25000 wooden sticks
25000 wooden sticks
Project: Carbon Bar
Design Firm: Khosla Associates
Location: Hyderabad, India
flooring: seamless bronze vinyl
ceiling & walls: faceted padded fabric & bronze mirrors
lighting: pre-programmed dimmable led light embedded with translucent resin strips moulded on the edge of all the facets.
Project: Elektra Bakery
Design Firm: Studioprototype Architects
Location: Edessa, Greece
size: 35 squre metres
materials used: carrara marble, cedear wood, brass
furniture: Xavier Pauchard
lightings: Tom Dixon
exterior: vertical cedar board cladding, black powder coated steel
Yohji Yamamoto New York Gansevoort street store, New York / USA
architect: cho,minsuk + park,kisu
design team: mass studies
location: 650-14, Sinsa-dong, Gangnam-gu, Seoul, korea
site area: 377.60 m2
gross floor area: 220.66 m2
total floor area: 734.33 m2
building scope: 3f,b1
finishing: vertical garden(Pachysandra terminalis),
exposed color concrete
design period: 2007.1~2007.5
construction period: 2007.4~2007.10
text about the shop from the architects
Ann Demeulemeester Shop
The site is located in an alley, at a block’s distance from Dosandae-ro—a busy thoroughfare in Seoul’s Gangnam district—in close proximity to Dosan Park. Primarily residential in the past, the neighborhood is undergoing a rapid transformation into an upscale commercial district full of shops and restaurants.
The building is comprised of one subterranean level and three floors above. The Ann Demeulemeester Shop is located on the first floor, with a restaurant above and a Multi-Shop in the basement.
This proposal is an attempt to incorporate as much nature as possible into the building within the constraints of a low-elevation, high-density urban environment of limited space (378m2). The building defines its relationship between natural/artificial and interior/exterior as an amalgamation, rather than a confrontation.
Diverse interior spaces designated for its three main programs were made to be perceived and utilized as a part of the outdoors in a variety of ways. This building is not meant to be just another ‘object’ to be experienced externally, but rather as a synthetic organism of nature and artifice.
The parking lot/courtyard is at the center of the site, exposed to the street on the southern end. The entrance to the Ann Demeulemeester Shop is located on the western side of the courtyard, and stairs that lead to the other two programs are located on the eastern side. Landscaping of dense bamboo form a wall along each of the remaining three sides that border neighboring sites. Inside the first floor shop, undulating dark brown exposed concrete forms an organically shaped ceiling.
Round columns on the edges of the space continue the ceiling surface while providing the necessary structural support. This structural system creates arched openings of varying sizes that are open and as exposed as possible to the outside road and the bamboo hedges. This organic formation is not only a dynamic space but a flexible rectangular one (11.2m x 14m). The additional wing on the eastern side contains support functions such as fitting rooms, storage, and a bathroom, efficiently divided and connected at the same time.
The restaurant’s main entrance is a staircase that runs alongside the entire eastern side of the building. The shape of the ceiling below influences the restaurant space above, comprised of a three-level skip-floor formation. The two open-air spaces inside, a hidden terrace toward the rear of the building that extends from the top level, and a rooftop space accessible by stairs form a restaurant with intimacy, varying in spatial characteristics.
The stairs leading to the basement shop begins as a narrow, white, architectural space that gradually enlarges to become another organic shape—like a moss-covered subterranean cave—and serves as an entrance. This space is open to the outside, while at the same time is a composite garden buried 5.5m below ground.
The outside building material is primarily a geotextile planted with a herbaceous perennial to form a living façade, while the other three sides that face bamboo borders are clad in steel sheets are finished with propylene resin.
Project Title: Nature Factory
Architect: Makoto Tanijiri
Suppose Design Office Curator: Masaaki Takahashi (BRIZHEAD)
Duration: August 14, 2009 – January 31, 2010
Venue: DIESEL DENIM GALLERY, AOYAMA
Makoto Tanijiri of Suppose Design Office designed a store installation at the DIESEL DENIM GALLERY in Aoyama, Tokyo. The DIESEL DENIM GALLERY is only located in Tokyo and New York as it is the signature store for the most prestigious collection at DIESEL and it functions as a gallery space as well. The DIESEL DENIM GALLERY takes an active role in supporting talented uprising artists by providing the gallery for them to exhibit their work. Twice a year the DIESEL DENIM GALLERY presents installations on the first floor, while the art exhibitions are held in a quarterly basis as they feature various artists on each floor. The art pieces are available and are sold at the DIESEL DENIM GALLERY.
The concept of the installation is based on a single idea [The Garden] a walk through nature, while the plastic plumbing pipe tree grows into the store. The idea is a plastic tree which has grown over time and has covered the stores ceiling and walls with its branches. An atmosphere like a natural axis is created in the space covered by artificial plumbing. The plumbing and the light effects give off amazing scenographic shadows on the wooden floors and the polished cement slab walls. The white plumbing pipes have an amazing contrast with the black ceiling when the visitor looks up to see the shapes that the growing branches form. The complex plumbing trails by the polished grey cement wall in all directions, and all over the space making it hard for the human eye to follow the ever-growing branch! The new attractive scenery is presented with plumbing and fashion items to primarily show how functional objects (like plumbing pipes) have diverse usage and a higher value when creativity gives these simple objects a whole new meaning! In the past denim which is primarily recognized as work clothing, has shown different expression as a fashion item to people. Respectively, a group of unnoticed plumbing shows a completely different expression when it is used in the concept “Nature Factory.”
text by Marcia Argyriades for Yatzer
for Neil Barrett’s flagship store in Tokyo, Japan.
In close cooperation with Patrik Schumacher, she created a shop that shifts between architecture and sculpture, designed to parallel the same folding, pleating, cut- oud and fixed point design ethos utilized in the brand’s clothing of Neil Barrett’s fashion design.
The concept of the store plays with the dualism between male and female. This is echoed in the furniture design, through the language and quality of the materials that are used on both floors. The ground floor is more based on a ‘masculine and dynamic form’, while the first floor is more feminine, with ‘fluid contour lines’.
This interplay between male and female is followed through in the general aesthetic concept, setting the furniture piece with a white smooth Corian finish against the raw fair faced concrete surface of the rest of the space. This is further accentuated through the contrast in colour and finish of the white matt furniture finish against a black glossy floor.The final designs are shaped by 3D computer generated models. These are processed by the manufacturer using further software to thermoform the sheet Corian into the 3D designed surfaces. A series of these surfaces are fabricated with joints, ready to be assembled into larger sections on site.
Kapilux is an insulating glass with an integrated capillary slab consisting of a large number of honeycomb-structured thin-walled transparent or white capillaries. This capillary slab can be integrated into different kinds of insulating glass, and it diffuses light effectively.
Energy transmission, light transmission, and light diffusion can be adapted to the facade orientation and the room behind the facade.
New York based firm, Peter Marino had designed Chanel Flagship store in Tokyo using this Kapilux product with 700,000 embedded LEDs for the facade system.
The massive display can project footage of fashion show runway scenes or an electronic version of Chanel’s iconic black-and-white tweeds on a larger-than-life scale. In transparent mode, the structure offers clear views inside or outside. The electronic mille-feuille can also transform from see-through to opaque, thanks to a combination of 3,675 square feet of canvas scrim and electronically controlled privacy glass.
Following the direction to develop an “UPSIDE DOWN” concept, in collaboration with architect Buro Tettero, SZI Design created an award winning innovatice design for the flagship retail shot for viktor Rolf in Milan, Italy.The boutique has the welcome mat on the ceiling, chandeliers bloom from the floor, oak parquet on the ceiling and chandeliers sprouting out of the floor. The upside-down neoclassical décor includes upended columns, archways and even the front door.
We wanted to give a new perspective on a shop,” said Viktor Horsting who, with Rolf Snoeren, designs one of the most conceptual collections in the business.
“You really enter into a surrealistic world, the Viktor & Rolf world, where nothing is what it seems to be.”
Architect Siebe Tettero, who worked with the two designers on their stately new headquarters in Amsterdam, said that, when they approached him with their need to “twist the classic,” he opted to revisit the neoclassical style, which he described as the most “recognizable and familiar” design.