(75)Space - Exhibition

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SPACE SPACE

Exhibition

www.beisistudio.com

Š 2009 by pace publishing limited issn: 1022-5609-75 isbn: 978-962-7723-74-5

pace publishing limited 17/f., north point asia-pac commercial centre, 10 north point road, north point, hong kong t: +852 28971688 f: +852 28972888 www.beisistudio.com pace@pacebase.com

publisher: george lam / george.lam@beisistudio.com editorial: diane tsang / diane.tsang@beisistudio.com proofreader: maisy chan design / layout: diane / micky

While all reasonable efforts have been made to ensure accuracy, Pace Publishing Limited and the publishers do not, under any circumstances, accept responsibility for errors, omissions and representations expressed or implied.

from the publishers.

cover photo: ŠLulu Poletti

All rights reserved. No portion of SPACE-EXHIBITION may be reproduced or transmitted in any form or by any means electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing

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Preface

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EXHIBITION DESIGN

by Carla Rumler The modern form of exhibition, which is today so closely linked to design excellence, is all about presenting a brand or product in a glamorous and above all, emotional environment. Thanks to the introduction of a whole range of elements designed to stimulate the human senses today’s visitor is now able to experience the very essence of a space in a personal and heartfelt way.

A well presented exhibit is an opportunity to present a brand in a way that guests can perceive it in emotional layers by stimulating all the senses – touch, sound, sight, smell etc. Design, of course, is an essential aspect of making this a reality. The well-designed exhibit now transcends being a space and instead becomes a medium of communication.

The presentation of a brand in this “3D” format excites and entices the visitor and leaves an indelible impression, which is as much about its deeper meaning as about the product itself. You never get a second chance to make a good first impression.

Designing today’s exhibition spaces is about creating an atmosphere where visitors inherently understand that there is a magnetic attraction to the product. The new exhibition needs to be choreographed. There must be a certain orchestrated rhythm between space, light, dimension and form. By concentrating on specific design elements it is possible to achieve a desirable, harmonious and sophisticated aesthetic. The presentation of contrasting materials – translucent versus monumental aspects, for example, can inject drama and impact.

About Carla Rumler

One of the most important elements in designing state-of-the-art exhibition spaces is light, which Gernot Böhme, in his book “Architektur und Atmosphäre” describes as “immensely important”. “Light makes things appear in a certain way,” he says, or “disappear”, or “to be without contours”. “Through the use of light, products become tangible,” he concludes.

In 1985 Carla Rumler operated her own fashion shop “Carla” in St. Anton, while also acting as consultant for interior decoration, fashion, and buying for other boutiques. She also worked with Tyrol Advertising on the development of the Italian tourist market, and later became Creative Consultant for the company and was Art Director on projects from 1988.

While at Tyrol Advertising she managed Corporate Image development and supervision of all public appearances, and was involved in design of exhibition stands, presentation, art direction and dramaturgy for big events, as well as working on image and film projects. During the same period Carla provided freelance creative assistance for designer fashion shows in Milan including Byblos, Genny, Gucci, and creative work on various international design image brochures and campaigns for various designers like Boss.

Equally important is the use of sound, which can anchor the brand attributes in the consciousness of the visitor. Sounds can also be used to interpret a theme and to awaken emotions. This is not about hearing something in particular; instead it is about stimulating the auditory senses.

New exhibition spaces should allow every visitor to interpret the space in their own way. It is a new format that becomes a perfect platform for companies to introduce their brands in a congenial and emotional atmosphere, a development in which brands like Armani with “Armani Teatro” and Dolce & Gabbana with “The Metropol” have been in the forefront.

This trend has now redefined the role of today’s exhibition: the modern presentation platforms have become a series of spaces in its own right.

In 1995, Carla assisted with the Corporate Image design for Swarovski Kristallwelten (Crystal Worlds), worked freelance for Swarovski in 1996 and was later engaged by engaged by Swarovski Optik as Art Director in 1999. In 2006, Carla was made Creative Director of Corporate Communication for Swarovski.

Carla Rumler, 2009

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Contents

004 Preface VitrA 2007 “Urban Sensuality” at the ISH, Frankfurt am Main 010 Totems

| Communication & Architecture Hatria Cersaie 2005, Bologna 018

Paolo Cesaretti bathe @ designEX ‘07, Victoria 026 exponential design

VitrA Bathroom Culture “MOD Collection”, Milan 036 Totems | Communication & Architecture

Reece exhibit @ Interior DesignEX ‘04, New South Wales 042 exponential design

Swarovski Bathroom made by Kludi, Düsseldorf 046

JOI-Design Innenarchitekten GmbH Forbo @ designEX ‘07, Victoria 052 exponential design

Feltex @ designEX ‘07, Victoria 056 exponential design

Casa Italiana, São Paolo 060 La Simone Micheli Architectural Hero

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Eclectic Match, Prague 066 mimolimit

Stand Urmet 2007, Milan 076 Park Associati

Papercut, Athems 084

dArch Studio

Béthanie, Hong Kong 090

Marc & Chantal Design

Haworth stand - Orgatec, Cologne 166

Gensler

District @ Amsterdam International Fashion Week 096 Concrete Architectural Associates

Through Our Eyes Exhibition III — City Kiss, Hong Kong 100 Joey Ho Design Ltd.

Canon Expo 2007, Hong Kong 108 Oval Design Ltd.

Coop / ECR 2007, Milan 122

VC A

HKU at Innovation Expo ‘07, Hong Kong 208

Oval Design Ltd.

Double Happiness Pavilion, Hong Kong 128 Andy Tong Creations Co., Ltd.

Coke Museum, Shanghai 134 Oval Design Ltd.

222 A c k n o w l e d g e m e n t s

Antique Toys Gallery, Hong Kong 142 Andy Tong Creations Co., Ltd. Mobile Experience Zone, Shenzhen 150 China Marc & Chantal Design Lobby Showroom, Tokyo 156 Fujikura Ichiro Nishiwaki Design Office Inc.

Leonardo Glass Cube, Bad Driburg 174 3Deluxe Virginia Museum of Natural History, Virginia 188 Reich + Petch Design International Hong Kong Wetland Park, Hong Kong 196 MET Studio

Barbados Concorde Experience, Bridgetown 214 Reich + Petch Design International

VitrA 2007 “Urban Sensuality” at the ISH, Frankfurt am Main

Frakfurt am Main, Germany 650 sq.m.

VitrA’s brand values and the values of its products which are highest quality, pioneering spirit, and distinctive style are communicated into an environment that is absolutely upfront in terms of design and quality. The sensuality of a moving natural pattern — designed by Ross Lovegrove — and the clarity of urban architecture give birth to an exciting combination of distinctive style and urban sensuality.

Totems | Communication & Architecture

Sensuality of a moving natural pattern and clarity of urban architecture give birth to distinctive style and urban sensuality.

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Upstairs Bar Floor Plan

Client VitrA Bad GmbH Design Team Frank C. Ulrich, Cüneyit Akcakoça Main Contractor Hospes Team GmbH Lighting Consultant Hospes Team GmbH

G/F Floor Plan

Media and Video Consultant Gahrens + Battermann Photography P3 Photo Production Pool

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Hatria Cersaie 2005, Bologna Paolo Cesaretti

Bologna, Italy 200 sq.m.

The play of opposites is clear and direct — outside and inside, wihite and black, day and night, natural and artificial, organic and industrial, open and restricted.

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Commercial, and therefore chaotic and competitive, contexts, such as international fairs, require the designer to operate with extreme clarity and sense of the scene. The request for a stand design to exhibit bath fixtures — a highly functional product with a new iconic status — led us to think about something away from the current trends of this specific market. We searched for an unconventional theatrical space framing the plastic qualities of the products and adding value to the brand’s communication aims.

abstract vs. natural environment and the second with a black n’ urban mood as a stage for the debut of work-in-progress products. The first area is open to everyone and the second has restricted access. The play of opposites is clear and direct — outside and inside, white and black, day and night, natural and artificial, organic and industrial, open and restricted — contributing to create a symbolic experience of the space and to achieve a different perception of the product.

We organized the entire architecture as a linear combination of bold boxes divided by thin cuts allowing in-depth sights of the inner space.

A free moving plastic curtain with a water-like effect filters the outside from the inside, introducing the exhibit spaces. We split the inside space in two: the first area exhibiting the top products in an all-white,

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Floor Plan

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Client Hatria Spa / Gruppo Marazzi Design Project Team Paolo Cesaretti (Designer), Annette Wolf (Assistant) Main Contractor Giommi, Pesaro Photography Stefano Stagni at Paolo+Stefano

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Floor Plan

bathe @ designEX ’07, Victoria exponential design

Victoria, Australia 80 sq.m.

The new identity depicts a moody, morning sea panorama, brought to life through the use of printed translucent scrim drops and deep blue perimeter walls.

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It was imperative for the design of the bathe exhibit to reflect their recently released corporate identity and for the concept and quality of the exhibit to enhance the design philosophy and forms of their collection of high-end bathware products.

associated with the benefits of beachside living, intrinsic to Australian culture and the bathe corporate identity. Their new identity depicts a moody, morning sea panorama, which is brought to life through the use of printed translucent scrim drops and deep blue perimeter walls that frame the gallery-style space. Building on the brand awareness generated by the recently re-branded bathe showrooms nationwide, patrons are captured by the strong contrast between the refined bathware and the raw nature of the stencil art and graffiti-treated internal walls that feature profiles of the bathe designers and their philosophies. Amongst the stencil and graffiti -treated walls, the immaculate bathware products are set against warm natural timber islands, reminiscent of beachside holiday shacks.

The client outlined in the creative brief that every product range was new; therefore, every product within each range was in fact a heroproduct. The subsequent design challenge was to create an exhibit that created a balanced presentation of a broad range of bathware products.

Embracing the launch of a recently released corporate identity and showroom re-branding programme, the bathe exhibit suggests our ever-merging inner and outer city environments. Externally, the bathe exhibit sets a mood for serenity, relaxation, and wellness, qualities

Once inside the space, patrons move through a multi - layered experiential environment, which is enhanced by a black scrim ceiling

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and blue mood lighting. Working spa baths with programmable lighting add to the sensorial experience. To further enhance the integrity and credibility of the bathe brand, translucent scrim drops identify internationally renowned designers of their collection. In response to today’s longing for a sense of well-being, the bathe exhibit is a space for patrons to appreciate some of the world’s finest bathware product.

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Stencil art and graffiti-treated internal walls feature profiles of the bathe designers and their philosophies.

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Client bathe Design Team Daniel Dalla Riva, Adam Calello, David Clarke Main Contractor Expo Solutions Group Lighting Consultant Clifton Productions Lighting Clifton Productions, Gamma Illumination Furniture Zebrano prefinished board custom joinery

by Laminex Wall Covering White melamine & black melamine by Robot Trading Artwork Saatchi & Saatchi, Exponential Design AV System Durham Audio Visual Photography Damian Shaw

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VitrA Bathroom culture “MOD Collection”, Milan

Milan, Italy 100 sq.m.

Totems | Communication & Architecture

A medial installation interprets and projects Ross Lovegrove’s design concept and the motives behind it on three sinks arranged side

“MOD” is the new product line for VitrA Bathroom culture designed by Ross Lovegrove, showing the target group of architects and designers surprising possibilities of variation and the modularity of these sanitary elements.

The emotionality of the projection attracts visitors who can easily find their way to the central theme with the separately communicated product attributes, thereby becoming prospective buyers.

Reduction to the essential — a creative stabilizing element in the “madness” of the International Milan furniture trade fair, a catalogue to the pure, simple design of the “MOD Collection”. The products are grouped on the three main exhibi tion wall s according to their statement: “modularity of scale”, “modularity of shape” and “modularity of design”. A medial installation interprets and projects Ross Lovegrove`s design concept and the motives behind it on three sinks arranged next to each other.

by side.

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Client VitrA – Eczasibasi Yapi Design Team Frank C. Ulrich Main Contractor Hospes Team GmbH Furniture EDRA Photography Lulu Poletti

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Floor Plan

A highlight of the design concept was the use of the beautiful imagery of water in motion. The translucent voile drops appear to mysteriously float in the air, inturn accentuating the elegant proportions of the space.

Reece Exhibit @ Interior DesignEX ‘04, New South Wales

New South Wales, Australia 44 sq.m.

exponential design

Reece has always been synonymous with “trade” supply (plumbers, etc.), creating a perception that the company lacked the product portfolio and expertise to deliver high end, stylish products. The exhibition stand aimed to shift the brand’s market positioning and promote Reece’s range of high quality, internationally designed bathroom products to a new customer base, in particular, architects, interior designers, and specifiers.

high, 11 metres wide, and 4 metres deep. On a micro level, the stark box transformed into a tranquil and captivating environment — an elegant white room with a 6 metre high ceiling. The blank canvas concept was a critical ingredient in the successful display of predominantly china white products on a pure white background.

The flow into and out of the stand can be likened to the way in which water moves through pebbles in a riverbed — low freestanding product walls, and translucent banners allowed patrons to move onto the stand from any open side, and pass by the displays as they flowed through the space. Reece staff, in sharp charcoal coloured attire, stood out amongst the stark white surrounds. Whilst infinitely approachable, the intention was to allow patrons to flow through the stand unhindered, and without any talk of a “sale”, unless expressly requested. Ultimately the product spoke for itself, as it should.

The stand design’s message had to be strong and clear — we proudly and exclusively present to you, the architect, interior designer, specifier, our collection of the most beautifully designed and manufactured bathroom products from around the world.

The flow into and out of the stand can be likened to the way in which water moves through pebbles in a riverbed.

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The design is an exploration of how an exhibit can exist and succeed in a competitive industry show environment, on both a macro and micro level.

On a macro level, the space was a beacon of pure white, at almost 6 metres

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Client Reece

The space is a beacon of pure white, almost 6 metres high, 11 metres wide, and 4 metres deep.

Design Team Daniel Dalla Riva, David Clarke Main Contractor Expo Solutions Group Lighting Consultant Clifton Productions Furniture dare gallery Wall Covering Eco Concepts, Dulux Flooring Robot Trading AV System Durham Audio Visual

The linear use of natural materials such as timber and slate stack stone introduce depth, texture, and warmth to bevel the edge of the sharp interior concept.

Photography Lynton Crabb

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Swarovski Bathroom made by Kludi, Düsseldorf

Düsseldorf, Germany 240 sq.m.

enhanced by the finest materials that is designed for reflection in every sense of the word.

For the showroom design concept JOI-Design made high demands. The showroom had to be transparent and inviting while, with a whiff of mystic, showing the technical details of the bathroom. The challenge was to merge the spangled world of Swarovski crystals with the armatures from Kludi — shiny, luxurious, and at the same time, highly sophisticated.

The “Dazzling Daydream” project results in two model bathrooms that transcend the concept of bathing luxury. Work inspired by the world of beauty and the infinite shapes of cut crystal.

JOI-Design Innenarchitekten GmbH

The Swarovski Bathroom presents a total architectural concept that goes beyond equipping a functional space to presenting it in a third, poetic dimension.

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The Swarovski bathroom architecture allows noble materials to interact with the large structures and the smallest details. Sparkling crystal is used to enhance the interplay of light and water while transparent materials and reflections create a poetic atmosphere of glamour and harmony.

“Passion” — striking architecture with a glittering touch of mystery that deploys granite, limestone, ceramic, crystal, glass, and chrome, and “Delight” — translucent and bright in limestone, crystal, glass, wood, and chrome. Altogether, the Swarovski Bathroom presents a total architectural concept that goes far beyond equipping a functional space to presenting it in a third, poetic dimension. This is crystalline bathroom architecture

In the shop, the bathrooms themselves appear like twinkled crystals. On the one hand free standing and on the other, buried in a contrasting rusty wall of iron. The open room structure of this first showroom reveals astonishing views again and again and offers a clear orientation to the client as well.

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The archaic rusty iron is combined with high-class lumbers, elaborate lighting, accentuated glass cabinets, ornamented tiles, and unique accessories. All this together makes the ambience of the shop: elegant and exclusive with a distinguished flair. The bathrooms are “Passion” and “Delight”!

Floor Plan

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Client Kludi GmbH & Co. Photographer Christian Kretschmar/ JOI-Design Innenarchitekten GmbH

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Renderings

Forbo @ designEX ‘07, Victoria exponential design

Victoria, Australia 72 sq.m.

In this veritable Forbo world, a 60’s inspired retro caravan takes centre stage amidst lush green Forbo mountain backdrop, blue Forbo river,

The primary objectives for the Forbo stand at Interior Designex were to reintroduce the Forbo product range as more than just a flooring product and to reinforce its positive environmental advantages over competitor offerings. Secondary objectives included the creation of a memorable, enjoyable space in which patrons could view and discuss the various Forbo products, particularly the new Artoleum and Graphica ranges.

A 60’s inspired retro caravan took centre stage with a lush green Forbo mountain backdrop, complete with blue Forbo river, Forbo sky and even a Forbo rainbow. A look-out station made for a great vantage point to enjoy the stand in full. Sprinkled around this were postcards sent by a couple from around the world showing images of the latest Forbo installations; a creative idea that involved patrons on a more personal level — a bit of marketing “sneak-through”.

The design solution was to present the Forbo product as an integral part of nature, seamlessly merging the stand structure with the Forbo product itself, creating a veritable Forbo world. The resultant diorama created an air of playful imagination where patrons were enticed to dream of new ways of looking at the world, with Forbo as the primary construction material.

A Forbo forest at the front of the stand, including a nature soundscape, completed the environmental theme and added some powerful visual grandeur.

The use of an environmental theme in such a playful and creative manner made for a great conversation starter and positioned Forbo as a must see installation. Not only did the stand form a memorable

Forbo sky, and Forbo rainbow.

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connection between Forbo and the environment, it also produced a creative atmosphere for patrons and staff to discuss the latest Forbo products and other dynamic flooring solutions made possible with Forbo.

Client Forbo Design Team Daniel Dalla Riva, Andrew Spinks, David Clarke Lighting Explosion 24 light halogen by Beacon lighting Photography Damian Shaw

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Feltex @ designEX ‘07, Victoria exponential design

Victoria, Australia 60 sq.m.

Within the “Mysterious/Luminous” experience, a soundscape of chirping crickets and running water captures the attention of patrons as they

The client outlined in the creative brief that the design of the Feltex stand should reflect the latest Feltex Forward trend report themed, Dreamscape. Feltex Forward is a quarterly trend report developed from material presented by ESP Trendlab in New York and is currently sent out electronically every season to around 2,000 designers and specifiers throughout Australia and New Zealand.

Within the “Mysterious/Luminous” experience, a soundscape of chirping crickets and running water captures the attention of patrons as they enter the enchanted, moonlit, butterfly forest. In contrast, the “Mysterious/ Luminous” setting is a palette of black textures and finishes, featuring an arrangement of hand-folded, shocking pink, origami butterflies against a forest of black trees. As a memory of this experience, patrons are given “Mysterious/Luminous” butterfly brooches to accessorize their outfits.

At designEX 2007 we brought these trends to life and invited patrons to experience the trends forecasted by Feltex for the next season, “Fragile/ Futuristic” and “Mysterious/Luminous”. Within the “Fragile/Futuristic” experience, the angelic harmonies of the Tallis Scholars set the scene for an eerie setting of antique furniture wrapped in an amorphic skin of white lycra. A veiled chandelier, white fringing, and a crystal decanter collection offer delicate and fragile touches.

The tastefully branded, elegant, tactile structure gives the exhibit height and stature, while creating a powerful backdrop for the dreamscape experiential areas and the carpet wall displays. A long service bench offers guests and staff a place to do business and discuss the full collection of Feltex carpets. In theme with the experiential spaces, the Kartell Ghost furniture settings provide guests with a moment to relax and enjoy.

enter the enchanted butterfly forest.

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Client Feltex Design Team Sarima Blakey, Daniel Dalla Riva, Adam Calello, David Clarke Main Contractor Expo Solutions Group Lighting Consultant Clifton Productions Art Consultant Domino Productions Lighting Clifton Productions, Capitol Lights, Schots Home, Emporium Furniture Ghost Stools and T-Tables by Kartell Wall Covering Painted Walls by Dulux, White Extenzo stretch wall by Plaza Interiors White Fringing by c.b. Australia Acrylic panelling by Mitchell Plastics Flooring Feltex Artwork exponential design AV System Durham Audio Visual Photography Damian Shaw

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La Casa Italiana, São Paolo

São Paolo, Brazil

Simone Micheli Architectural Hero

The spaces are soaked with artistic values and technology meant to become an open guidance.

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The “Italian Home” is the stage for a production characterised by domestic scenes taking place in a fluid dimension full of functional and technological values, illuminated by the leading players operating in modern aesthetics at the international level. It is a detailed reflection on the issues related to housing which leads me to declare that everything needs a radical change. The approach to housing shall modify its features progressively and become increasingly connected to a range of needs and necessities to turn it into a metropolitan cave where people find shelter and conduct new unconscious rituals aimed at their psycho-physical regeneration and new work rituals; it shall become a real oasis of well-being.

fast social and behavioural changes characterising our modern lives.

The stereotype referring to the “tradition” needs to be overcome and overwhelmed to define new home scenarios fit for being termed as such. My spaces are soaked with artistic values and technology, and is meant to become an open guidance for future interventions and milestones capable of marking a precise stance in terms of content and language suitable for the present and the future, endeavouring to avoid turning into rules. Reversing well-known perspectives means exploring new dimensions and fostering evolution.

A development aimed at a tangible and fundamental target suitable for future processing in terms of design, production and mankind.

The focus on the environment and the quality of life in the exhibition is shown by the energy saving equipment installed in the house and

The management of spaces and the landscape formed by interior design shall modify their essence with reference to the increasingly

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mainly by the selection of companies whose production processes are certified according to the strictest environmental regulations and consider the concept of the environment and environmental sustainability as an ideal system to guide and support all corporate choices. I believe that in the spaces devoted to metropolitan human beings “different” events may take place and unknown 3D stories may be told to become new experiences, perceptions, and lives. This is the context in which the “La casa Italiana” project was developed; a chameleon-like metropolitan achievement that celebrates fragments of the spirit of Italian design in the various aspects of the present age.

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Promoter Ministry of Economic Development Sponsor Companies Adrenalina, Artemide, Axia, Chelini, Cordivari, Dedar, Fendi Casa Gervasoni, Gessi, Gewiss, Graniti Fiandre, Lualdiporte, Mangani, Mauro Casamatta, Move, Oikos, Presotto, Rapsel, Sassi Arredamenti, Simas Acqua Space, Snaidero, Starpool, Technogym, VGNewTrend Photography S.M.A.H.

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Eclectic Match, Prague

The name Eclectic Match is chosen because we wanted to work with a lot of different contrasting elements that can work well together. The inspiration came from the haute couture fashion shows. Whenever I watch them, I enjoy the fact that they are about visual sensations and feelings. I have wanted for quite some time to create a semi-realistic interior. The intention was accelerated by the meeting in Shanghai with Jerry Chen, who specialises in Asian antiques. He showed me a world that, until then, was unknown to me. Jerry came to Prague and we agreed to put together an exhibition. My wish was to have our semi-realistic interior act as a stimulus for feelings that a person could experience in an interior under very special circumstances. Our installation should tell a story of emotions, spatial possibilities, and connections between apparently incompatible elements.

Prague, Czech Republic 2,100 sq.m.

mimolimit

The installation should tell a story of emotions, spatial possibilities, and connections between apparently incompatible elements.

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Client Konsepti / Mimolimit Main Contractor Konsepti Lighting Václav Kubela Photography Filip Šlapal

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Floor Plan

Stand Urmet 2007, Milan

Milan, Italy 560 sq.m.

Park Associati

The stand for Urmet group, inaugurated during the Livingluce 2007, is designed to express the image restyling made by the company during European fairs of next three years. The project rises from the collaboration between Park Associati and Studio FM, responsible for the new corporate identity of the company.

A large black board with graphics (on the floor and on the wall) conduct the visitor throughout products and services offered by the group. Suspended cylinders of various dimensions define the different themed product areas and introduce a series of graphics with a strong visual impact towards the exterior and the exhibition of items towards the interior.

Suspended cylinders of various dimensions define the different themed product areas.

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A big black parallel pipe is the background of cylinders and hosts meeting rooms and the bar area.

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A large black board with graphics conduct the visitor through products and services offered by the group.

Client URMET s.p.a.

Design Team Filippo Pagliani, Michele Rossi, Alexia Caccavella, Claudi a Campana, Alice Cuteri, Sara Spimpolo Graphic Consultant Studio FM Milano Photography Paulo Pandullo

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Papercut, Athens

Athens, Greece 90 sq.m.

dARCH Studio

The two dimensional material is transformed into a volume interacting with its surrounding space and provoking visitors in free interpretation.

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“YESHOP IN HOUSE” is the result of the collaboration between the Greek architectural office dARCH Studio and the fashion designer, Yiorgos Eleftheriades. It is located on the first floor of a two-storey building at the centre of Psirri, Athens, where the fashion designer works and exhibits his work. According to Elina Drossou, architect and founder of dARCH Studio: The need to synthesize the two different approaches to design (fashion design and architecture) was the focal point of this project.

Concepts and practices used in fashion design were incorporated as organizational principles during the design and construction phases of the project.

space, lounge area, party space, and small scale fashion shows). The ephemeral character of the refurbishment was a wish of the client.

Existing furniture was rearranged in order to bring in the two new constructions that were handmade, using eco-friendly corrugated pa ckag i ng ca r ton s . The s e n s e of pa cki ng (a s a refe re nce to refurbishment, moving, and ephemeral) was spatially expressed and applied in a derivational manner that structured the space.

On the southern wall, the existing furniture was rearranged either with the same use or derived application. Trying to free as much space as possible and emphasize the movement of users, the massy furniture was suspended (screwed up) on the wall, where the tables became lightings, the book case turned into a stand for the coffee machine and display case. The wall was covered with corrugated carton (5mm

The concept of the approach was the design of site-specific constructions that would emphasize and intensify the continuity of space and its homely feel while at the same time homogenize in a mental and formal way the varying events that happened in the “house” (shop–exhibition

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thick) in strips, with the corrugated side of the carton on the front. As a result, the furniture appeared as if it was wedged in the cardboard. The metallic hangers were rearranged in a radial pattern to accentuate natural lighting and user movements in the “house�.

The materials used by the designer in the refurbishment were intended to emphasize the dynamic properties of the contrasting space, in terms of value and texture. The two new syntheses in the atelier were constructed with (the 100% recyclable material) corrugated cartons and low cost OSB wood.

The synthesis on the eastern wall was based on the design of a biomorphic self-illuminating construction made from thousand corrugated carton boards in correspondence to synthesis on the southern wall. The boxes that perforated the liquid form produced displays for the objects designed by Yiorgos Eleftheriades. The displays were intensified by the use of built-in indirect lighting and curved paper sittings.

Every construction in the atelier was made ad situ as site-specific prototype models. For 15 days, the architects of dARCH studio and their equipment were relocated to the showroom. More than 2,000 blueprints (horizontal sections of the curved parts) were produced and used as patrons for the hand-cut sheets of carton. Each sheet was glued in its specific place and so on.

Via stratification, the two-dimensional material was transformed into a volume interacting with its surrounding space and triggered visitors for free interpretations.

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Massy furniture is suspended on the wall - tables become lightings, and book cases turn into display cases.

Client Yiorgos Eleftheriades Design Team Elina Drossou Architects Project Management Elina Drossou Collaborators Nikos Karkatselas, Chrysa Konstantinidou Photography Vasilis Skopelitis, Elina Drossou

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Béthanie, Hong Kong

Hong Kong, China 195 sq.m.

Marc & Chantal Design

Marc & Chantal Design was chosen by the Hong Kong Academy for Performing Arts to present the history of the French Missions’ presence in Hong Kong through a publication and museum on Béthanie and Nazareth, which serve as the French Missions’ physical foundations for over a century.

illustrating the history of these notable buildings and their missionary occupants from previously photoed images and highly entertaining text.

The design of the book was inspired by the interchange of French and Chinese cultures. Historical maps were recreated as antique Chinese maps to actualize graphic interpretations of Chinese bookbinding techniques that went hand in hand with Western accents and details.

Built by the Fathers of the French Missionary in 1875 as a sanatorium until 1974, Béthanie is located on a hilltop in the Pokfulam district and is one of the few remaining historical buildings in Hong Kong. In 2003, the Hong Kong Government awarded the site to the Academy for Performing Arts who carefully restored and converted it to become their School of Film and Television.

Cleverly simulated wood crates disguise storage space and air-conditioning units.

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Under a modest budget, the majority of the book was printed in a beautiful duotone that perfectly suited the numerous historical images.

The last section was the only section printed in full color to showcase the photographs of Béthanie after the restoration.

Marc & Chantal Design began this project with the publication of the book; “Béthanie and Nazareth: French Secrets from a British Colony”

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Working closely with its author, Alain Le Pichon, Marc & Chantal Design became fully familiar with its rich history and embarked on creating a three-dimensional version in the shape of an intimate museum.

The museum is located in the basement of BĂŠthanie, formerly the storage cellar and washroom. The designers admired the humble and inventive nature of the French Fathers and decided to take the same approach with their design using intelligent solutions, modest materials, and the spirit of preservation to guide them.

Original wine bottles and other historical artefacts found on site were used with reproductions of historical books, documents and images presented in window displays, video, and multimedia devices.

Respecting the original use of the cellar, much of the shelving was reused; and in one room, they cleverly simulated wood crates to disguise storage space and air-conditioning units for the exhibition.

Marc & Chantal Design relished the opportunity to be part of presenting this portion of Hong Kong history to the public in a friendly and genuine manner true to the principles of the French Fathers in their days.

Marc & Chantal Design took extra care to unite the historical elements and employed materials that were native to the building. In developing the structure and design for the exhibition, they entirely respected the original floor plan of the cellar and focused on telling the story in an approachable manner.

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Client Hong Kong Academy for Performing Arts Design Team Chantal RĂŠchaussat, Marc Cansier Photography Mr. Virgile Simon Bertrand

The design of the book was inspired by the interchange of French and Chinese cultures.

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District @ Amsterdam International Fashion Week, Amsterdam

With a goal to give the Amsterdam Fashion Fair a place on the map, a unique event that would separate itself from the somewhat boring, conventional set up was planned for.

Amsterdam, The Netherlands 1,750 sq.m.

Concrete Architectural Associates

was redesigned to accommodate approximately 100 brands, and the Pavilion was created to include a lounge area for parties. The Pavilion was also the connection between the Gasthouder and the Transformator Building where visitors could access all areas without having to go out into the cold during the winter.

In cooperation with District, we wanted to create a fair which would resemble a good night out full of excitement, and one that would make you lose track of time. By creating the circular stands and using the space between them, a forest of identities arise where you could wander through and even lose orientation. The semitransparent curtains would trigger your curiosity and you would soon be confronted with brands never heard of before.

The fair consisted of 58 cylindrical stands with 5 different diameters.

The cylinders were formed by white curtains hanging from trusses (circular steel bars) top down from the ceiling. Clothing racks were placed in every stand with the same bending radius as the trusses.

In the middle of the fair, a huge cylinder was created from white curtains and wooden flooring to provide space for a restaurant. A pink, comfortable, leather couch was placed along the edges of the stand. There was a round bar in the middle of the restaurant. Finally the smallest stand, close to the restaurant, was reserved for the DJ.

By using circular stands and using the space between them, a forest of identities arise where one can wander through.

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The grounds of the Amsterdam International Fashion Week (from 28 to 31 of January 2005) were divided into three areas. The Transformator Building was revamped to cater for catwalk shows, the Gasthouder

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Client Moshi Moshi

The Pavilion was the link between the catwalk and the fair. At the same time it was the main entrance and the lounge. When you entered the pavilion, you would see the reception made of a multi-ply cylindrical bar and a pink leather top. At the left side was the wardrobe, and on the right the press unit. Past the reception, you would enter into the lounge, a rounded area surrounded by draperies. In the middle, a bar (Mobile Blender Bar) was located with lounge chairs and tables set up during the day. The room would be cleared for parties (except off course for the bar). Behind the lounge, an area was reserved for Concierge (a customer service centre that provided everything you needed, from drinks to tickets to the next party).

Design Team Rob Wagemans, Jan Paul Scholtmeijer, Stan Flohr General Contractor PTB, Partner in Building Flooring Pink carpet, Okoume multi-ply board Wall Covering White curtains Ceiling White curtains Lighting Chandelier, theatre spots Photography Jeroen Musch

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Through Our Eyes Exhibition III — City Kiss, Hong Kong

Going into its third year, the “Through Our Eyes Exhibition III” organized by the Robert H. H. Ho Family Foundation aims to let people explore different little stories of our lives, our communities, and our city.

Located in the busy and hectic city centre of Hong Kong’s Times Square in Causeway Bay, the design imitates the cityscape around it. The tower block modules are reminiscent of the densely populated urban environment. With a variety of students’ works being showcased from different perspectives, it urges the public to pay more attention to our

Hong Kong, China 156 sq.m.

Joey Ho Design Ltd.

city’s story. A city full of wonderful stories yet to be discovered.

The tower block modules are reminiscent of the densely populated urban environment.

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Photography Ray Lau

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Canon Expo 2007, Hong Kong Oval Design Ltd.

Hong Kong, China 3,000 sq.m.

Canon Expo is an annual showcase of Canon’s revolutionary digital imaging technology. The objective was to create an innovative and interactive space that allowed visitors to enjoy a fun-filled viewing experience, in addition to further strengthening the client’s position as the world leader of total digital imaging solution.

The Ice Stadium, as centrepiece of the Expo, has been purpose-built for the ice-skating extravaganza, “Swan Lake on Ice”, performed by the world-renowned Imperial Ice Stars from Russia. As well as enjoying the performance, visitors can capture the high-speed performance by using the professional EOS cameras with high-resolution telelens set up at the audience platform.

The concept is based on a self-contained digital community that resembles the amenities in the real world, such as boutique, bar, cinema, sports stadium, museum, school, etc. The presence of such familiar settings not only highlights the advanced innovations, which embody our daily life, but also echo the market positioning of various product lines.

At the 3D Theatre, visitors can experience the HD quality of video products by viewing the 3D trailer of “Swan Lake on Ice”. The exterior design of the theatre is reminiscent of a 1950’s cinema with running lights and bulb lined posters, offering a nostalgic but interesting contrast with the advanced technology showcased inside.

The concept is based on a self-contained digital community that resembles the amenities in the real world.

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At the entrance, multiple optic reflections of a single graphic identity light box that creates a visual 3D globe serve as a playful trompe-l’oeil herald of the fun adventures awaiting the visitors.

Instead of using miniatures as shooting objects, a specially designed bar environment with a juggling bottle performance by bartenders

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Design Proposal for the Canon Expo 2007

Technology Zone for Face Detection Demo & Pure Colour Demo Display Stand IXUS Boutique (IXUS Zone)

and backing music by a live Jazz band is located at Powershot camera display zone. A conventional water tank for waterproof camera testing is also replaced by a greenhouse that enables visitors to get into a wet and misty safari environment with EOS cameras.

Design Proposal for the Canon Expo 2007

This entertainment driven and interactive approach is fully immersed throughout every zoning such as the IXUS boutique, Digital School, Canon Museum, and Blog Park which reinforce the branding and create curiosity about the next expo to all visitors.

Counter for Demo Shooting Function Comparison

Canon Bar (Powershot Zone)

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EOS hanging structure projects image of “trendy” and “technology”

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Double deck structure for telelens trial

Greenhouse for visitors to experience waterproof features

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Design Proposal for the Canon Expo 2007

Inkjet Interior Graphic Modern Home Setting Display Bench “Kyuanos” Technology Display Stair for Display

Selphy Display Stands Home / SOHO (PIXMA)

Under special design environment, a print copy looks exactly the same as a real costume.

Pixma printer display zone is designed as a SOHO environment.

The portable printer zone is designed as a children’s playhouse.

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Digital technology zone

The main stage is designed as an ice-rink stadium.

Design Proposal for the Canon Expo 2007

Design Proposal for the Canon Expo 2007

Platform for demo DSLR Approx 10m x 10 m ice rink

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Canon Stadium (Main Stage)

Canon Stadium (Main Stage)

Canon museum for branding history display

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Canon blog zone for web surfing

Client Canon Hong Kong Co., Ltd. Design Team Dennis Wong, Dominic Kam, Dilys Cheung, Joey Chan, Elaine Yang Graphic Design Team Ming To, Karl Ho, Celia Chun Project Team Frankie Fung, Joey Szeto, Kenneth Tsui, Michael Cheung, Jack Lai 3d Movie Production Henry Chung Ice-rink Contractor Lunchbox Theatrical Productions Ltd. Lighting Pioneer Electrical Engineering Ltd. AV Contractor AV Promotions Ltd. Mulit-media Consultant Di Inc Ltd. Photography Danny Yu

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The international movement of ECR (Efficient Consumer Response) is inspired by four innovative principles of collaborative management between large-scale retail trade and manufacturers.

Coop / ECR 2007, Milan

Milan, Italy 300 sq.m.

VC A

Reproduced on the floor as a blown-up decorative pattern, the logo is the hallmark of the

Institutional vocation is the theme to be communicated alongside other values such as membership, solidarity, and sustainability, which has always been the distinguished work of Coop and has been used as its number one communication tool.

Ba s ed on t he ECR - I taly project dealing wi t h corpora te s ocial responsibility, since 2004, Coop — the leading Italian supermarket chain, has offered all of its suppliers the possibility to take some concrete actions in a few specific domains such as environmental protection, defence of human rights, and nutritional safety. In view of its participation in the yearly appointment of the forum, Coop has trusted the design of its stand to the Milan-based VC A Architetti, who has already designed the new in-store image and communication of the company’s hypermarkets.

The project is aimed at design simplicity. The institutional colours — white and red — have been matched in a rational mix of volumes and surfaces. Against this composition, two recurrent metaphors have been staged, namely “bond” and “embrace”, which immediately remind visitors of the company’s value focused approach.

Reproduced on the floor as a blown-up decorative pattern, the logo is the hallmark of the four exhibit areas dedicated to “fair” products, research in product design, handling of fresh products, and Coopbranded products respectively. The large bottom wall evokes and

four exhibit areas dedicated to “fair” products.

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magnifies the theme of bonding values and relations. A crowded reception and sampling area which embraces and celebrates the presence of people completes the space layout.

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Client Coop Italia Design Team Paolo Cesaretti (Designer), Christiana Vannini (Designer), Vito Ruscio (Assistant), Silvia Ferrario (Assistant), Claudia Astarita (Visual Designer) Main Contractor Way Photography Saverio Lombardi Vallauri

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General Layout Plan

Double Happiness Pavilion, Hong Kong

Hong Kong, China 150 sq.m.

Andy Tong Creations Co., Ltd.

The design is inspired from the Chinese word “double happiness” meaning gleeful, gathering, and celebration; the same as the

The design of “Happiness Pavilion” is inspired from the Chinese word “double happiness” which has the meaning of gleeful, gathering, and celebration; the same with the Lunar New Year spirit. The Chinese word “double happiness” (囍) is the basic unit of constructing the “Happiness Pavilion”, making 2 different spaces for the shoppers to experience the festive mood of the Lunar New Year.

The design includes an abacus decoration which refers to prosperous business, which is a lucky omen in the Chinese New Year and a pair of seats created from the word “double happiness” is a photo opportunity for shoppers, while a Corridor between the “single happiness” (喜) units create a relaxing atmosphere for shoppers to pass through.

Lunar New Year spirit.

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Client Sun Hung Kai Properties Ltd. (SHKP) Design Team Andy Tong (Design Director), Camby Hau (Designer) Photography Garrige Ho

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Coke Museum, Shanghai

Shanghai, China 300 sq.m.

Oval Design Ltd.

A 360-degree approach is applied by which the displays are not only at eye level but are hung from the ceiling creating a floating effect and concealed in the floor.

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Coke, one of the world’s most recognizable brands, has been increasing its presence in China in both sales and production facilities. To further foster brand awareness and loyalty, Coca- Cola appointed Oval Design to plan and build their first Coke Museum in Shanghai, where the Coca- Cola production plant is located. This museum aims to be a pilot scheme to be followed by similar projects in 50 other plants throughout China.

of red and white with the extensive use of spherical shapes and circles which make strong references to the bubbles and globe images, also reminiscent of the brand’s super graphics. The contours of the Coca- Cola bottle and coco bean are also embodied in the museum environment, which echo with the brand DNA. A 360-degree approach is applied by which the displays are not only at eye level but are also hung from the ceiling to create a floating effect and some are concealed in the floor.

The major target audiences are students, government officials, and invited group visitors. The client intended to convey the brand history, regional development, sponsorship programmes, and worldwide visions through fun-filled, approachable, and interactive designs.

These objectives are achieved through various means. The main colour scheme sees the ubiquitous presence of the logo’s colours

Interactive and audio visual elements are specially designed for youngsters ; an “I Coke” zone where they can play multi - media games, download the jingle online, watch various Coke TVCs through special binoculars, and learn the pronunciations of Coca - Cola in different languages. A life -size polar bear, the brand mascot,

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is also displayed at the entrance as a main attraction and photo taking point.

The layout of the museum features three concentric circles with a giant globe as the centrepiece. The circular corridor formed by these circles not only provides space for the exhibits, but form different thematic areas showing Coca - Cola’s involvement in sports and the Olympics, contribution to the environment, history, production facilities in China, various brands of the Coke family, and an area for visitors to purchase Coke souvenirs.

Visitors are enveloped in the multiplicity of Coca- Cola images and a kaleidoscopic experience as soon as they enter the museum.

Floor Plan

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The corridors fromed by these circles form different thematic areas showing Coco-Cola’s involvement in sports, contribution to the environment, history, etc.

The layout of the museum features three concentric circles with a giant globe as the centrepiece.

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Client Coca-Cola (China) Beverages Ltd. Lighting Consultant Oval Design Ltd. Art Consultant Ms. Dilys Cheung, Mr. Allan Chow AV Consultant Shanghai Vasisoft Multi-media Co. Ltd. Flooring Silkscreen on tempered glass Photography Peter Pang

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Antique Toys Gallery, Hong Kong Andy Tong Creations Co., Ltd.

Hong Kong, China 183 sq.m.

To present the theme of “toys gallery”, the setting applies a lot of toy elements to enhance a fun and playful atmosphere. Inside this mini museum are 5 zones displaying toys from different periods. The design of each is in harmony with each era. Visitors can move through the gallery while learning more about the toys’ culture in a fun and easy way.

The gallery itself looks like a toy. The exterior of the gallery makes use of the puzzle element and lots of mirrors, which makes the shopping mall atrium more spacious.

The exterior of the gallery itself looks like a toy, making use of the puzzle element.

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The first zone displays toys from the 20’s and 30’s. As the toys of the time were mostly made of wood, the use of wood is used as the main material to enhance the theme and creates a simple environment.

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The second zone displays toys from the 30’s and 40’s. The sides of the interior are made of iron sheet to match the antique metallic toys.

The core element tangram is applied in the zone displaying toys from the 40’s to 50’s. With the colourful wall finishing and light box platform on the ground as a Hopscotch game makes the environment more entertaining. In one zone, displays are incorporated using Tetris block shaped cases.

Old tenement building graphics are used to decorate the interior and showcases are incorporated with the building; this zone is like a mini old Hong Kong. Visitors learn about toy history as well as Hong Kong culture.

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Client Sun Hung Kai Properties Design Team Andy Tong (Design Director) Photography Garrige Ho

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China Mobile Experience Zone, Shenzhen

Shenzhen, China 930 sq.m.

Marc & Chantal Design

Marc & Chantal Design developed the concept and executed the design for the Experience Zone; a non-retail area that serves as a place to stimulate, learn and interact with the services and technology that China Mobile has developed for the consumer market.

the range and possibility of China Mobile’s services, the designers engage the visitor with a personalized experience by devising a virtual host to serve as a guide for each visitor.

The designers fuse virtual and tactile elements to create an energetic experience that encourages exploration. Visitors move through layers of information, interactivity, and design. Taking inspiration from the vibration of radio waves emitted by mobile phones, the space is planned around circular zones, each representing a different aspect of the China Mobile service offering.

Upon entering the zone, each visitor registers for a magnetic smart card that connects them to a personal host, activates all the interactive elements, and collects reward points as incentive to circulate through the entire space. Visitors can even choose a personality for the host — with profiles that cater to everyone, from kids to adults. The host becomes a familiar face, appearing life-sized on LCD screens at the entrance to each zone.

The three distinct zones for visitors to interface with are entertainment, lifestyle, and business. Each zone is constructed with overlapping, layered, and curved elements that form the display. To fully experience

Each zone has its own ambiance according to the nature of the service. The Business Zone employs dark woods for a sleek and polished look; the Lifestyle Zone uses light woods, pebbles, and fresh

The designers fuse virtual and tactile elements to create an energetic experience that encourages exploration.

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colours, giving the sense of a home interior; the Entertainment Zone with its warm, energizing colours is the most dynamic.

Through s t ra tegic devices and expres s ive des ign s olu t ion s, a mul t i - faceted experience i s crea ted where vi s i tors are act ive participants.

Every zone has interactive interfaces and some of the highlights include “Ring tone D.I.Y.� where visitors can create their own ring tone and download it to their phone; a shopping area where clothes can be virtually tried on; a virtual aquarium; and a wishing tree where people post wishes through SMS messaging.

At the centre of the space is the China Mobile Corporate Zone, which is a reception lounge for VIPs and special groups to connect with China Mobile staff. The area is buzzing with layers of swirling white lights that surround the reception desk. It is distinctive from the rest of the space with organically shaped seating, and the sole use of blue and white, imparting the brand identity.

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Client China Mobile Design Team Marc Brulhart, Popeye Tsang Multi-media Collaborator Yugo Lab (HK) Photography C. K. Wong

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Fujikura Lobby Showroom, Tokyo Ichiro Nishiwaki Design Office Inc.

Fujikura Ltd. is a global company that produces fibre products and electronic components.

Tokyo, Japan 410 sq.m.

Walls are made of piled white square pipes

On the wall, elliptical openings with indirect lighting are made to display the panels. These openings create a futuristic atmosphere.

At the bottom of the wall, LED lighting flies around and connects the exhibition of the past, present, and future.

In 2005, Fujikura commemorated the 120th anniversary of its founding and named 2005 the starting year of the “Third 60 Years Cycle” of its establishment. In commemoration, Fujikura merged their existing showroom, exhibition room, as well as “the wises’ room” to create a brand new showroom.

The design concept is based on the Fujikura company policy, “Tsunagu (meaning connect) Technology”. The focal design of the interior is on the wall finish. It is made of numerous piled white square pipes which look like electrical wires — Fujikura’s key commodities. The artificial materials are transformed into an organic existence.

and made to look like electrical wires.

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Client Fujikura Ltd. Design Team Ichiro Nishiwaki, Takafumi Furuya, Kae Yamashita Main Contractor Active Lighting Consultants Ushiospax Art Consultant Quality and Value Consulting Consultant Yoshikatsu Tachi Lighting MD Form Furniture Adal Flooring Concentric Plug Curtains/Blinds Simon Japan Ltd. Stone Advan Photography Satoshi Asakawa

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Haworth stand — Orgatec, Cologne Gensler

Cologne, Germany 1,800 sq.m.

Gensler’s stand design for Haworth at the Orgatec Exhibition in Cologne launches the Haworth American brand into the global market. Re-thinking the function of furniture animates the journey from chaos to order — the inspiration for this innovative design.

The design vocabulary throughout the stand allowed for maximum flexibility and adaptability, ensuring that products were displayed to their best advantage while allowing for last minute new product introductions. Elements of the stand design were conceived with a view to implementation in future Haworth European showrooms.

The brief requirement to “impart the WOW factor” was achieved by the use of timber panels from Haworth’s Tutti wall partition system constructed into a twisted helix structure hovering above the stand.

The flowing organic theme continues in the graphics on the feature wall with silhouettes of Haworth’s iconic Plia chair emulating a flock of birds enticing visitors to the interior of the stand.

The Haworth company ethos of helping clients and designer to “make great spaces” was evident at all times within this exciting approach to the launch of Haworth’s new branding into the European market.

Furniture is exhibited to simulate various office environments, while the intimate space allows visitors to examine products more closely.

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Inside, the graphics become more ordered. Furniture is exhibited in groupings to simulate various office environments, while the intimate space allows visitors to examine products more closely.

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Client Haworth Design Project Team Jon Tollit (Design Principal), Gary Wheeler (Project Manager), Lisa Weeks (Interior Architect), Jan Roth (Interior Architect), Katja Essling (Graphic Designer) Photography Courtesy of Haworth

Timber panels from Haworth’s Tutti wall partition system are constructed into a twisted helix structure hovering above the stand.

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Leonardo Glass Cube, Bad Driburg

Bad Driburg, Germany 1,200 sq.m.

3Deluxe

The interior of the Leonardo Glass Cube is closely related to its surrounding, allowing for staged overlaying of real and virtual elements changing both space and the observer’s patterns of perception.

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Havi ng developed a number of temporar y arch i tectures a nd several virtual architectural concepts, the Leonardo Glass Cube is the first permanent building implemented by 3deluxe. The result of the interdisciplinary design process is an integrative concept that combines architecture, interior design, graphic design, and landscape architecture into a complex aesthetic entity.

company’s philosophy and visions in an inspiring manner. The open floor plan layout of the professionally designed and multi-functional Leonardo building enables an integrative presentation of product displays, seminar and meeting rooms, inspiring work areas and a lot more in a total area of 1,200 square metres.

Unlike previous interior projects — mostly designed as self-contained spaces separate from the exterior and the architectural context — the interior of the Leonardo Glass Cube is closely intertwined with its surroundings. This aspect allows for a reinterpretation of 3deluxe’s essential leitmotif : the staged overlaying of real and virtual elements with the intention of changing both the space and the observer’s perception.

Glaskoch Corporation, which has been run by the founding family for five generations, distributing innovative high- quality glass and gift items under the “Leonardo” brand name worldwide, now boasts striking corporate architecture. Since its official inauguration on May 24 2007, it has now become the central element in the brand’s overall communicative presence. As a leader in brand identity, the Leonardo Glass Cube conveys to customers and employees the

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The glass façade of the building represents not only the interface between the interior and exterior, but also the passage to a hypernaturalistic world with heightened aesthetic appeal. A transparent print slides into the surface or outlook as a subtly visible image plane. The graphically illustrated elements displayed on it are derived from the architecture and the surrounding landscape.

They create a subtle puzzle that intermingles with the reflections of their models in reality. This process of visual concentration creates a more intensive impression of the reality than a direct perception of real objects. In addition, through changes of perspective and the incidence of light changing with daytime and seasons, a wide variety of appearances are made possible. They lend the building poetic quality with stories that can be discovered, and artificial landscapes that can be explored.

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The façade design not only entails references to the location and the basics of the company’s products, but also highlights a key feature in the Leonardo brand philosophy: a modern, inspiring design that triggers imaginations and enables people to constantly refresh and shape their environments anew. By melding medium format images of 6 cm x 7 cm with computer visualizations of the interior, the design created by 3deluxe graphics brings together two media that are completely different in aesthetic and crafts terms ; digitally generated pixel images and analog photography. The result is a pixel-perfect artwork, sized 6 x 96 m with a resolution of 100 dpi (which involves an immense volume of data). It is printed onto PVB foil in 48 segments that is then laminated onto the back of the glass in the interspace between the panes. Another special feature lies in the transparent quality of the print in both directions rendering the conventional method of dot raster grids superfluous.

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1 Suspended ceiling: plasterboard panels 2 Gauze curtain 3 Grid of measurement points: 0.3m

Full-length projection: Dry-construction wall

The technology, only available in the US at this point in time, is used for the first time on such a large scale.

Three white sculptural structures, so-called “Genetics”, partly extend through openings in the curved wall and connect the separate zones of the building to each other again. The organic shape of the objects necessitate an elaborate construction method: their surfaces are each composed of t wo deeply drawn semi - shells made of acrylic material (the production requires original size models to be made). The substructure consists of a steel tubing encased in a timber skeleton frame. One of the ‘Genetics’ marks the access point to the lobby, which is set back from the façade inside the free form.

The edificial structure consists essentially of two formally contrasting elements: a geometrically stringent cube-like shell volume and a freeform positioned in the centre of the interior. The undulating, curved white wall encases an introverted exhibition space with its other side circumscribing the extroverted hallway along the glass façade.

Th i s “s pa ce wi t h i n s pa ce” a rra ng e m e n t m e e t s t h e f u n c t i o n a l requirements of an artificially-lit product presentation just as much as the high demands placed on it by those lingering in the building.

The hallway, which is truly bathed in natural daylight, can be used for informal meetings and events as well as short breaks. As such, it is fitted for the most part with made-to-measure lounge furniture.

The vertical pathways through the two - storey building generally proceed along the fluently formed boundary in the centre of which a void crossed-by bridge connects the top floor and basement.

Entering the Glass Cube through the ground-floor main entrance,

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visitors will encounter a space that opens up not just horizontally, but also upwards and downwards. The bridge on the ground floor af fords a generous view of the main exhibition area one floor below and provides an initial point of orientation in the edifice as a whole. On both floors, the wall rolls in to form niches that are used for various functions such as themed product orchestrations and meeting lounges.

wall segments are divided into a dense grid of measuring points. On the side facing the façade, the material used on the white surface is visually dissolved by means of a layer of gauze suspended in front.

The natural daylight that comes in produces dazzling moiré effects on the delicate texture of the translucent fabric, which in turn are reflected in the glass facade.

The fact that the curvature of the walls and floors is continued in the suspended ceiling in the form of a system of ventilation joints also requires high precision in planning and execution. Every single piece of the approximately 250 plasterboard panels that meet up with the joints is CNC-milled, numbered, and assembled using a laying plan and exact precision points, before the interstices are filled with rectangular standard formats.

The structure of the free -form inner wall represents an innovation in dry construction: as the plasterboard panels of the outer layer can only be bent in one direction, experiments have been conducted to interlace curved panels mutually in complex shapes. In particular the predominating lines that serve as the most significant graphic design elements. In order to ensure that the wall corresponds precisely with the 3D computer model, full-length projections of the

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To enable an almost unhindered view outside, the glass façade is constructed with a width of 36 meters without any pillars. In the joints of the 6 meter-high, frameless panes of laminated safety glass, thin steel cables are suspended between the floor and ceiling with disk springs that counterbalance the deformations caused by wind pressure. There was no need for ertical supporting profiles on the corners of the building (façade planning: Schlaich Bergermann und Partner).

approximately eight square metre elements. The areas between the paths are designed with greens and small ponds or reserved to illuminate the basement.

With its trailblazing corporate architecture, the Leonardo brand once again presents itself in a visionary manner — in keeping with its claim on “inspiration for modern living“.

O n t he gla s s façade “Genet ic s” appear again in t he form of s u p e ri m p o s e d p i l a s te r s t ri p s , wh i c h g ive t h e i m p re s s i o n o f a two - dimensional silhouette of the structure on the interior. Their ra m i f i c a t i o n s a re c o n t i n u e d i n a n e t wo r k o f w h i t e c o n c re t e pathways that surround the entire building and let it grow together with its location. An individual mould is made for each of the 150,

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©Florian Kresse

©Florian Kresse

Client Leonardo/Glaskoch B. Koch Jr. GmbH Project Development and Management system modern GmbH Construction Ingenieurbüro J. Steinkemper GmbH Façade Planning Schlaich Bergermann und Partner GmbH Façade Construction Metallbau Renneke Dry Construction Laackmann Trockenbau “Genetics” and pilaster strips on façade Rosskopf & Partner AG Electrical Planning Veverka & Dr¨ke Ingenieurgesellschaft mbH Building services and Ventilation Pa-Bra GmbH & Co. Light Planning Licht und Gestaltung Schiefer GmbH Furnishing and Finishing Kessler Innenausbau, Rosskopf & Partners AG, Hillebrand GmbH Textile Interior Furnishing Handelskonto Raumausstattung Paintworks and Carpeting Walecki Maler und Lackierer Outdoor Path Network Shapers KG Photography Emanuel Raab, unless otherwise specified

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Virginia Museum of Natural History, Virginia

Virignia, U.S.A. 500 sq.m.

Reich + Petch Design International

The permanent exhibit allows visitors to investigate the State of Virginia from new perspectives and with “new eyes”.

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The Virginia Museum of Natural History in Martinsville opened its newly constructed $28 million facility on March 31, 2007. With five times the exhibit and public space of the previous VMNH facility, the new museum is far better equipped to accomplish its mission of interpreting Virginia’s natural heritage within a global context in ways that are relevant to all citizens of the Commonwealth.

The permanent exhibits allow the visitor to investigate the State of Virginia from new perspectives, and with “new eyes”. Visitors examine how the scientists work, learn basic scientific principles, and encounter artefacts, specimens, and information from the museum’s collections.

Virginia Museum of Natural History has been developed as an i n f l u e n t i a l ex p e r i e n c e t h ro u g h i n n ova t i ve a n d e n l i g h t e n i n g exhibits. Layer by layer, the astonishing stories of Virginia’s natural history are uncovered through a series of new exhibits supported by environmental graphic design. Three permanent exhibits were developed to explore the way scientists study, how nature works, and how the unique geographic conditions of Virginia helped to preserve an abundance of fossil records.

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Client Virginia Museum of Natural History Design Team Tony Reich, Stephen Petri, Fang Pin Lee, Pauline Dolovich, Ron Flood, Edmund Li, Leah Shannon Main Contractor Design & Production Incorporated Lighting Consultant Suzanne Powadiuk Consultant Cortina Productions Artwork Illustrations by Karen Carr Studio Photography Jay Rosenblatt Photography

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Hong Kong Wetland Park, Hong Kong MET Studio Design

Hong Kong, China 8,360 sq.m.

The galleries are diverse in technique and approach in order to orchestrate the pace and

MET Studio Design were appointed as both master planner and lead designers of the new Hong Kong Wetlands Park — Hong Kong’s first ever dedicated environmental attraction since 2001. It became the world’s largest eco-park when it opened in 2006 and is set within 145 acres of natural and landscaped wetlands, located on one of the most important avian migration routes in South-East Asia, alongside Hong Kong’s Deep Bay.

exhibits. We wanted the built environment, both outside and inside, to be an integral part of the educational/entertainment experience where visitors could suspend reality and step into, and see first hand, the wonders of Global wetlands and Hong Kong’s wetlands for themselves.

We wanted to create a series of distinctive, major crowd-pullers or “wows” through the galleries and exterior landscaping. These “wows” should be diverse in technique and approach in order to orchestrate the pace and give the visitor a variety of enjoyable, emotive and informative experiences. Content was divided up into a series of zones, which were designed to showcase the importance of wetlands on biodiversity, civilization, and conservation.

A project of this nature and scale had never been achieved anywhere in the world before. We saw this as an opportunity to really push the boundary of what can be achieved in a “visitor attraction”. It was our goal to go beyond the designed interior/exterior, seen simply as the envelope of backdrop for presentation of artefact, AV and hands on

give the visitor a variety of experiences.

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Adaptation tanks in Tropical Swamp gallery

The stunning new visitor centre, set beneath a natural landscaped canopy roof, aims to raise awareness of and help to preserve one of the most important and threatened habitats on earth. It is designed to inspire visitors through its immersion at the centre of a beautiful natural and landscaped environment; through its architecture and interior areas which have been completely integrated with the natural environment; and through art, poetry and literature, spectacular AV shows, and completely immersive visitor experiences, including a real peat swamp with live crocodiles.

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Real crocodiles in the swamp

Tropical Swamp gallery - peat swamp enclosure

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Frozen North gallery

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Audio niche wall in Human Culture gallery

Accupuncture mannequin showcase

Human Culture gallery

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Client AFCD Project Architect ArchSD Main Contractor Beck Interiors Lighting Consultant DHA Art Consultant MET Studio Design Consultants Wildfowl and Wetland Trust, Abacus, Whitby & Bird, Thomas Matthews AV Hardware Specialist Graham Wickman Artwork Flash Photobition AV System Electrosonic Software and Films Centre Screen Photography Centre Screen

Rendering of visitor centre building

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HKU at Innovation Expo ‘07, Hong Kong

Hong Kong, China 450 sq.m.

Oval Design Ltd.

A gigantic interactive model of a human brain served as the centrepiece of the State Key Lab for Brain and Cognitive Science.

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The University of Hong Kong (HKU) is Hong Kong’s oldest tertiary institution with a history of more than one hundred years. Long renowned for its academic achievements, the University has also in recent years built a strong reputation for excellence in research. The objective of the University in participating in the Innovation Expo ‘07 was to showcase its achievements in research in science and technology and use the occasion as a brand building excercise.

a s S ta te Key Labs wa s a tes t imony to t heir caliber, which t he Univers i t y wa s par ticularly keen to highlight in the exhibi tion.

The second par features the University’s research projects in six t heme a rea s , na mely : Mu l t i med ia a nd Dig i ta l Enter ta i nment ; Industrial and e -Business Applications; Light Emitting Technologies; Computer Forensics ; Energy and Environment ; and Medicine and Life Science.

The exhibition was made up of two major components. The first highlights the research achievements of the two State Key Labs for Emerging Infectious Diseases and Brain and Cognitive Science respectively. Only laboratories that have been cer tified by the relevant authorities of the Central Chinese Government to have reached a very high level in research capabilities are qualified as State Key Labs. For the two laboratories to have been qualified

The University wanted a booth design that was attractive, accessible and interactive, to draw the maximum traffic and increase the visitors’ interest in the exhibits. Another requirement was the design must be one by which each of the t wo components and their respective sub - parts would have their own individual look and yet come together as an integrated whole.

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Oval Des ign developed a des ign t ha t employed ex ten s ive of curved structures, unusual shapes, striking colours and images and multimedia features, which all helped to at tract visitors’ at tention.

The ef fect was fur ther enhanced by the booth s tructure being illuminated by LED lights which create colour changes.

On pressing the buttons, the corresponding parts of the brain model would light up and visitors could use the headsets attached to the panel to listen to explanations on the functions on specific parts of the brain.

Each of the six theme zones was given a distinctive look through the use of different colour schemes and images. The images used were striking and yet familiar to convey the message the innovations were peop le - orie nted a i med a t i m provi ng people’s lives . For example, the wall structure of the Slope Reinforcement – Sense Wiser area had a rough finishing and is in dark brown colour to create the association with soil. Further examples were the information panels in the Energy and Environment area set against a lush green background and a relief in the shape of a mouth drinking from a tea cup in the Electronic Tongue section.

The designs of the two State Key Labs were particularly successful in arousing curiosity, creating interest in the exhibits and allowing interactivit y. The S tate Key Labora tor y for Emerging Infectiou s Diseases featured a dome structure on the outer surface of which was projected images of various viruses being researched by the Lab. Inside the dome, reclining chairs were placed to allow visitors to watch multimedia projections onto the roof lying down.

A gigantic interactive model of a human brain ser ved a s the centrepiece of the State Key Lab for Brain and Cognitive Science.

With the use of interlocking curving structures, the two State Key Labs and six theme zones curved around one another forming an integrated whole. With such a design, the booth looked welcoming and more accessible. Visitors were able to follow a roughly circular path and more likely to see the entire exhibition than would be the case if only horizontal or vertical planes are used.

T h e e m b l e m o f t h e U n i ve r s i t y, L E D s c r e e n s a n d l a r g e s e m i transparent images were mounted on a circular wall structure standing six metres above ground giving strong identit y to the booth and helped the booth to stand out in the exhibition.

Floor Plan

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Client Hong Kong University Design Team Mr. Dominic Kam, Miss Joey Chan, Miss Ming Kwok Main Contractor Intech Production Lighting Consultant Parico Lighting Co. Model Making Edwin Studio AV System AV Promotions Photography Peter Pang, Danny Yu

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Barbados Concorde Experience, Bridgetown

Bridgetown, Barbados 2,600 sq.m.

Reich + Petch Design International

The typographic approach reflects the technical atmosphere and supports the contemporary exhibit environment.

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The Barbados Concorde Experience, a new interact ive vi s i tor centre, was officially opened April 12, 2007, at the Grantley Adams International Airport in Bridgetown, Barbados. The attraction offers a unique opportunity to discover the experience of a passenger onboard the Concorde aircraft.

International Airport in Barbados. This traveling experience is strongly communicated through environmental graphics, which supports the storyline of the exhibit.

A life-sized photograph of the aircraft is boldly displayed on the exterior of the hangar, which draws visitors to the museum from the airport.

The design team used a bountiful array of colour to introduce the attraction at the entrance of the hanger. The vibrant colour sequence continues on the interior to separate the thematic zones within.

Circular shaped elements and crops create the graphic language.

This language is mirrored throughout the exhibit to illustrate sonic boom. The typographic approach reflects the technical atmosphere and supports the contemporary exhibit environment. Large-format environmental graphics and interactives compliment the large space of the hanger and storyline of the exhibit.

The Barbados Concorde Experience features the iconic Concorde 212 G-BOAE aircraft, the world’s first supersonic passenger aircraft, which is generously on loan to Barbados by British Airways since its retirement in 2003. The exhibit pays tribute to the progression of supersonic flight and touches on the history of flight and aviation innovation. Beginning with the first attempts at flight, the exhibit moves through the aviation history and development of the Concorde. The audience enters the Concorde aircraft from the London Heathrow Airport Departure Lounge for the in-flight experience and arrives at Grantley Adams

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A life-sized photograph of the Concorde is presented on the exterior entrance of the hangar.

Client Charles Holder, Barbados Tourism Investment Design Team Edmund Li, Leah Shannon, Ron Flood, Whit Petch, Julie Vander Herberg, Eric Tang, Vivien Chow Consultants Science North, House of Kevin, Illusions Graphics, Core Design, Infinity Graphics Artwork Illustrations by Laszlo Kubinyl Glass Precision Glass Accura Glass (Orange Glass) Colourguard (Glass Film) Photography Courtesy of Goddard Enterprises Limited

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Acknowledgements

pace publishing limited wishes to acknowledge the support of the following individuals and their respective organizations in providing materials for this publication.

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Meike Dursch | 3Deluxe Karen Lau | Andy Tong Creations Co., Ltd. Sofie Ruytenberg | Concrete Architectural Associates Elina Drossou | dArch Studio Sarima Blakey | exponential design Kirsten Rothey | Gensler Risa Toyoshima | Ichiro Nishiwaki Design Office Inc. Celia Ying | Joey Ho Design Adriana Bordenache | JOI-Design Innenarchitekten GmbH Christine Lau | Marc & Chantal Design Martina Chlumskรก | mimolimit Joanne Muncaster | MET Studio Design Dennis Wong | Oval Design Ltd. Michele Rossi | Park Associati Edmund Li | Reich + Petch Design International Laura Piccioli | Simone Micheli Architectural Hero Birgit Utz | Totems|Communication & Architecture Paolo Cesaretti | VC A

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