowdhury 20.10.18
supports Recycled plastic decking 25mm Toughened glass railing 400mm x 2000mm Plastic bench 7000mm 4000mm GROUP 6 Interior Architecture & Design Project Name PostcardsOILVenicefromProject Drawing Contents Floor Plan Scale 1:50 Drawn by Anika
Date
B-B 1 2 3 4 A-A B-B A-A Calle Basego CalleSbiaca CalleBasego Calle Basego Fondamenta Rio Nuovo Fondamenta Rio Nuovo FondamentaRioNuovoFondamental del PassamonteCalleLargeRagusei CalleLargeRagusei Civita Tre CulturalVenezieCenter SCALE 1:250 10m 15000mm 4000mm 7000mm Rio Dei Tolentini RioDeiTolentini GROUP Interior Architecture & Design Project Name PostcardsVeniceOILProject Drawing Contents Floor Plan Scale 1:250 Drawn Anika Chowdhury Date 20.10.18 Drawing Number 2
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Interior Architecture & Design Project Name Postcards
Interior Architecture & Design Project Name Postcards
Elevation 3
OILVenicefromProject Drawing Contents Elevations 1, 2, 3, 4 Scale 1:50 Drawn by Anika Chowdhury Date 20.10.18 Drawing Number 3
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OILVenicefromProject Drawing Contents Elevations 1, 2, 3, 4 Scale 1:50 Drawn by Anika Chowdhury Date 20.10.18 Drawing Number 3
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LEVELWATER LEVELWATER 7000mm 3000mm1750mm 4750mm 1000mm250mm BENCH 250mm 250mm Section A-A Scale 1:50 2mm Neoprin between glass and steel Detail 1 Scale 1:5 20mm Recycled plastic decking 25mm Toughened glass 8mm Galvanised steel beam 4mm Timber joist 15mm Hole with neoprin sleeve GROUP Interior Architecture & Design Project Name PostcardsVeniceOILProject Drawing Contents Section A-A, Scale 1:50, 1:5 Drawn Anika Chowdhury Date 20.10.18 Drawing Number 4 Diagramofbase StructureofbaseFILLED WITH AIR & USE WEIGHTS TO BALANCE Structure is constructed using timber frames while outer shell is made from high density polyethene (recycled from plastics such as water bottles and food packaging).
Section B-B ScaleLEVELWATER1:50 LEVELWATER 4000mm 1000mm BENCH 250mm 250mm 250mm 3000mm1750mm 4750mm 20mm Recycled plastic decking 8mm Galvanised steel 'i' beam 4mm Timber joist Detail 2 Scale 1:5 250mm GROUP 6 Interior Architecture & Design Project Name PostcardsOILVenicefromProject Drawing Contents Section B-B, Detail 2 Drawn by Anika Chowdhury Drawing Number 5
Background:
This project aims to design an alternate world where the world as we know it has progressed much further in terms of technology. Imagine, what if humanity has built high-tech skyscrapers and explored the galaxy by the 20th century?
St.MaryStreet BayleyLane BayleyLane
Year: Coventry, United Kingdom Location:
Alternate World
Many have illustrated their ideas of the “city of the future” into different artistic mediums, but how many of them are actually realized? In the newly revamped Drapers Hall, visitors can experience a futuristic alternate reality where architecture is done differently. The gallery spaces are designed according to the different eras of futurist architecture and interior: from the start of futurism itself in the 1920s, slowly transitioning to 1950s American googie, and eventually to present day neo-futurism.
Individual2018 work
Bayley Lane Coventry - CV1
Interior Architecture
Despite all that has happened, most of Rickman and Hutchinson’s design remains, including the portico, decorative cornice and most of the interior layout.
EARLY 1800s LATE 1800s 1900s - 2000s
Birmingham based architects Thomas Rickman and H.W. Hutchinson were then hired by the Draper’s Company to design a third Drapers’ Hall. The new building was completed in 1832, and throughout the next 60 years or so, different architects would come in and alter the building in order to improve its performance. An example of the interventions include removal of pillars from the portico to allow for window installation and more natural lights in the Reading Room.
Drapers’ Hall: Through the Centuries
The original Draper’s Hall was built in 1637 and was criticized by historian Thomas Sharp as looking dark and gloomy. The building was demolished in 1775 and although there is no clear explanation as to why it was taken down, it is speculated that the building’s unappealing baroque aesthetic could have something to do with it.
In August 1939, the British government passed an emergency legislation which gave them powers to do whatever was necessary to carry out the war successfully. Under this Act, Drapers’ Hall was obtained so its basement could be converted into a public air raid shelter.
Due to the negative feedback on the first building, the Drapers’ Company then hired another architect to design a second Drapers’ Hall with a simpler stone façade and Tuscan pilasters. But not long after its completion, the new building was condemned (in 1829) due to a growing spread of dry rot amongst the key wooden beams.
Draper’s Hall is a Grade II* listed building located in the Cathedral Quarter of Coventry. It was originally commissioned by the Draper’s Company (a textile trading guild) as a social hall, with activity rooms, offices, and a large ballroom to host orchestras for Dancing Assemblies. Due to various issues, the building was demolished and reconstructed twice, making the current building the third Drapers’ Hall on the site. Today, the building is under restoration to become a music venue and school.
1600s - 1700s
Site Photos 1 2 3 4 5 6
key map1123 1 7 8 9 10 11 5 6 7 94 10 8
Plan Proposed
Notes
demolish & replace with columns cafe reception gift shop gallery - be mindful of existing ceiling design - check heritage conservation guidelines (if there’s any) 1 - exhibition taking space in ground floor only - door #1 to be (1980s-present)neo-futurismclosed neo-futurism 80s retro-futurism (1920s-40s)futurismfuturism(1950s-60s)googie spacegoogie/age
Notes
Demolition Zoning Plan
futurism
Masterplan wc storagestoragekitchen
Scale 1:1250
Drapers’ Hall at Summer Solstice
Site Elevation & Section
KEY MAP A ABB
Material Plans windowcustomfilm concrete mirror windowcustomfilm windowcustomfilm concreteLEDscreen LED screen castpolyurethanefoamaluminium&laminatedwood grassartificialrug white acrylic white acrylic whitestructureconcrete white acrylic urethanepoly- aluminium base & fabric seat acrylic powderaluminiumcoated leatherseats
white acrylic
white powder coated aluminium + frosted polyurethaneglassfoampolyurethanefoam
neon sign acrylicwhite acrylic
neon sign on clear acrylic
white powder coated aluminium + frosted glass
acrylic LED screen
Exhibition Walkthrough
MATERIAL PALETTE
INTRO
Futurist architecture in the late 1910s focused on the use of steel, glass, reinforced concrete, cement, iron, as well as wood, brick, and stone substitutes to enhance the look of modernity while at the same time exploring lightness and flexibility of the materials.
Gallery Space #1: City of Tomorrow
DEFINING CHARACTERISTICS
The early 20th Century vision of the future focused on simplicity and modernity; intricate decorations on pre-20th Century buildings were thrown out to achieve simpler and cleaner looks.
KEY MAP CIRCULATION&
“Futurist architecture is a form of architecture that came to reject traditional and earlier aesthetic introducing new ways based on two major issues: motion and machine. It was part of an artistic movement called futurism, which came from Italy back in the early 20th century and whose founder was Filippo T. Marinetti.”
ANTONIO SANT'ELIA - CITTA NUOVA (1914)
A stroll along what could have been the city of tomorrow
The early 20th Century vision of the future focused on simplicity and modernity; intricate decorations on pre-20th Century buildings were thrown out to achieve simpler and cleaner looks. Futurist architecture in the late 1910s focused on the use of steel, glass, reinforced concrete, cement, iron, as well as wood, brick, and stone substitutes to enhance the look of modernity while at the same time exploring lightness and flexibility of the materials.
CITY OF TOMORROW
Gallery Space #2: Visions of a Utopian City MAP CIRCULATION&
KEY
A more polished version of Ville Contemporaine was released in 1925, titled “Plan Voisin,” which proposed to demolish a percentage of central Paris in order to build a grid of modernist towers that are connected by a network of raised highways. Le Corbusier continued to rework his design for the next 10 years, and released the theorethetical Radiant City (Ville Radieuse) in 1934. Although these proposals were never realized, they were utilized as the basis and inspiration for his “Unités”.
In 1922 Le Corbusier created a panorama of how architecture in the future could look like, called the Contemporary City for Three Million Inhabitants (Ville Contemporaine), and his vision of the ideal city consisted mainly of high rise towers aiming to solve various housing and spatial problems.
PROMINENT WORKS
LE CORBUSIER - PLAN VOISIN (1925)
LE CORBUSIER - VILLE RADIEUSE (1934)
View from a high rise apartment in the city of tomorrow
KEY
Above: Stills from Metropolis
Left: Advertisement published in 1925, predicting how cities could look like in the year 1950
CIRCULATION&
Gallery Space #3: Metropolis MAP
Height is also a reccuring theme for the city of the future; besides building skyscrapers, “layering” the city was also suggested in the 1927 Fritz Lang movie Metropolis and in various advertisements. The idea was to create several layers under or above ground, with each level of ground used for different types of transportation methods, thus solving future congestion problems.
Screening room for Metropolis, Jetsons: The Movie, and 2001: A Space Odyssey
“Fifty years ago today on Oct. 4, 1957, the Soviet Union launched Sputnik, humanity’s first artificial satellite, thereby ushering in the Space Age.”
The launch of Sputnik was a game changer; space and technology became a huge influence towards art, media, and design. In 1949 John Lautner designed a coffee shop named Googie in West Hollywood, and shortly after the term Googie was picked up by critic Douglas Haskell to characterize architectural styles that resemble the coffee shop. MAP
CIRCULATION&
COMMON COLORS USED
The Googie (also known as populuxe) style resembles that of a science-fiction movie - it is an interesting mix of shapes, colors, and materials. The monotonous and simplistic look of the 20s Futurism was replaced by bold choices of colors and materials such as plastic, steel, and neon.
Gallery Space #4: Orbit City
MATERIAL PALETTE
KEY
INTRO
Lounging at the Jetson’s Skypad Apartment
Gallery Space #5: Space, the Final Frontier
DEFINING CHARACTERISTICS
The launch of Sputnik, amongst other events that happened in the mid 20th Century, also lead to the rise of science fiction in the film industry. Advancements in technology and post World War II freedom sparked people’s interests in topics like space, dystopia, alternate futures, and militarization.
But despite its fun and unique architectural style, many of these buildings have unfortunately been demolished.
INFLUENCE ON MEDIA
Googie buildings typically have large, bright and bold signs that attract people’s attention, and roofs that are shaped like wings or flying saucers. Some examples of Googie architecture include the buildings in The Jetsons (original episodes aired in 1962-63, plus new ones aired in 1985-87) and the Theme Building at LAX, along with its Encounter Restaurant showing all the characteristics of Googie interior.
In the late 1960s to early 70s, science fiction in the film industry had reached a new level of popularity, with Gene Roddenberry’s Star Trek (1966-69) setting the tone for future cinema adaptations of new generation science fiction.
KEY MAP CIRCULATION&
Bridge of the USS Enterprise modified to fit the gallery space
TRANSITIONAL PERIOD
Transition from mechanization into digitization started years after World War II ended, but it was not until the 1980s that architecture started to incorporate computers as an important component of design. Computer modeling and simulations then became an essential part of the design process.
The design of the Gift Shop follows the all-white interior as used in the exhibition, paired with colored furniture and LEDs to create a subtle version of the 80s cyberpunk aesthetic.
General Area #1: The Gift Shop
Ugo La Pietra’s Telematic House (1983) explores the relationship between two dimensional memory and three dimensional space.
KEY MAP CIRCULATION&
Created for the Milan Fair with Gianfranco Bettetini and Aldo Grasso, the exhibition was an “initial, isolated experiment to explore the implications of bringing the growing electronic memory together with the domestic space.”
ECO-FRIENDLINESS IN DESIGN
To ensure maximum performance in newly built structures, assessment methods are used to rate proposed projects on their energy efficiency and environmental effect.
KEY MAP CIRCULATION&
Neo-futurism started in the late 20th Century and is currently the defining style of the future. The style is a representation of how architecture can evolve with the help of present day technology.
General Area #2: Gallery Reception + Ticketing
INTRO
Its origins can be traced back to mid 20th Century Structural Expressionism (also known as Late Modernism) that attempted to break away from the monotonous look of Modern architecture.
As the decades passed, academics in the mid 20th century started to notice the negative impact that technological advances and human activities had on the environment over the last 200 years Awareness on the matter then began to spread and by the early 21st century, ecological sustainability had become an important aspect of design.
KEY MAP CIRCULATION&
General Area #3: Cafe + Bar
DEFINING CHARACTERISTICS
Common features found in neo-futurist architecture include the mostly white color palette (popular building materials include composite fibres and concrete) and the use of luminaires and windows to replace normal lighting systems.
The concept behind the style is to create structures that are impossible to build before present day computer technology was available, while at the same time integrate “human emotions, eco-sustainability, ethical values, and the use of new materials and technologies.”
MATERIAL PALETTE
Individual2018 work
SHADE
The beauty industry is possibly the biggest culprit behind these cruel and inhumane tests, as they continue to test on animals for new formulations etc. Through purchases of these products us buyers are also, in a way, guilty of contributing to the continuation of animal testing, however if we continue to protest I believe that we could eventually put an end to this.
This project is a reflection and representation of the now and things that are happening at this very moment, compressed into a single exhibition. For this project I have chosen to highlight the subject of animal testing in the beauty industry, and through this exhibition I hope to bring more awareness on the subject.
Interior Architecture
Year: Birmingham, United Kingdom Location:
Background:
CENTENARY SQUARE
BROADSTREET
PCENTENARYWAYARADISECIRCUS QUEENSWAY LIBRARY OF BIRMINGHAMCAMBRIDGEBIRMINGHAMREPERTORYTHEATRESTREET STATUE BROADSHELTERSSTREET
Birmingham
- Widely condemned “lethal dose” tests, in which animals are forced to swallow large amounts of a test chemical to determine the dose that causes death.
Plotordered.twist:
For many years animals like rabbits, monkeys, and guinea pigs have suffered in the name of beauty. Although laws have been passed in some countries, China still requires cosmetics to be tested on animals before they are imported into the country. While animal testing is carried out to ensure safety, these tests are cruel and unnecessary.
- Repeated force-feeding studies lasting weeks or months to look for signs of general illness or specific health hazards such as cancer or birth defects
What Goes Into Your Makeup Box?
Examples of tests include:
Design Concept
The advertisements and screens are decoys used to lure people into the exbition. The products also come in only one shade, blood red, to symbolize the pain and suffering the animals have to go through during chemical testing.
Inside the exhibition are installations and videos created to bring awareness to animal cruelty. Customers are then presented the option to go through with their purchase. If they do decide to proceed, they will still get their products, but only in red.
- Skin and eye irritation tests where chemicals are rubbed onto the shaved skin or dripped into the eyes of restrained rabbits without any pain relief
The space is transformed as a fake DIY makeup lab, advertized to help people find/create their perfect foundation and lipstick shades. The five squares in front of the lab are screens people can use to customize their own makeup products, and get tickets which can then be used to collect the products they
Branding
In a way this exhibition was created to throw shade to companies still testing on animals. The act is completely unnecessary and there are other ways to create cosmetics without harming animals. There are vegan/ cruelty free brands that have successfully created makeup products with excellent formulas and if these brands can do so, higher end brands should be able to do the same as well.
The exhibition brand is called shade instead of shades, as there is only one shade used for the products: blood red.
Shade by definition means “a color produced by a pigment or dye mixture having some black in it”, but to throw shade means to “express contempt or disrespect for someone publicly especially by subtle or indirect insults or criticisms.”
Inspiration & Mood Images
3 EXTERIOR SHAPE
I first started the design process by trying to figure out how I would want people to come in and out of the space 1
2
To tie in with the rest of the design, I decided to add rabbit heads (refer to mood images) to the exterior of the centerpiece
After I established (roughly) that I want the base to be rectangular, I then moved on to experiment with different box & cage shapes that are related to the project concept
FLOOR PLANNING
CENTERPIECE & POS
Design Process
Pipes on InstallationsCeilingExhibition Plan
Proposed Design
white acrylic
aluminiumclearglass
red tinted glass
Material & Color Palettes
LED screen
white plasterboard ceiling
ExteriorInterior
Background:
Pop Up!
In the recent years pop up shops have gotten very popular, and designs for these shops are also getting more and more innovative. When done right, pop up shops can be interesting enough that they attract people’s attention and become the talk of the town.
Interior Design
Year: Coventry, United Kingdom Location:
Coventry - CV1
This project aims to explore the concept behind temporary retail stores and the secrets to running a successful pop-up store.
LUSH
FRESHHANDMADECOSMETICS
Co-contributors:2018
Yiannis Cheung, Thomas Choy and Celina Yuan
4. “Generate brand awareness”
2. Allow customers to touch and feel the products
3. Allow smaller businesses to attract new customers
Seven years later, Rei Kawakubo opened her first guerilla store for Comme des Garcons in Berlin and has since started a massive hype around pop-up stores around the world. The concept of selling older stocks at random locations for certain periods of time might seem crazy at the time, but it is precisely why her pop-up stores managed to gain so much traction. The short-termed and unconventional nature of these pop-up stores has also allowed the brand to continuously grow and build a name for itself in the fashion space.
around for centuries, the term “pop-up retail” wasn’t coined until the late 1990s. In 1997, media entrepreneur Patrick Courrielche started holding The Ritual Fashion and Music Expo in Los Angeles, which is essentially a weekly retail event that allows people to buy streetwear from independent brands in a dayclub-like environment. The expo was largely successful and created rising successes for the brands participating in the event.
A pop-up shop is best described as a short-term retail event that is "here today, gone tomorrow". The general idea of pop up shops is to allow brands to “communicate your brand’s promise to your customers through the use of a unique and engaging physical environment while creating an immersive shopping experience.” (Shopify, n.d.).
Temporary pop-up retail establishments go back all the way to the early 1200s, when the first “December Market” opened in Vienna in 1298. But while the concept of temporary retail markets has been
Reasons contributing to its popularity:
Comme des Garçons Guerrilla Store +4161 in Basel, Switzerland in 2007
The Beginning
KEY POINTS
1. Generally low in budget
Store Concept
Storm Glass
In order to successfully run this pop up shop, we had to ensure that the store is interesting enough for the customers to want to enter the store. Once they are in the store, we also had to ensure they stay. The one thing that could set our store apart from the others is if we were to also sell experience on top of the products.
The difference in liquid color and packaging in the above pictures allows for product customization to take place. This pop up store is not only selling products but also experiencecustomers can participate in assisting the in-store scientists create the weather barometers.
Given England’s horrible reputation with its weather, our team thought it would be interesting to sell weather barometers for this pop up shop project. The storm glass is a type of weather barometer used by Admiral Robert Fitzroy in the 1860s to predict the weather. The liquid inside the glass container changes according to the weather - for example, clear liquid indicates bright and clear sky whereas cloudy liquid with small stars on the glass indicates thunderstorms.
Product Customization
We liked the use of neon lights in this space, and thought we could bring this into our design as both decoration and source of lighting.
Setting the Vibe
We are proposing to open this pop up shop in Coventry’s city centre, precisely at the now closed Joe Schmoe Hairdressing store, right below LUSH Store at 66 Lower Precinct Coventry. The space is measured at approximately 6100mm w x 12200mm d x 2500mm h.
The vision was to create a space that gives our customers one-of-a-kind experience. Our team believes that the space has to be unique and the overall experience has to be memorable. A primary source of inspiration came from our visit to the Andalusian Centre of Contemporary Art in Seville. One room in particular, the Marx Lounge, stood out among the rest of the exhibition spaces - the all red room contrasted the building’s color palette and immediately drew our attentions upon first glance. The room turned out to be a reading room (somewhat disappointing) but nonetheless had this element of allure that we were looking to bring into our space.
Space
12200 6080 2748 9262200 160022502250 2300 2300 3300 680 600 3300 630WINDOW DISPLAY BUILD-INWALLDISPLAY MAIN DISPLAY Cashiercounter DISPLAY PHOTOS DIY COUNTER Floor plan-001 Scale 1:60 By Thomas Choy 08-04-2017 S2S1 S4 S3 Proposed Design 12200 6080 2748 9262200 160022502250 2300 2300 3300 680 600 3300 630WINDOW DISPLAY BUILD-INWALLDISPLAY MAIN DISPLAY Cashiercounter DISPLAY PHOTOS DIY COUNTER Floor plan-001 Scale 1:60 By Thomas Choy 08-04-2017 S2S1 S4 S3
FloorSector2Sector1plan-002 630 LIGHTING'STORM'17841000WORDS200
DIY1701000576COUNTER'STORM'WORDSLIGHTING 2700550 2250
1375 1723
By Thomas Choy 08-04-2017 1310 55696100 22501600 30342700 250 2680 435 1850 719937 852 2000 2665
1960620 WINDOW FloorSector3plan-003Sector4PHOTOSDISPLAY 12700
1960620 WINDOW FloorSector3plan-003Sector4 S T O R M
PHOTOSDISPLAY 30342700 250 2680 909 1705435 1850 719937 1375 1723 852 2000 2665
3048 440200 BUILD-INWALLDISPLAYScale 1:60
FloorSector2Sector1plan-002 630 LIGHTING'STORM'17841000WORDS200
8541801909 1705
3048 440200 BUILD-INWALLDISPLAYScale 1:60
12700
DIY1701000576COUNTER'STORM'WORDSLIGHTING 2700550 2250
8541801
By Thomas Choy 08-04-2017 1310 55696100 22501600
1960620
WHITEACRYLIC MIRROR
MATERIALS PLAN-001
Material & Color Palette
Scale 1:60
BLACKSTEEL
Material, Furniture & Decoration
FLOORCONCRETE
WHITEACRYLIC
By Thomas Choy 08-04-2017
WHITEACRYLICWHITEACRYLICACRYLICGREY
By Thomas Choy 08-04-2017
WHITEACRYLICPAINTCOLORGREY(REFLECTIVE)
By Thomas Choy 08-04-2017
Scale 1:60
MATERIALSSector2Sector1
Sector3Sector4
WHITEACRYLIC
WHITEACRYLICACRYLICGREY
MATERIALS PLAN-003
Sector3Sector4
WHITEACRYLICLETTERLIGHTBOXES(WHITE)GREYCOLORPAINT(REFLECTIVE)
PAINTCOLORGREY(REFLECTIVE)GREYCOLORPAINT(REFLECTIVE)
GLASSCLEARLETTERLIGHTBOXES(WHITE)
BLACKSTEEL GLASSCLEARLETTERLIGHTBOXES(WHITE)
By Thomas Choy 08-04-2017
We played around with different reflective textures to help bounce the light around the room
MATERIALS PLAN-003
Scale 1:60
1960620
PLAN-002
S2S1 S4 S3
COLORWHITEPAINT
STRINGSTEEL
Scale 1:60
WHITEACRYLIC MIRROR
WHITEACRYLICPAINTCOLORGREY(REFLECTIVE)
PANELMIRROR FLOURESCENTTUBE(WHITE)BLACKSTEEL
Main Display
Display option #2
Placement of the cubes: can be stacked to form a bigger cube or hung in random order
Display option #3
Neon lights as a primary source of lighting
For this project, we wanted the main display to be multi-functional, serving as a shelf/rack for the products while at the same time lighting the space. We looked at art installations and experimented with different ways to store items before eventually coming to this design.
Jeppe Hein “Moving Neon Cube” (2004)
Display option #1
Thank You.
