Phygital Supermarket Research Book by Nix Liu Xin and Zhu Yuting

PHY‑ GITAL SUPER! MARKET UBIQUITOUS SPATIAL INTERFACE

INSTRUCTED BY

DEVYN WEISER

A PROJECT BY

XIN LIU + YUTING ZHU

2

PHYGITAL SUPERMARKET UBIQUITOUS SPATIAL INTERFACE

A PROJECT BY

XIN LIU YUTING ZHU INSTRUCTED BY

DEVYN WEISER GRAD THESIS PREP SPRING 2020 SCI-ARC

XIN LIU is a future-facing architectural designer, film-maker, photographer. His creativity and innovation spans multiple platforms from architecture to animation. Based in Los Angeles, California, he is currently a Master of Architecture 2 candidate at the Southern California Institute of Architecture (SCI-Arc). Previously, he was an architectural designer at Testa & Weiser Inc. in the Los Angeles and Sheppard Robson in the United Kingdom. He holds a Bachelors of Arts in Architecture with Honors degree from the University of Liverpool School of Architecture. His work has been exhibited many times in New York City, Los Angeles, Liverpool, Beijing, Lianzhou, and Suzhou. He is traveling around the world examining the notion of both natural and built environment through design, films, and photographs.

YUTING ZHU is currently a Master of Architecture I candidate at the Southern California Institute of Architecture (SCI-Arc). She holds a Master Degree of Science in Earth and Environmental Engineering from Columbia University in the city of New York. With the multi-subjects educational background, she is an architectural thinker and designer who thinks of making architecture with breaking the box of topology, disciplinary knowledge, historic precedents, etc. She realizes that human’s mindset and liftstyle must be challenged when we are standing at the beginning of millennium at this time.

Thanks to the explosive development of artificial intelligence, she believes that this is an era of unprecedented freedom for designers.

CONTENTS 04

Introduction

Chapter 1 - Thesis 08

The Big Flat Now CULTURAL PRODUCTION MODE STRATEGIES

12

Mixed Reality AUGMENTED SPACE COEXISTING REALITIES

24

Phygital Aesthetics PHYGITAL WORKFLOW PHYGITAL MATERIALITY MATERIAL EFFECTS

32

Spatial Interface DEFINITION OF SPACE RESPONSIVENESS & INTERACTION PRIVATE / PUBLIC LOCALIZED / SHARED SPACE

Chapter 2 - Supermarket 42

Shopping HISTORY PROGRAM LAYOUT NAVIGATION

60

Super SUPERPOSITION NESTING WORLDS

64

Everyday Quality FOUND OBJECTS PLAYFUL REPRESENTATION

Chapter 3 - Working Space 72 74

Speculative Film Phygital Installation

Chapter 4 - Inventory 78

Formal Manipulation CLONER VORONOI FRACTURING DYNAMICS DISPLACEMENT BOOLEAN DIFFUSION

92

Views HUMAN VIEW MACHINE VIEW CCTV VIEW

100

Visions HUMAN VISION MACHINE VISION

106

Atmosphere DIFFUSE LIGHTING DIRECTIONAL LIGHTING COLOR OF LIGHTING

114

Objects

120

Space

INTRODUCTION

W

e work in the field of mixed-reality, spatial interface, and phygital materiality in terms of both architectural design containing the design of the space and the representation of objects, as well as architectural representation. This thesis unfolds based on the format of the supermarket because of its everyday quality.

We set out the following questions to investigate further researches. First, how does representation affect design? Second, how to bring the aesthetic of phygital to the physical world? Third, how do different types of representation apply to the project?

Coexist? Mixed? Hybrid? Why phygital?

Specifically, how is the real world and how is the augmented world? What is the function respectively? Which one masters?

There are related precedent works by other designers and artists. Hyper-Reality, a speculative film by Keiichi Matsuda, shows some daily scenarios being augmented by overlayed responsive information mainly localized for each person; Phygital Supermarket, an art film by Xin Liu, Yuting Zhu, and others, uses multiple techniques such as volumetric capture, photogrammetry, motion graphics and green screen shooting for a type of new visual representation; Table of Contents, a sculptured artwork by Wang & Soderstrom, reflects on the potential of digital materiality in the physical form, resulting in a phygital aesthetic; Prada Store in New York by OMA, positions multiple digital screens informally at the store, being 4

part of the shopping experience to emphasize the story of the brand.

There is a future where built space and corresponding contextual information together define a spatial experience, which is an exciting prospect for the architect, who may operate the practice to design coexisting spaces as a whole. By using many techniques and representational mediums in non-correlational ways, we are able to challenge the singularity of current architectural representation which uses one or more separate mediums to represent the design. Furthermore, there is a long history in architecture that the representational techniques, such as descriptive geometry, greatly influenced people’s thinking and understanding of design. This thesis also tries to ask how the design of spatial experience can be influenced by the phygital non-correlational representation.

In terms of shopping, it is arguably the last remaining form of public activity. Not only is shopping melting into everything, but everything is melting into shopping. Through a battery of increasingly predatory forms, shopping has infiltrated, colonized, and even replaced, almost every aspect of urban life.

Town centers, suburbs, streets, and now airports, train stations, museums, hospitals, schools, the Internet, and the military are shaped by the mechanisms and spaces of shopping.

Therefore, in this thesis, a supermarket can

be a retail market, an exclusive boutique, a public space, a gallery, a performance space, a laboratory. This thesis engages both high and low ideas of the supermarket.

In terms of the working space, two formats are prepared: one is a fictional film, visualizing the phygital supermarket with VFX techniques, which is “fake”; the other is an augmented physical model or installation, letting the audiences feel a part of the supermarket via physical model, XR, projection mapping and small screens, which is a “real” phygital space.

the physical manifestation of space becomes only one of many parallel realities. Second, based on the features of XR techniques, it’s practical to have subjective localized space for each person and shared space for a group of people. Third, immaterial XR overlaying information is able to create responsive and dynamically changing spatial configurations.

Fourth, supermarkets, in general, are placed everywhere and are not limited to shopping.

Finally, our world is shifting to a phygital sphere from the digital cyberspace which followed the original physical world.

In terms of the architecture discipline, the thesis anticipates several contributions. First, it anticipates opportunities and challenges for architects to practice in a new mode: designing the virtual and real world as a whole. Second, it demonstrates a new way of cultural production in the third millennium: collecting, curating and re-appropriation rather than from scratch. Third, it emphasizes non-correlational relationships between form and material, between object and its representation, etc.. Fourth, it discusses how design can be influenced by representational techniques when physical and digital come together. Finally, by taking the supermarket as the project, this thesis also reflects on the everyday quality of familiar but normally being ignored objects.

Regarding the real world, this thesis has five strategies. First, as we shift from the virtual/ real dichotomy into augmented experience, 5

Chapter 1

Thesis 6

Part 1

Part 2

The Big Flat Now

Mixed Reality

CULTURAL PRODUCTION MODE STRATEGIES

AUGMENTED SPACE COEXISTING REALITIES

P8

P12

Part 3

Part 4

Phygital Aesthetics

Spatial Interface

PHYGITAL WORKFLOW PHYGITAL MATERIALITY MATERIAL EFFECTS

DEFINITION OF SPACE RESPONSIVENESS & INTERACTION PRIVATE / PUBLIC LOCALIZED / SHARED SPACE

P24

P32

7

CHAPTER 1 PART 1 THE BIG FLAT NOW

NEW CULTURAL PRODUCTION MODE in the Third Millennium

THE BIG FLAT NOW (This = That) Power, Flatness, and Nowness in the Third Millennium.

8

WORKFLOW

Our workflow is more about collecting, curating and re-appropriation instead of creating from scratch.

PLAYFULNESS

What something is becomes less important than whether it is playful or not.

9

CHAPTER 1 CH–1 PART 1 THE BIG FLAT NOW

STRATEGIES REMIXING VS. BEING BOTH

MULTIPLYING SELF

The early days of the mainstream Internet were dominated by remixes. Creators in this time were like merchants, bringing items from far-flung corners of the cultural sphere into proximity with one another, allowing them to reverberate in harmony or opposition. The spirit of the mash-up was driven by the irony of seeing two unexpected things appear beside each other, as well as the pseudo-countercultural act of intervening in pop culture. For the new generation, the humor of this gesture falls flat. A dead pop star performing as a hologram, or a fine artist designing hoodies, is not a novelty but rather another sequence in a completely frictionless operating system. Today, there is an audience for every product, no matter how niche.

The far-right furry and the weed-farming venture capitalist operate unironically, their schizophrenic positions firmly tent-poled by subcultural toots. Where the remix sits at the center of two spheres, it is now possible to claim dual native territories. A product like Soylent prides itself on this blurriness, telling us that “Food is much easier when it’s Drink.”

As a culture, we have gone from remixing to being both.

“I am a minimalist in a rapper’s body,” Kanye West once said in a historic interview with the New York Times, before proceeding to list all the personalities trapped inside him: “Steve Jobs. Walt Disney. Henry Ford.

Howard Hughes. Nicolas Ghesquiere.

Anna Wintour. David Stern.” In a moment where the walls between genres and time periods have collapsed, so too have the borders between ourselves and those around us. Today, cultural capital is tied to selfknowledge. Every reference we inhale is not an outside agent, but a fragment of a new identity that sits inside of us, nesting among the others like a Russian doll. If conventional expression is about discovering your authentic self, in THE BIG FLAT NOW it is about multiplying it.

10

RE-APPROPRIATION

ENDLESS (DE-/RE-)CONSTRUCTION

The age of curation has led to a fixation on provenance. In the omnesiac’s world, an ability to delineate the roots of new forms has become a source of pride, or even a grounds for vigilante policing. But squabbling about the origin of things is a farce in THE BIG FLAT NOW. Like carrots pushing themselves out of the ground, successful ideas are designed to make themselves available and functional in all contexts. Appropriation, in this scheme, is not a violent act, but rather the primary technique through which ideas are organized and reformulated. It is undeniable that the West has enriched itself through the economic and creative colonization of marginalized people by richer, older, or whiter peoples. But it would be a mistake to confuse power with its tools. Trying to end cultural exploitation by policing “appropriation” is like trying to fight bank robbery by making ski-masks illegal.

While the amnesiac suffers from a deficit of memory, the omnesiac is afflicted with a constant and tenacious memory of all things at once. The pervasive sensation whereby “this” is basically just “that.” The book that is better than the movie. The long ledger of past references packed into every “new” idea.

Omnesia, and its accompanying creative paralysis, is an epidemic in THE BIG FLAT NOW. There is no cure for the condition, only the realization that this dense cloud of simultaneous pasts is not an obstacle, but a pliable material. We are cruising on the fumes of history, creating a future through endless (de-/re-) construction.

11

CHAPTER 1 PART 2 MIXED-REALITY

AUGMENTED SPACE Vertical Mixing

Augmented space is the physical space overlaid with dynamically changing information. This information is likely to be in multimedia form and it is often localized for each user.

12

Spatial augmentation has a long history in architecture 01

02

13

01

02

01, 04

Bagashi

01, 04

Automotive Trend Visuals

02, 03

ZEITGUISED 02, 03

Foam Studio 14

Bagashi

ZEITGUISED

Automotive Trend Visuals Foam Studio

03

04

15

Information overlay is not only as a “billboard� like presentation of information, but also defines the spatial configuration

16

THREE LAYERS OF REALITIES

Physical Construction of Reality Spatial Configuration Presentation of Information

Augmented Library Aggregation Xin Liu, Nero He

17

CHAPTER 1 PART 2 MIXED-REALITY

COEXISTING REALITIES Horizontal Mixing

Coexisting of various realities can be achieved by the difference of observor’s sensory systems and view angles without having multiple realities.

18

Coexisting realities through observer’s sensory systems

Tetrachromia

Universal Everything 19

Coexisting realities through view angle

20

Anmorphic Optical Illusion Installation at Unité d’Habitation Felice Varini, 2016

Landscape for Candace Chris Engman

21

What if architect coexisting re of only the p

22

ts are designing ealities instead physical space?

23

CHAPTER 1 PART 3 PHYGITAL AESTHETICS

PHYGITAL WORKFLOW

Phygital workflow explores that fact that machine can construct an object from digital information.

24

25

CHAPTER 1 PART 3 PHYGITAL AESTHETICS

PHYGITAL MATERIALITY

26

Phygital substance is neither a simulacra of digital material nor a conventional notion of an ideal materialism, so in the process we could argue that no understanding of material is off-limits that considering a more complex material origin nothing is excluded from the catalog of possible building materials including conventional building blocks but also images, 3D printing artifacts, and so on.

27

Table Of Contents 101 Wang & Söderström

Table Of Contents 101, Closed View Wang & Söderström

3kxporousuper-Foam Wang & Söderström 28

The Hyundai | Superconsumers Universal Everything

29

CHAPTER 1 PART 3 PHYGITAL AESTHETICS

MATERIAL EFFECTS

Material is not simply a texture but could be a kind of solid informational structure, a media of interactive interface or even oppotunities or other hidden genres of architecture, so we argue that phygital materialism could apply to the whole artificial history of architecture now.

30

31

CHAPTER 1 PART 4 SPATIAL INTERFACE

INTERFACE IN 3D

01

Ghost in the Shell / Fictional User Interface Design, 2017 Ash Thorp, Chris Bjerre

32

01

33

CHAPTER 1 PART 4 SPATIAL INTERFACE

DEFINITION OF SPATIAL REALMS Form and space can be defined by merely visual elements.

01

Elements / Art Film, 2018 Keiichi Matsuda

02

Vertical Works / Light Installation, 2017 Anthony McCall

34

01

02

35

CHAPTER 1 PART 4 SPATIAL INTERFACE

PUBLIC/PRIVATE

01

36

01

Shared Space for a Group of People Keiichi Matsuda

02

Localized Space for Each Person Keiichi Matsuda

02

37

CHAPTER 1 PART 4 SPATIAL INTERFACE

RESPONSIVENESS & INTERACTION

01

Shared Space for a Group of People Keiichi Matsuda

02

Localized Space for Each Person Keiichi Matsuda

38

01

02

39

Chapter 2

SuperMarket 40

Part 1

Part 2

Shopping

Super

HISTORY PROGRAM LAYOUT NAVIGATION

SUPERPOSITION NESTING WORLDS P60

P42

Part 3

Everyday Quality FOUND OBJECTS PLAYFUL REPRESENTATION P64

41

CHAPTER 2 PART 1 SHOPPING

HISTORY

Shopping is arguably the last remaining form of public activity.

Not only is shopping melting into everything, but everything is melting into shopping.

Through a battery of increasingly predatory forms, shopping has infiltrated, colonized, and even 42

replaced, almost every aspect of urban life. Town centers, suburbs, streets, and now airports, train stations, museums, hospitals, schools, the Internet, and the military are shaped by the mechanisms and spaces of shopping. The voracity by which shopping pursues the public has, in effect, made it one of the principal - if only - modes by which we experience the city. Perhaps the beginning of the 21st century will be remembered as the point where the urban could no longer be understood without shopping.

43

CHAPTER 2 PART 1 SHOPPING

44

45

CHAPTER 2 PART 1 SHOPPING

PROGRAM

In the early days of retailing, products generally were fetched by an assistant from shelves behind the merchant’s counter while customers waited in front of the counter and indicated the items they wanted.

This offered opportunities for social interaction: many regarded this style of shopping as “a social occasion”.

46

As groceries get bigger and bigger, most merchandise is already packaged when it arrives at the supermarket. Packages are placed on shelves, arranged in aisles and sections according to type of item.

This phygital supermarket engages to navigate customer behaviors by dissolving/re-arranging the programs and creating modulars in various scales. While encouraging shopping behavior, the supermarket itself is regared as a place with spiritual leisure enjoyment.

47

Common Programs Grocery items placed in sections

FOUR PRINCIPLES OF THE LAYOUT AND PROGRAM . Circulation: high-draw, high-impluse items will influence consumers past certain products to create extra buys . Coordination: fast-selling and slow-selling are placed in strategic positions in aid of the overall sales plan . Consumer convenience: create cross-category sales similarity . Color psychology: fast food branding is a good example.

48

49

Packaged Space Prototype Super-market made of spatial market-chain

Each modular has different floor coverings, style, lighting and sometimes even individual services counters to allow consumers to feel as if there are a number of markets within this one supermarket.

50

51

CHAPTER 2 PART 1 SHOPPING

LAYOUT

The objective of a functional supermarket design is to optimize the organization of interior spaces so as to maximize sales. For this reason, it is necessary to understand and interpret consumer habits and thus implement design choices that can have positive effects on product sales and customer perceptions.

52

It is well known that furnishing arrangement also greatly influences people behaviour when shopping.

It is important that the store layout contributes to a positive shopping atmosphere, inviting the customer to prolong his stay in the supermarket and encouraging a certain number of unplanned purchases, the so-called ‘instinct purchases’.

In current retailing, there are four common conventional layout types that stores use: grid, island, free-flow and racetrack layouts.

53

Grid Layout The most convenient furnishing layout

R

etailers are in favour of this layout style because it makes the entire sales process more efficient. Particularly, it optimizes spaces while guaranteeing a greater availability of products and a fast shopping experience.

Another important advantage is given by the simplification of the logistic aspects, as it facilitates, for example, the supply for shelves and the control of the various products present.

Other positive aspects regard the store flow and traffic between the various shelves. You can easily move and orientate yourself in the various departments, creating less disruption to the ‘traffic’ and reducing congestion.

Aspects which, if badly managed, can compromise the image of the business and, therefore, reduce profits.

54

However, this layout also has negative aspects that can affect sales or the customer flow.

In fact, maximum spaces optimization determines that shelves are always organized in the same manner, with minimal variations over time. Shoppers become too familiar with this layout and tend to complete their planned purchases in less time, thus avoiding ‘instinct purchases’ Another downside can be represented by the distribution monotony, that is due to logistical issues and which could make the consumer experience more frustrating, since the supply needs prevail over the demand.

Island Layout More recent and innovative organizational

T

his type of distribution involves the presentation of products arranged on platforms or on other supports located in different points of the supermarket.

Generally, this model is common in small specialized shops, or in niche shops for displaying small-sized items and provide a personalized aspect to the business.

provided with a free route that allows him to observe all the products arranged in homogeneous areas. This arrangement makes the customer more motivated to visit the whole store and, with the products matching his type of needs, unplanned purchases are encouraged. In addition, this model values the customer and fully satisfies his needs.

The positive aspect of this model is the greater freedom for the customer, who is

55

Racetrack (or Loop) Layout Less common in a supermarket design

I

t consists of a main ring corridor that goes from the entrance to the cash desks, emphasizing a perimeter track and allowing the customer to view all the

56

departments. The main route occupies the entire surface of the store, while secondary routes are organized to avoid overcrowding in a few points.

Free Flow Layout The simplest type of store layout

T

here is no defined pattern, therefore this layout type affords you the most creativity, where typically the grid layout integrates to an innovative island layout and encourages shoppers to go in any direction while increasing impulsive buying.

When designing a supermarket,a wellstructured store layout can be advantageous for both consumer and retailer and will be crucial to the overall commercial activity performance, especially when considered together with correct sizing.

A free flow layout rejects typical design patterns and styles commonly used to influence customer behavior. In a free flow layout, the intent is not to lead the customer using predictable design patterns, displays, or signage. There are no specific design

rules followed for this retail store design, and customers have more liberty to interact with merchandise and navigate on their own. For this reason, the free flow layout is sophisticated in its simplicity.

Customers feel less rushed in this creative environment. Retail stores look less sterile in the free flow design, and merchandise may seem more intriguing. The only limitation for retailers using this layout is the overall space available, but that doesn’t mean that the research on customer navigation behavior and tendencies shouldn’t be accounted for as well. The main disadvantage to this experimental design layout is the risk of confusing customers past the point of their preferred behavior and disrupting customer flow.

57

CHAPTER 2 PART 1 SHOPPING

NAVIGATION

Once we research and understand how customers navigate our store, we can start influencing how they interact with the merchandise.

The foundation for this strategy is the design of our store floor plan. To create an environment that strategically emphasizes the desired purchasing behavior, it is 58

essential to use all of the floor space we have allotted for merchandise, base our layout on the principles of customer behavior, and not sacrifice artistic taste for efficiency. With these factors in mind, the following are optimized layouts for our consideration.

59

CHAPTER 2 PART 2 SUPER

60

SUPERPOSITION

61

CHAPTER 2 PART 2 SUPER

NESTING WORLDS

02

01

62

03

Spaces and objects with various scales can be superimposed to create nesting worlds

04 01, 04

Bagashi

ZEITGUISED 02, 03

Automotive Trend Visuals Foam Studio

63

CHAPTER 2 PART 3 EVERYDAY QUALITY

FOUND OBJECTS 01

01

Manufactured Totems Raphaële Bertho

02

The Happy Toolbox The Happy Toolbox

64

02

65

CHAPTER 2 PART 3 EVERYDAY QUALITY

Album Covers And Brand Identity Of British Music Artist Jax Jones 66

67

CHAPTER 2 PART 3 EVERYDAY QUALITY

PLAYFUL REPRESENTATION

68

02

04 03

01

Products in Process – Part 2

03

2D / 3D Objects Photograph

04

Envisions

01

02

Elise

VEHIKE

ZEITGUISED

0% Food

XK studio 69

Chapter 3

Working Space 70

Part 1

Part 2

Speculative Film

Phygital Installation

P72

P74

71

CHAPTER 3 PART 1 SPECULATIVE FILM

Visualization of The Design in the Fictional World - “Fake”

Phygital Supermarket | Volumetric Video

Xin Liu, Yuting Zhu, Jui-Cheng Hung, Fateme Jalali 72

73

CHAPTER 3 PART 2 PHYGITAL INSTALLATION

A Real World Demo - “Real” 01

02

01

TIME WARP | Window Display & Set Design for Selfridges Wang & Soderstrom

02

Phygital Supermarket | Exhibition Elise

03

Augmented Library Aggregation | Augmented Physical Model Xin Liu, Nero He

74

03

75

Chapter 4

Inventory DEVELOPMENT

76

Part 1

Part 2

Formal Manipulation

Views

P78

P92

Part 3

Part 4

Visions

Atmosphere

P100

P106

Part 5

Part 6

Objects

Space

P114

P120

77

A series of formal manipulations are developed with Cinema 4D Mograph. This toolkit has more opportunities in architecture than parametrical modeling and animation. In architecture, animation is mostly employed for visualization.

Although architecture is mostly static, the current form is just one 78

INVENTORY I

FORMAL MANIPULATION

of many outputs based on a certain logic. Animation is a medium to conceptually reveal the logic behind the current static form. Mograph toolkit can parametrically construct logics to generate complex forms.

The output can also be influenced by Effectors which can link to positions, time and math expression.

79

CHAPTER 4 PART 1 FORMAL MANIPULATION

CLONER Shader Effector

Sound Effector

Spline Effector

Delay Effector

The Shader Effector primarily uses a texture’s grayscale values to transform clones. To do this the texture needs to be projected on to the clones.

The Sound Effector transforms audio into animation by mapping the amplitude at specific frequencies to clones.

The Spline Effector takes the clones and arranges them on a spline. The first clone at the start of the spline and the last clone at the end of the spline.

The Delay Effector ensures that the effects of other Effectors with regard to position, scale and rotation do not begin abruptly but with a delay.

Existing forms and objects can be cloned many times with variations of positions, scales and colors, resulting in new forms. The notion of field in architecture is expressed.

80

81

CHAPTER 4 PART 1 TECHNIQUES FORMAL MANIPULATION

VORONOI FRACTURING

An original object can be broken into fractures. The original figure is retained while generating architectural structures.

82

83

CHAPTER 4 PART 1 FORMAL MANIPULATION

DYNAMICS

RIGID BODY, SOFT BODY, CLOTH

The motion of an object can be simulated with dynamics such as rigid body, soft body or cloth.

The visual representation and motion representation can be noncorrelational.

84

85

CHAPTER 4 PART 1 FORMAL MANIPULATION

DISPLACEMENT

Complex form can be generated based on images. As a medium, it can be quickly generated and modified.

It becomes either a 3D screen or spatial configuration depending on displacement depth and resolution.

86

87

CHAPTER 4 PART 1 FORMAL MANIPULATION

BOOLEAN

Any object can be boolean unioned, substracted or intersected with other object. Materiality is not only a surface feature, but also volumetric attribute. A complex object contains both positive figures and negative figures.

88

89

CHAPTER 4 PART 1 FORMAL MANIPULATION

DIFFUSION

We can simulate the diffusion process that substances spread out over a surface in space with materials that correspond or not correspond to the subject itself.

90

91

There are both human and nonhuman entities existing in the phygital supermarket. One scenario can be watched from each perspective while several scenarios could simultaneously happen in multiple scales and watched by different entities.

92

INVENTORY II

VIEWS

There are three types of views in this supermarket . Human View . Machine View . CCTV View

93

CHAPTER 4 PART 2 VIEWS

HUMAN VIEW

Camera is positioned at the same level of human eyes.

94

95

CHAPTER 4 PART 2 VIEWS

MACHINE VIEW

Camera is attached on either static or moving machines such as a shopping cart.

96

97

CHAPTER 4 PART 2 VIEWS

CCTV VIEW

Camera is positioned to provide an overview of the scene.

98

99

100

INVENTORY III

VISIONS

Through cooperating with some toolsets such as XR glass, multiple realities can coexist in the same space and interact with different entities at the same time.

101

CHAPTER 4 PART 3 VISIONS

HUMAN VISION

The reality perceived by the spectrum of human eyes.

102

103

CHAPTER 4 PART 3 VISIONS

MACHINE VISION

The information carried by objects and space can be read by machine visions for potential navigation, artificial intelligence calculation and automatic operation.

104

105

Regard to the customer’s mood while shopping, proper atmosphere solutions to highlight or downplay specific areas of the supermarket can draw in customers and create an environment that works in sync with the merchandise offered.

The design factor of store is the 106

INVENTORY IV

ATMOSPHERE

biggest environment factor that influences customer approach behaviors.

Lighting, sound, moisture, smells, room temperature, signs and colors are regarded as important influencing factors.

107

CHAPTER 4 PART 4 ATMOSPHERE

DIFFUSE LIGHTING

Light is diffused to create a bright and soft atmosphere.

108

109

CHAPTER 4 PART 4 ATMOSPHERE

DIRECTIONAL LIGHTING

Light is concentrated and directed to illuminate certain areas.

110

111

CHAPTER 4 PART 4 ATMOSPHERE

COLOR OF LIGHTING

Colorful lights at different locations and orientations are reacted with each other, resulting in a fluid and psychedelic atmosphere.

112

113

114

INVENTORY V

OBJECTS

115

CHAPTER 4 PART 5 OBJECTS

116

117

CHAPTER 4 PART 5 OBJECTS

118

119

120

INVENTORY VI

SPACE

121

CHAPTER 4 PART 6 SPACE

SPACE CATALOG

122

Plan can be read as matter, form, space, function, event, regime and object. Therefore we collect and curate typical plans from existing work of architeture.

123

Copyright Š 2020 by Xin Liu and Yuting Zhu All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

PHYGITAL SUPERMARKET

UBIQUITOUS SPATIAL INTERFACE