Frame #67

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Paper Peter based on the Paper concept by Studio Job, concept & photography byMarcel Wanders & Erwin Olaf

67 Mar/Apr 2009

Issue 67 | €19.95 EU | £14 UK | CHF 30 Switzerland | $24.95 USA | $29.50 Canada FRAME is also available in a digital format. Try FRAME DIGITAL at www.framemag.com

THE GREAT INDOORS Mar/Apr 2009 Bed and bored? Try our ConcEpt Hotel el GuIdE Renaissance retail Raf Simons rocks Japan

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CONTENTS

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67 Mar/Apr 2009

Features—Projects in Perspective 093 Mr Niche Concept Hotels Guy Interview with Design Hotel’s Claus 096 Sendlinger on concept hotels Concept Hotel Guide 17 new hotel ideas by Philippe Starck, Marcel Wanders, Herzog and de Meuron and others 126 Line Dancer Interview Portrait with artist Esther Stocker Set Design 136 Shadow Play Wolfgang Gussmann’s set for Die Frau ohne 142 Simons Says Schatten Shops Raf Simons by Roger Hiorns and Sterling 152 Acid Flashback Reebok Ruby Flash by Formavision 91694_F67_P002tmP005.indd 3

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CONTENTS

Visions—From the Drawing Board Pierluigi Piu and Monolab

005

010 Future work of Ross Lovegrove,

Stills—Portfolio of Places Shops 016 Issey Miyake in Paris by _ Jean-Guillaume Mathiaut, Ae sop in Zurich by March Studio, and Jugetsudo 046 Piper & Charles Heidsieck in Reims by in Paris by KKAA Offices Jacques Ferrier and Pietro Ferruccio Laviani, Bloomberg HQ in London by Jump Studios, and All Capital in Amsterdam by i29 and Eckhardt and 052 TH 2058 in London by Dominique Leeuwenstein Installations Gonzalez-Foerster, Masters of the Experiment in Venice by Ai Weiwei and Herzog and de Meuron, and Husqvarna in Stockholm by Boys Don’t Cry 067 TEA Library in Tenerife by Herzog and de Meuron Hotel Library 069 Room 14 in Amsterdam by Scholten and Baijings Smoking Areas 070 JT Smoking Spaces in Tokyo by Sasugasouzoushudan Residences 073 Live-In in Saint-Ouen by Nathalie Wolberg and Long Island City loft in 077 Steinach School in Lucerne by Gut New York by Steve Blatz School Deubel beiss Stands 078 Modular in Kortrijk by Rotor Group, Vitra in Cologne by Sevil Peach and Dieter Thiel, and Kvadrat in Cologne by Gunilla Allard Goods—Material Matters 162 Furniture Portrait BIG-GAME 170 172 Student Work Exploring cardboard Trend Transforming products 176 Introducing Peter Marigold 178 Process Chassis Chair by 182 Talk Mathieu Lehanneur on his aquarium garden Stefan Diez 186 Trend Atypical shapes 188 Design Art Bavaria by Studio Job 195 Catalogue Flooring 205 Turkish Ceramics Frame Promotion 202 Light installation by Mindseye 206 Finishes Clouds Lighting 208 Materials Unusual materials for by Ronan and Erwan Bouroullec 210 One Artist, One Material Bart Lodewijks and chalk 212 chairs 216 Ron Arad in Paris 218 Exhibitions Nowhere/Now/Here in Gijón Books The Language of Things, Design/Art Limited Editions, The Visual 220 Dictionary of Interior Architecture and Design, and Design in Italia 224 Next A sneak preview PS Kitchen Appliances Trends in tableware of Frame #68

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COLOPHON

Bookstore distributors

Frame #67 Mar/Apr 2009 Frame Laan der Hesperiden 68 NL-1076 DX Amsterdam T +31 20 423 3717 F +31 20 428 0653 info@framemag.com www.framemag.com Editorial editorial@framemag.com Editor in chief Robert Thiemann Managing editor Merel Kokhuis Editors Jane Szita, Femke de Wild Intern Dara Lang Contributing editors Shonquis Moreno, Alexandra Onderwater, Louise Schouwenberg, Chris Scott and Michael Webb Copy editor Donna de Vries-Hermansader Graphic design 88 Translators InOtherWords (Donna de Vries-Hermansader and Pierre Bouvier) Contributors to this issue John Bezold, Alex Bozikovic, Penny Craswell, Ana Domínguez, Andrea Eschbach, Sandra Hofmeister, Ingeborg van Lieshout, Billy Nolan, Cathelijne Nuijsink, Sergio Pirrone, Petra Schmidt, Amy Serafi n, Christina Somalo, Jeanne Tan, Masaaki Takahashi, Margarida Ventosa and Suzanne Wales Web editor Nils Groot nils@framemag.com Cover Abstract Thought Is a Warm Puppy, Brussels, 2008 by Esther Stocker. Photo Sacha Georg. www.estherstocker.net Lithography Grafi sch Bedrijf Tuijtel, Hardinxveld-Giessendam Printing Grafi sch Bedrijf Tuijtel, Hardinxveld-Giessendam Paper 300gr Trucard, 135gr Hello silk and 100gr IJsselprint Publisher Peter Huiberts peter@framemag.com

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01-1 Cross section of a room at The Invisible Hotel; guests enter directly from the lift.. 01-2 In this hotel room, the floor opens to reveal a swimming pool.

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vIsIo From the Drawing Board

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The Invisible Hotel Tucked into the vertical crevice of a rock face—in an area marked on no map— the Invisible Hotel envisioned by Nikolas Travasaros of Divercity Architects invites guests into a realm of anonymity. Words Dara Lang Renderings courtesy of Divercity Architects

Please explain the concept. I wanted to design an extraordinary, extremely luxurious hotel featuring illicit activities and illegal transactions that don’t occur within the ordinary scope of things. Inspired by Sin City, I focused on creating a magical moment that allows guests to escape their everyday commitments and break away into anonymity and secrecy.

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Why did you choose this specific location? The hotel is on the outskirts of Loutraki, a seaside town in Greece known for its red-light district and its casinos— including one of the largest in Europe— two aspects that are reflected in the illicit nature of the hotel.

How secretive is it? Are the guests ‘invisible’ too? Begin by picturing hotel rooms on floors with no corridors—guests enter a lift that takes them straight to their room. They can be as discreet and invisible as they like. Even the lobby has its secrets. It’s formed from the craggy landscape and partly hidden behind a web of metal mesh attached to the natural rock face.

What’s special about the rooms, in comparison with those in an ordinary hotel? All 50 hotel rooms face the canal, so guests can enjoy a view of boats on the narrow waterway. What’s more, floors in some of the rooms have dual functions. An example is the floor that opens to reveal a private swimming pool right there in the room!

Will the concept be realized one day? Possibly. If we do build the hotel, it will be completed in 2011. www.divercityarchitects.com

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VISIONS

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A Day Dream Assistant www.withassistant.net Renderings Assistant Temporary pavilion created to convey the image of modern women in Japan through architecture, fashion, art and philosophy Competition entry April 2009 Tokyo, Japan

04 Who

What

Where

Vauxhall Sky Gardens Amin Taha Architects www.amintaha.co.uk Photos Nick Guttridge, renderings Amin Taha Architects Residential units and ofďŹ ce space, including nearly 2325 m2 of communal gardens earmarked for both recreation and food production 2015 London, England Yunnan Museum Davis Brody www.davisbrody.com Renderings Oceanpic Cultural museum (sited in a natural landscape) that speaks of past and future in the voices of Yunnan Competition entry Kunming, China

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05 Who

What

Where

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GINA Students Justin Chen, Ignacio Gonzalez Galan and Megan Panzano www.rmjm.com Harvard Students Design Housing research project, which explores housing concepts based on the new ‘elastic skin’ technology GINA developed by BMW’s Munich design studio London, England

07 Who What

When Where

Alpine Capsule Lovegrove Studio www.rosslovegrove.com Self-sufficient living unit made from acrylic resin with a reflective coating; the residence provides a spectacular 360º view of the Italian Alps 2010 Alta Badia, Italy

08 Who

What

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Pin Up Pin Down Carlorattiassociati—Walter Nicolino & Carlo Ratti www.carloratti.com Mobile floor that can be personalized to suit individual needs, thanks to a system of digitally controlled linear actuators November 2009 Milan, Italy

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Aerotel Alexander Asadov www.asadov.ru Space-age aquatic structure resting on a three-pronged base and featuring cafés, restaurants and a winter garden Completion date undisclosed Anywhere in the world

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VISIONS

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Arab Cultural Center Monolab www.monolab.nl Islamic-Arab cultural complex geared to America’s pre-eminent grid city; included are a theatre, exhibition spaces, a library, classrooms, and research and catering facilities Completion date undisclosed Washington, DC, USA Oyster Hotel Hadi Teheran www.haditeherani.de A symbol of the new and modern Abu Dhabi, offering views of the sea, the Deira Corniche waterfront promenade and the evolving metropolitan skyline 2012 Abu Dhabi

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Mandarina Duck Pierluigi Piu www.pierluigipiu.it Renderings Arch. Antonio Cuccu Shop and brand-renewal concept based on ‘The dream of travelling evoked with lightness and transparency’ Completion date undisclosed Mandarina Duck stores worldwide

12 Who What

When Where

Paramount World Tino Schaedler www.tinoschaedler.com A cloudy sky of projections on fabric-clad spheres suspended from the ceiling created for Paramount Picture’s upcoming film premieres in Munich April 2009 Munich, Germany

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STILLS: PORTFOLIO OF PLACES Surreal spaces by Herzog and A Paris flagship for de Meuron An awful lot of Issey Miyake lace from Foreign Office Architects Stands that deliver from Vitra, Kvadrat and Modular

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‘I didn’t set out to “do design”’ -Jean-Guillaume Mathiaut

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Buenos Aires /

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Dominating the new Ayres shop in Buenos Aires is a massive Corian ramp, evoking a parking garage.

01/36 Ayres by Dieguez Fridman Architects ‘The project seeks to reproduce sensations of urban space in the interior: the possibility of surprises, of unexpected encounters, of contrasts and of spaces that change according to the viewer’s perspective,’ explain Axel Fridman and Tristan Dieguez, principals of Dieguez Fridman Architects. The firm was asked to distinguish Argentine clothing store Ayres from the many trendy stores and boutiques in the El Solar de la Abada Mall, which is located in Palermo Soho, an avantgarde area of Buenos Aires. A composition of oblique folds behind the fully glazed façade offers a preview of an interior that resembles

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a multistorey parking garage, thanks to the massive Corian ramp which traces a vertical path through the triple-height space. In contrast to the conventional boxes—with uninterrupted linear sightlines—that form most retail environments, the spatial organization of Ayres cannot be captured at a single glance. The boutique reveals one view after another as the ramp follows its zigzag path, ascending dynamically through the store from floor to ceiling. Fitting rooms at the rear feature a labyrinth of mirrors that allow shoppers to view clothes from a variety of unexpected angles. Other reflections, including those of fashions

from Ayres’ latest collection, appear in the polished surface of the ramp as it rises from the entrance level to the floor above. Highlighting the patio behind the shop are deep steps that function as tiered seating for customers in need of a relaxing place to rest their weary feet. www.dieguezfridman.com.ar Words Sergio Pirrone Photos SPPS

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02/36 Holt Renfrew by Janson Goldstein

Stone, glass and natural daylight create a serene interior in Holt Renfrew’s expansive Vancouver store.

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For luxury retailer Holt Renfrew’s flagship store in Vancouver, Canada, Janson Goldstein’s architects went back to basics: stone, glass and simple, honest-to-goodness daylight. The huge (13,000 m2), four-level store is defined by its relationship to the outside world. ‘The first gesture we made was to infuse the interior with daylight,’ says principal Mark Janson. A giant skylight uniting the expansive glass façade allows light to penetrate through all levels via a central atrium. The upper level of the façade is composed of ‘pillowed’ glass panels, which the architects created in collaboration with glass technicians at Vancouverbased Nathan Allen Glass. ‘Each panelcontains hundreds of pillows, each of which acts as a lens, reflecting the city, the sky—all natural and artificial light sources,’ explains Janson. The façade also features a type of marble known as giada, which is carried over into the

interior where it forms the basis of the palette. The serene combination of stone and daylight is enhanced by metal halide lighting, which produces a crisp, white light similar (and complementary) to natural light. ‘We couldn’t have realized how unique the use of daylight would be until the space was finished and open to the public,’ says Janson. ‘The central atrium has become a de facto public space in the centre of the city. The daylight has nothing less than a transforming effect on the space and the people within it.’ www.jansongoldstein.com Words Jane Szita Photos Mikiko Kikuyama

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Mathiaut’s Issey Miyake store has the feel of a constantly changing workshop.

03/36 Issey Miyake by Jean-Guillaume Mathiaut For Issey Miyake, fashion design is about experimenting and taking risks. His new Paris flagship—the work of budding interior architect Jean-Guillaume Mathiaut—reflects Miyake’s adventurous spirit. The store has the feel of a constantly changing workshop. ‘I didn’t set out to “do design”,’ insists Mathiaut. ‘This is a neutral, unpretentious space meant to serve Miyake.’ Mathiaut knocked out existing walls to create a hangar-like interior punctuated by load-bearing columns. Clothes hang from continuous stainless-steel rails lining the perimeter. The textured quality of the fabrics stands out against the smoothness of surfaces that range from a polished concrete floor to several elements made of solid Corian. Reinforcing the industrial character of the space is an unfinished ceiling that leaves insulation, pipes and air conditioning exposed. Mathiaut, who likes the purity

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of white Corian—‘It seems as though you could throw yourself onto it and slide’— used the material for a pair of fitting rooms that flank the entrance like cubic igloos softly lit from within by LED lights. A centrally positioned Corian reception desk fronts an impressive wall of shelves: the Mi-Market. Farther back, a 12m-long Corian counter hosts changing exhibitions by young artists and designers. Mathiaut, 35, has long worked anonymously. Only recently did he decide to ‘lower the mask,’ as he says, and open his own studio: Atelier Edith. The Miyake store was his first major commission. ‘I had to be humble, working for a great designer,’ he says. ‘But then again, not too humble.’ www.edithedition.com Words Amy Serafin Photos Marc Domage

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SHOP / Brazil

04/36 Coven Shop by Marcelo Alvarenga

Garments in the Coven shop hang freely on braided yarn, like ripe grapes on a vine.

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Coven, a Brazilian knitwear brand—that’s right, wool—recently opened its first store in Belo Horizonte, a city 350 km north of Rio de Janeiro. (For the disbelievers: at 850 m above sea level, Belo Horizonte can be quite chilly.) Located in the neighbourhood of Lourdes, the Coven shop had to distinguish itself in an area already featuring an array of high-end stores and designer boutiques. A solution can sometimes be so obvious you wonder how anyone could miss it. That must be what designer Marcelo Alvarenga thought when he looked at the building’s façade and instantly spotted the texture of knitwear. Instead of removing or repairing existing brickwork, Alvarenga wrapped the entire volume in a loose mesh that suggests interwoven yarn or, in his words, ‘the raw material of knitwear’. A window offers a glimpse inside. Apart from its come-hither quality, the mesh provides an unexpected

bonus. ‘I envisioned a sort of overlapping, see-through view for people inside the shop, but the play of light and shadow on the interior wall was a surprise.’ The knitwear theme continues inside, where an installation created by artists Ana Vaz and Susana Bastos features yarn left over from the manufacture of knitted goods. ‘It’s like shopping in a garden,’ says Alvarenga. ‘Braided lengths of yarn suggest a vine, from which garments hang like fruit.’ The installation gives the shop a gallery appeal without the cool exclusivity sometimes associated with exhibition spaces. ‘Visitors initially surprised by the space give in to their curiosity, step inside and look around. Only then do they notice the fashions on display.’ Words Alexandra Onderwater Photos Leonardo Finotti

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Tokyo /

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Crossing the threshold of the Diesel Gallery in Tokyo sets an installation in motion that recalls Lewis Carroll’s curious poem, ‘The Hunting of the Snark’.

05/36 Boojum by Assistant The installation on the ground floor of the Diesel Denim Gallery in Tokyo was designed by architect Megumi Matsubara and Assistant, a design agency of which Matsubara is a founding member. Titled Boojum, the design borrowed its overall theme and name from Lewis Carroll’s nonsensical poem, ‘The Hunting of the Snark’. The work is composed of ten objects, each with names that start with B— like Bounce and Backwards—that add a sense of equilibrium to nonsense. The installation can be seen as a contemporary version of Marcel Duchamp’s The Large Glass; various

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interconnected elements set one another in motion. On one side of the entrance, a copy of the poem swings like a pendulum. On the other, a loop of planters featuring purple heart slowly revolves. Entering the gallery, you step into a black box whose many doors recall the Beijing customs office. Open a door and a buzzer beeps or a bulb above the door lights up. When you sit on the seesaw-like object near the entrance, its movable parts, such as a pulley, transmit your actions to a huge pencil suspended above a table at the back of the shop. Other devices include a balloon that

inflates, pushing down the mirror to which it is attached, and a motion sensor that projects images of musical notes onto a concrete wall. As you approach the wall, you hear the strange melody of a musical score created by the shadows of tautly stretched cords. www.withassistant.net Words Masaaki Takahashi Photos Martin Holtkamp

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06/36 Eko by Dialogue38 If you’re selling gems, it makes sense to display merchandise in the shop window, in plain sight. But a local jeweller in Toronto, Canada, has done just the opposite. For Eko’s newly opened second location, in a prime part of the city, architecture firm Dialogue38 created an interior that hides most of the jewellery from view: a ribbon of curvy white display cases ripples across the store, providing only glimpses of unusual necklaces and gems. Made from MDF, these cases double as walls. Rather than several large display cases arranged in a conventional pattern,

Toronto /

customers are led past narrow alcoves with adjustable shelves, which show off individual pieces as if they are works of art. ‘It’s a kind of gallery setting,’ says principal architect Bennett Lo, whose firm developed the concept of concealment two years ago for the first Eko store, which he says ‘has a following, especially among creative people’. In the new outlet, owner Mina Yoon—the local dealer for Canadian, European and American designers such as Paola Volpi and Alexis Bittar—has retained the same aloof aesthetic for a more conservative audience. What’s changed, then?

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Here a bit of jewellery visible from the street is meant to lure people inside, where the tantalizing relationship between viewer and product unfolds, as a few pieces at a time are revealed with each step. And while the fish-like curves of the cases do generate a cosy ambience, this fish is designed to swallow you. ‘Before you know it, you’re surrounded.’ www.dialogue38.com Words Alex Bozikovic Photo Eric Lau

Eko’s ribbon of white ‘display’ cases actually conceals more jewellery than it reveals, toying with customer expectations.

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SHOP / Funabashi

07/36 Duras Ambient Funabashi by Sinato It may be a boutique in a huge shopping mall, but it looks as if it belongs to another world. ‘I didn’t want to create a homogeneous space, the kind that makes itself known in a single glance,’ says architect Chikara Ohno of Japanese design agency Sinato. ‘On the contrary, I envisioned an interior that reveals its different faces only as you walk around. I wanted to give customers a completely new spatial experience by offering them a floating feeling when they move through the space.’ Long, narrow, triangular panels—painted dark brown on their outer surfaces—hang like icicles from a horizontal element that runs parallel to the ceiling. These partitions zigzag through the interior, dividing the central area of the shop from the peripheral zone that surrounds it. The inner sides of the panels, painted a contrasting off-white, create a

pleasingly optical effect in combination with the triangular sofa at the heart of the boutique. Clothes hang on metal rails attached to the panels. Ohno has redefined the concept of ‘wall’, making it more independent from the ceiling than its conventional counterparts. The result is a delightfully refreshing scheme for the division of retail space. Shoppers following the zigzag pattern of the triangular partitions add to the complexity and intrigue of this fashion landscape. ‘Openings are empty and physically nonexistent,’ says Ohno, ‘but they play an important role in this space.’ www.sinato.jp Words Masaaki Takahashi Photos Yasushi Nagai

Using triangular panels, Chikara Ohno created a landscape that constantly changes as shoppers move through his Tokyo boutique.

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Curvy porcelain shapes and a product display evoking a bar code are signature features of Sydney’s new Ae-sop shop.

08/36 -sop Strand Arcade Ae by March Studio How to design a retail interior around a curvaceous ceramic stool and lamp? March Studio’s fourth store for Australian cosmetic company Aesop shows how it’s done. The slick, fluid lines of the new shop (the 15th in Australia), prominently located in Sydney’s Strand Arcade, are a departure from the utilitarian features of previously designed stores, with their cardboard boxes, suspended bottles and recycled boards. At the same time, however, the interior is once again a strong celebration of the product line and a response to the local context. In contrast to the ornamental style of

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the 19th-century shopping arcade, Aesop’s interior deliberately offers a contemporary respite. ‘We had to deal with a lot of visual chaos from the arcade. The opportunity to reduce became more about efficiency of form, simplicity of materiality and purity of white,’ says Rodney Eggleston of March Studio. The signature material is the white porcelain found in both an India Mahdavi stool and a Jaime Hayon lamp: curvy forms that inspired the retail design. Circular white ceramic tiles on the walls of the store reference the floor tiles of the arcade, creating a subtle connection between

past and present. ‘We wanted the design to be a modern extension of the arcade and, of course, to serve as a platform for displaying Aesop’s product containers.’ Blues and greens in lighting and walls generate a calming backdrop, allowing a product display with the look of a bar code to steal the show. www.marchstudio.com.au Words Jeanne Tan Photos courtesy of March Studio

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29-01-2009 11:29:47


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09/36 -sop Zürich Ae by March Studio Shoppers passing the Aesop outlet in Zürich quite often pop their heads in to ask when the shop will be opening, thinking it’s still under construction. The confusion lies in an interior that is kitted out in boarding previously used on building sites throughout the Swiss city. The first Aesop store designed by March Studio outside Australia—in collaboration with local architecture office Moser Wegenstein— the Zürich outlet continues the reductionist design philosophy of previous Aesop interiors. ‘The retail strategy we’ve always employed is about removing all unnecessary information to highlight the preciousness of the product,’ explains Rodney Eggleston of March Studio. Examples of earlier Aesop stores (Frame 64, pp 69 and 71) show product-inspired interiors, intentionally unadorned, and brand packaging fused with the content and context of the store. In this case, March Studio opted for a material that instantly strikes a chord with locals.

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‘Zürich’s construction sites are surreal in their lack of chaos and clutter. They uniformly use a kind of yellow hoarding that we thought could be refashioned into store shelves and fittings. It appealed to us to take something so common from the urban landscape and look at it afresh.’ The design fits perfectly into a city that takes a proactive approach to recycling. ‘We wanted to reuse a material that was part of the fabric of the city. Because the boards came from all over Zürich, we have the history of many different sites right here in the Aesop store.’ www.marchstudio.com.au Words Jeanne Tan Photos courtesy of March Studio

The first Ae-sop store outside Australia features hoarding boards and Doka formwork beams found on Zürich building sites.

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SHOP / Pamplona

The heart of darkness in Pamplona’s Joyeria D jewellery store makes for a magical atmosphere.

10/36 Joyeria D by Vaillo & Irigaray A darkly intimate atmosphere envelops visitors to Joyeria D, a high-end jewellery shop in Pamplona, Spain, designed by Antonio Vaillo and Juan Luis Irigaray Architects. The darkness is deliberate and considered. ‘The project is a small black hole in the middle of the urban magma,’ says architect Antonio Vaillo. ‘We used the ancient idea of jewellery possessing magical powers to present the products here as exclusive objects of great value.’ Dark shades and a geometric layout create a strange, seemingly weightless atmosphere that evokes the inside of a casket. ‘Darkness also makes the back of the shop seem rather ambiguous—and bigger. It strengthens the mysterious ambience,’ comments Vaillo’s partner, Juan Luis Irigaray. ‘The materials we selected suggest a mine, a place where precious

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metals are found. We created a contrast between a hard, bright floor of galvanized aluminium and the softer materials used for walls and ceiling.’ He’s referring to surfaces of MDF that have been finished in a dark-grey Nextel paint to produce a velvety effect. On the counter, texts from the arcane arts of alchemy and metalworking, as practised by goldsmiths, are inscribed in Braille. ‘Customers can’t see the jewellery, which is concealed in cases,’ says Vaillo, ‘but they can read the secrets revealed in old manuscripts.’ Words Christina Somalo Photos Jose Manuel Cutellas

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11/36 K-Swiss by Uxus How does a sports brand win the hearts of the French on a playing field crammed with other brands? Amsterdam creative agency Uxus (an acronym for ‘you times us’) opted for a clear game strategy: focus on the roots of the label. The pop-up space that the multidisciplinary outfit designed for K-Swiss–at Parisian shopping complex Citadium–reserved a spot on centre court for tennis rackets. Co-creative director and Uxus partner Oliver Michell talks us through the four-week match. First Serve ‘We tried to find the essence of K-Swiss—to establish what it is. Originally a Swiss brand, K-Swiss was founded by two brothers who were world-class skiers. They moved to California, became tennis fanatics and started designing tennis shoes with Velcro straps and stripes: references to skiing.’

Set ‘The space was only about 50 m2, so we kept it clear and focused. In the end, it’s the product that should stand out. White referred to the classic shoe. Images on part of the wall illustrated the history of the brand. And we used an umpire’s chair as both a display and a seat for trying on shoes.’ Match ‘The space was also used for music events. The tennis-racket partition doubled as a projection screen, and the umpire’s chair was on wheels and could be easily moved. Considering the small budget for this project, we were very happy with the result, and so was the client.’ www.uxus.com Words Alexandra Onderwater Photos Dim Blsem

Game ‘After we’d worked out the tennis concept, we ordered 60 rackets. We played around with them before ultimately painting them white and attaching them to a mesh screen that served as a kind of room divider and visual teaser. Using the rackets as display material didn’t work; the result was too corny.’

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Uxus’s pop-up shop featured a tennis umpire’s chair and a tennis-racket partition that doubled as a projection screen.

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19-01-2009 17:57

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12/36 Bodil Binner by Schmidt Hammer Lassen Design Inevitably, goldsmith Bodil Binner’s retail, exhibition and work space in the heart of Copenhagen has been labelled ‘a little gem’. Visitors to the compact, 65m2 interior in the old city centre enter via a barrel-vaulted corridor transformed, with the aid of polished metal plates, into what Lars Vejen, head of project designer Schmidt Hammer Lassen, calls ‘a pirate’s treasure chest, sparkling like the facets of a diamond’. In contrast to the glittering hallway, the main area is a minimalist space in pure, pearly white. ‘We felt the client needed a luxurious, exclusive environment,’ explains Vejen, ‘but we didn’t want to take any attention away from the products.’ Neutral white was chosen for the latter requirement. An expensive look was achieved by using the classic technique of stucco lustro, in which powdered marble is used to coat a plaster surface that is then polished to a silky sheen. A long ribbon of a display case slices neatly through the pearly wall, linking the two levels and the staircase that joins them. The case itself consists of simple glass drawers with no fittings (they are opened and locked using remote control) save for colour-changing LED lights. ‘At night, from outside, the illuminated display case is all you see,’ says Vejen. ‘It adds a touch of jewel-like colour to the street. www.shl.dk Words Jane Szita Photos Miklos Szabo

Entrance and display niches at Freudenhaus, a Munich eyewear store by Aigner Architecture, are designed to resemble the pupil of an eye.

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SHOP / Paris

13/36 Jyugetsudo by KKAA

Kengo Kuma used bamboo, paper and bedonia grey stone to imbue Parisian teashop Jyugetsudo with the spirit of Japan.

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Walking past the corner of Rue de Seine and Rue des Quatre-Vents in Paris, I discovered a curious little teashop. What are designer Kengo Kuma’s thoughts on introducing Japanese culture to Paris? Kengo Kuma (KKAA): The owners of the shop run Maruyama Nori, a company that’s been dealing since 1854 in the edible dried and flavoured seaweed that’s used in Japanese cuisine. They wanted this retail space to serve as a gallery, to be not just a place where tea is sold but a venue that would introduce customers to Japanese culture. To draw passers-by into the shop, we made a ground-floor ceiling that looks like a bamboo thicket. Because it’s directly behind the store’s large glass façade, this unusual ceiling catches the eye of people on the street. Once inside, standing beneath the thatch of bamboo, customers note a change in the atmosphere and the light that they experience in everyday life. We left the basement relatively

intact, but now it’s used as a tearoom. Customers are tucked away, deep beneath the thicket, in a sort of subterranean tree trunk that exists in no other forest. In the cave, tea—the essence of Japanese culture—is presented in a way that familiarizes visitors with this aspect of our culture not in theory, but in practice. The table at the centre of room is made from a solid plank of Japanese cypress, a sacred wood. Here you can enjoy a cup of green tea with Japanese sweets. Furniture made from hinoki cypress has a special fragrance, as does the tea. Because finishes, furniture and tea are organic, a natural harmony exists between the interior design and the products for sale. www.kkaa.co.jp Words Cathelijne Nuijsink Photos Andre Morin

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Lisbon /

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14/36 Central da Graça by Jorge Sousa Santos ‘Our main concern was to create a unit of space defined by a uniform skin that would embrace the whole store area,’ says architect Jorge Sousa Santos of his striking design for Central da Graça, an independent optician’s shop located in the old hilltop parish of Graça, which is part of Lisbon. A visually appealing entrance invites visitors into a long, dramatic corridor lined with black MDF, the material the architect chose to unify the interior. Its boundaries are ambiguous. Black walls morph into the ceiling or are pierced by brightly illuminated shelving units featuring self-supporting honeycomb modules of transparent acrylic. Imposing as well as functional, the black skin conceals storage spaces, modulates lighting and puts products in the limelight. A white floor and white furnishings, along with expanses of

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mirror and a prominent array of tube lights, ensure an effect that is neither too dark nor overpowering. A luminous freestanding glass island forms a workspace for the staff. Central da Graça takes a seemingly prosaic project— a compact eyewear store—and turns it into a seductive architectural proposal, proving that micro-projects are often a great way for architecture practices to test new ideas that leave traditional assumptions behind. Words Margarida Ventosa Photos FG + SG Fotografia de Arquitectura

Black adds drama to the compact interior of the Central da Graça optician store in Lisbon.

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15/36 John Lewis by FOA

Leicester /

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Racing along a busy road that skirts Leicester city centre, you can’t fail to notice a giant rectangular box that appears to be covered in lace or crochet work. Not the easiest thing to stop and examine, this striking façade envelops a recently opened John Lewis department store that is part of a complex designed by Londonbased Foreign Office Architects (FOA). In an era of online shopping, FOA reckons that physical shopping has got to be extra special. The designers drew inspiration from Leicester itself, a city with a long manufacturing history of hosiery, textiles and woven goods, as well as a contemporary culture featuring the translucence of saris worn by approximately half the city’s large Indian population. Boasting an excellent reputation in the areas of haberdashery and fabrics, John Lewis opened its huge textile archives to the architects, who selected a 20th century pattern and gave it a new lease of life. They created a ‘net curtain’ cladding consisting of four layers of glass paneling—covering a total of over 10,000 m2—each of which is adorned with swirling patterns in varying degrees of transparency. The resulting moiré effect doubles as protection from the sun, an absolute necessity for any building with a largely glazed exterior. The mirrored pattern on the outer layer reflects the surroundings and changes appearance throughout the day along with varying light and weather conditions, thus uniting indoors and outdoors. A building with a personality, John Lewis at Highcross Leicester reveals and conceals—something you don’t get when you shop online. www.f-o-a.net Words Chris Scott Photos Helene Binet

The lacy façade of the department store refers to Leicester’s long history of hosiery and textiles.

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OFFICE

/ Reims

Located in the basement of the new Beo restaurant in Hong Kong and designed by FAK3, the Cocoon bar is an oasis of white plastic calmness.

16/36 Piper & Charles Heidsieck by Jacques Ferrier and Pietro Ferruccio Laviani New headquarters for Piper & Charles Heidsieck have made a startlingly contemporary entrance into a bastion of Gallic tradition. Rising among the vineyards of Reims and facing the company’s production unit, the structure boasts a double façade: its inner skin—the walls of the building proper—is formed by an alternating sequence of glazed and gilded panels that are encompassed by a metal envelope bearing a pattern of laser-cut openings. ‘The closer to the sky, the more holes there are, producing a feeling of effervescence, like Champagne,’ says architect Jacques Ferrier, who chose gold-tinted anodized aluminium for the outer

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shell to reflect the glamour of the brand. Ferrier’s long block, with its asymmetrically sloping roof, resembles an industrial barn. The use of a simple shape, uniformly wrapped in aluminium, makes the building seem immense. ‘In reality, it’s not big, but it had to have a certain presence,’ he explains. At the same time, the transparency of the volume conveys a sense of weightlessness. Although the architect purposely avoided using circles as a metaphor for bubbles, Ferruccio Laviani, the artistic director of Kartell, created spherical ceiling lamps—also in gilded metal—for the vast, glass-enclosed reception area. Floors are

polished concrete, a nod to Reims’ mining industry, and a partially sunken oval seating area contrasts with the otherwise rectilinear architecture. Three inner courtyards separate office areas. Natural light filtering through the lacy façade gives interiors a delicate golden glow, not unlike the colour of a fine glass of bubbly. www.jacques-ferrier.com www.laviani.com Words Amy Serafin Photos Luc Boegly

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