MACK JOURNELL
My room is located in the basement of my parents’ house in Northfield, MN. A 6’5” tall hallway leads directly into it via the family room; therefore, curtains partition off the space. Upon entering, the ceiling extends to 7’1” and there is a designated workspace on the southern half of the room while a dresser, bookshelves, and full size bed take up the majority of living area to the north. A small window is in the upper left corner of the northern wall.
This elevation view, taken from the eastern side of the room, highlights the majority of details in the room including two lamps, a fan, and the contents of one bookshelf. It also attempts to illustrate the transparency of the curtain-walls that enclose the entry to my room.
My ANT Map examines how everything in my room could be replaced by something purchased at Target and even more specifically, purchased from a Target-owned brand (and how many items were). In particular, what has led to the dramatic increase in Target's private label brands in the last five years (from approximately 20 to 48) and how they affect consumers and workers along the supply chain. To emphasize their impact on my room, the “Domain“
annotations on the previous two drawings were referenced from Target’s website.
This organizational diagram focuses on the vertical space that I occupy in each section of my room and the primary circulation pattern that I use to navigate the space, travelling into it via a low-ceilinged hallway and into the open center. The threshold of the room is point at which all four spaces meet.
This GIF illustrates the formation of the five-line graphic composition that consists of four "rectangular" shapes and a circulation line. The top left section represents the functional area of my bedroom, containing bookshelves and a bureau (eye level: 6'). My bed occupies the space top right (eye level: 1'6") while the desk is in the bottom left (eye level: 4'). The final rectangle outlines the hallway into my room (eye level: 5'10").
The vectors shown in the graphic composition are extruded to a height of either 1', 3', or 5' and subsequently rotated or translated to create a new space. The varying densities reflect the vertical spaciousness of the original space and the circulation vectors break through the segmented spaces; touching all four courners at the center of the room and breaking through vertically in the bottom right section.
Each corner of the room is identifiable through a different pattern of vertical and horizontal lines. The diagonal edge from the graphic composition is pointing upwards at a 45 degree angle to serve as a focal point and a destination for the rising circulation shapes.
This view highlights the entrance to the original room that has been replaced by a thick, structural objects that the circulation representation is forced to navigate. Half of the desk section has been rotated 90 degrees to act as a low ceiling. The congestion of these two spaces contrast with the negative space and thin-walled cubicles that stand in place of the former bed.