:

How will the epidemic affect our relationship with architectural spaces?

How should we repurpose the traditional retail market?

And how should the role of the consumer change?

How will the consumer experience change?
























Wind Barn

Huaqiang North Innovation Business Centre



Reuse,  intervention, creator, productive landscape，Exhibition Architecture

Yuliang Kang studio
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 The "Wind Barn" project aims to explore the future of traditional retail markets in the post-epidemic era.

Taking a retail market in Huaqiangbei as the object of transformation, this scheme attempts to combine architecture and display design, focusing on four perspectives: public health, functional positioning, customer role and consumer experience.

The design breaks down the enclosed space of the retail market and integrates the interior and exterior.

The market is revitalised through the integration of creative production activities and consumption activities through the inclusion of a creative space.

In order to promote consumer participation in co-creation activities, the exhibition is themed "Back to the place where the wind began", and the space installation is used as a medium to bring consumers to the source of the innovation trend in Huaqiangbei.

Tutor

  1. Nengneng Liu

    Conceptual Drawing 



    The series of paintings explores the relationship of vertical space and the underlying spatial atmosphere.




    Interior exhibition curation


    This chapter is located on the ground floor, where the open-ended workshops and educational activities are the main focus. The events are organised by the teams of creators or brands based in the area and can be a continuation of the product or a starting point for new inspiration. 

    The dynamics of the installation depends on the different states of the event, here there are three main types:
    i) when the activity is switched off, the device will be stationary on the ground and the lights will be switched off; ii) when the activity is prepared, the device will be inflated and start to rise and the lights will be switched on; iii) when the activity starts, the inflatable device will be lowered to midair.     This chapter is located on the ground floor, where the open-ended workshops and educational activities are the main focus. The events are organised by the teams of creators or brands based in the area and can be a continuation of the product or a starting point for new inspiration.

    The dynamics of the installation depends on the different states of the event, here there are three main types:
    i) when the activity is switched off, the device will be stationary on the ground and the lights will be switched off; ii) when the activity is prepared, the device will be inflated and start to rise and the lights will be switched on; iii) when the activity starts, the inflatable device will be lowered to midair.
    This chapter will introduce the concept of an 'inspiration collector', where participants can use existing products as a base framework to come up with their own ideas and concepts to create new possibilities for existing products, as well as to view the ideas of others.
    The installation consists of a sound collector and a terminal display, which creates images through text. Participants can speak their ideas into the sound collector, i.e. the "if... + brand + concept" structure, which is processed by artificial intelligence into a 3D graphic and finally presented in the terminal display.
    This section takes the consumer into a context of discovery, learning about the various parts of a product, such as raw materials, production waste, etc. By presenting parts of the product in isolation, it provides visitors with a detailed perspective on the product. The installation also acts as a 'materials store' for the design team and a 'materials museum' for the consumer.


    The installation in this chapter is mainly suspended in mid-air, with a transparent film as a skin and specific exhibits stacked inside. The elasticity of the film makes it possible to visualise the characteristics of the different exhibits, and the form of the installation depends on the shape and weight of the different exhibits.

     This chapter focuses on the realisation of results. Based on the production process, the focus is on the process of shaping the product. In this section, the productive landscape is integrated into the consumer activity, in conjunction with the workshop facilities of the Creativity Centre. The team of creators can use the interior installations and the customers can observe how the products are shaped.

     The installation in this section attempts to separate the production and processing space from the consumption space. The interior of the installation is the main processing facility, into which the user can enter. The customer can observe the internal activities through the openings without disturbing the normal production activities.
    This section is a concluding exhibition space that will address the entire process of innovation and creativity. It is an opportunity for teams of creators and customers to promote their ideas and to raise resources and funds. It will also provide a complete overview of the process of a product from 0 to 1, from concept, sketches, intermediate models and other materials, giving customers a sense of what it takes to create a complete design.
    The installation is based on the concept of "time scale", using time as a ruler to link the process of pre-creation, concept change, and design realisation. The exhibits are a selection of key, representative pieces from the design process.