PANE
project by
Xhefri Londo Anita Pierobon Simone Rossi
PANE indaga le componenti visive e significanti di vetrine ed edifici simbolo di brand con l’intenzione di far entrare in
un contatto diverso il visitatore con la realtà iconografica che
quotidianamente lo pervade. Attraverso un percorso guidato,
l’imposizione di un tempo di osservazione prestabilito e l’aiuto di un sonoro deviato, si è cercato di costituire un’ esposizione totale che faccia partecipare l’ospite in modo sinestetico e sensoriale. Una ricerca precisa sul significato di “mostrare” e come quest’ultimo concetto si sia trasfigurato e degenerato col tempo. Una
ricostruzione sintetica degli esempi più significativi di ricerca d’identità visiva attuata dai brand per definirsi.
00 Bloom skin 01 Prada store 02 Ch-Air-S 03 Maison Martin Margiela shop 04 Nike Selfridges Stadium, project Zoltar
05 Blue chairs 06 Prada Marfa 07 Interactive window concept 08 Eyeball window display09 Tag
GUERRILLA STORE
Comme des Garçons, the avant-garde fashion line designed by Rei Kawakubo, opened a series of ‘’guerrilla stores’’ in hip, yet-to-be-gentrified areas in cities around the world, including Berlin, Barcelona, Helsinki, Singapore, Stockholm, Ljubljana and Warsaw. Kawakubo and her husband and business partner, Adrian Joffe, delineated their guerrilla idea with a no-nonsense precision usually reserved for actual combat operations. The shops, which are installed in raw urban spaces -- the Berlin outpost occupies a former bookstore; the Helsinki a 1950’s pharmacy -- sell ‘’seasonless’’ merchandise drawn from current and past collections, must remain unsullied by architects and designers and are required to close after a single year. While the venture might be interpreted as a call to arms against the aggressive commercialism and gaudy architecture of high-concept flagship behemoths like the Rem Koolhaas-designed Prada stores, it has also engendered a delicious absurdity: in their rejection of concept-store pretension, the guerrilla stores have realized its purest expression. A news release issued by Comme des Garçons lays out the ‘’rules’’ behind this anti-concept with the earnestness of F.T. Marinetti’s futurist manifesto: ‘’The location will be chosen according to its atmosphere, historical connection, geographical situation away from established commercial areas or some other interesting feature,’’ reads one rule.
01 Installation from Guerrilla store Warsaw 02 Installation from Guerrilla store Los Angeles -
00 Masato Hatanaka - Bloom skin 01 Ravel - Bolero 02 No playing 03 Uochi Toki - Gettandomi in ambigue immedesimazioni non richieste ma richieste 04 Cal Tjander - Aquarius
05 Massive Attack - Live with me 06 Feldman’s Rothko chapel/Why patterns? 07 Bonobo - Kiara 08 The Jesus and the Mary Chain - Psycocandy 09 Bad Sector - Telemetry
Timers installed on the floor, in front of screens. Time: 100 seconds
00
Bloom skin timer: 100 seconds
This is a wind installation for the window display of ELTTOB TEP ISSEY MIYAKE. We use a very light and thin cloth ‘organdie’, and make the most of the characteristics. The fans are controlled, and the cloth is waving in the air as a creature.
playing
Masato Hatanaka Bloom skin
BLOOM SKIN WOW Inc; TAKASHI AOKI and FUM for ELTTOB TEP ISSEY MIYAKE 2012 GINZA TOKYO FANS ARE CONTROLLED
MITO ANZAI
01
Prada store timer: 100 seconds
Vertical volume containing the maximum permitted gross floor area so that part of the lot acreage can remain undeveloped. This area will form a kind of plaza, comparable to the public spaces of a European city. The shape of the building is substantially influenced by the angle of incidence of the local profile. Depending on where the viewer is standing, the body of the building will look more like a crystal or like an archaic type of building with a saddle roof. The ambivalent, always changing and oscillating character of the building’s identity is heightened by the sculptural effect of its glazed surface structure.
playing
Bad Sector Telemetry
PRADA STORE HERZOG DE MEURON for PRADA 2003 AOYAMA TOKYO
CRYSTALLINE THREE-DIMENSION PRIS LAR CROSS SECTIONS RHOMBOID FA MINIUM WETSEALED WITH SILICONE
SMATIC MAXIMUM CONVEX TUBUACADE CAGE-LIKE STRUCTURE ALU-
02
Ch-Air-S timer: 100 seconds
The work creates an optical illusion based off of the fashion designer’s ‘from 2D cloth to 3D dress’ philosophy. as the storefront is approached from either side of the street, a series of lines and planes seem as if they are randomly floating in midair. this is achieved through the utilization of minimalist structural elements such as the stainless steel wires that attach to the vertices. it isn’t until pedestrians reach the viewpoint in front of the shop window that they realize the pieces come together to form five simple chairs, each with their own unique color.
no playing
CH-AIR-S YOICHI YAMAMOTO ARCHITECTS for ELTTOB TEP ISSEY MIYAKE 2014 GINZA TOKYO
date: may 31, 2014 – june 29 2014 location: 4-4-5 chuo-ku ginza, tokyo
S
o
03
Maison Martin Margiela shop timer: 100 seconds
A smaller space with high ceilings, Martin Margiela Aoyama is dedicated exclusively to two selected Martin Margiela Collections for women. This new shop owes its existence to the Maison Martin Margiela’s wish to create an intimate and calm atmosphere dedicated to providing a higher level of individual attention and service to those female customers who appreciate its work on the Martin Margiela ‘0’ and ‘1’ collections.
playing
Feldman’s Rothko chapel Why patterns?
MAISON MARTIN MARGIELA SHO MAISON MARTIN MARGIELA for M MARTIN MARGIELA 2002 AOYAMA TOKYO COMING SOON
OP MAISON
04
Nike Selfridges, project Zoltar timer: 100 seconds
Displayed during World Cup 2010. Animation for Selfridges windows showcasing Nike’s new international football shirts made from recycled plastic bottles.
playing
Massive Attack Live with me
NIKE SELFRIDGES STADIUM, PR for SELFRIDGES 2010 LONDON
SHIRTS FROM RECYCLED PLAST
ROJECT ZOLTAR NIKE
TIC BOTTLES
05
Blue chairs timer: 100 seconds
Featuring a series of traditional dining chairs, the installation transforms from a two dimensional graphic into a tangible piece. the perspective is manipulated creating a unique appearance from different vantage points for onlookers. graphics of legs in varying perspectives are printed onto a horizontal plane while the chair backs rest upon the surface.
playing
Cal Tjander Aquarius
BLUE CHAIRS YOICHI YAMAMOTO ARCHITECTS for ELTTOB TEP ISSEY MIYAKE 2011 AOYAMA TOKYO 2D / 3D
S
06
Prada Marfa timer: 100 seconds
Designed to resemble a Prada store, the building is made of “adobe bricks, plaster, paint, glass pane, aluminum frame, MDF, and carpet.”[3] The installation’s door is nonfunctional. On the front of the structure there are two large windows displaying actual Prada wares, shoes and handbags, picked out and provided by Miuccia Prada herself from the fall/winter 2005 collection.
playing
Uochi Toki Gettandomi in ambigue immedesimazioni non richieste ma richieste
PRADA MARFA MICHAEL ELMGREEN and INGAR for PRADA 2005 60 KM NORTHWEST OF MARFA, T PILGRIMAGE IN THE MIDDLE OF
R DRAGSET
TEXAS DESERT
07
Interactive window concept timer: 100 seconds
The window contains a screen that displays these videos generated online and that turn live when users triggers them offline by walking.
playing
The Jesus and the Mary Chain Psycocandy
INTERACTIVE WINDOW CONCEPT GUSTAF ENGSTRÖM, LUCAS LIMA, MAR OLIVEIRA and BEA AREILZA for NORTH KINGDOM 2012 STOCKHOLM
Clio 2011 Student. Innovative Media-Bronz Ads of The World February-Silver Award 2 Creativity International Awards 2011-Platin
RCUS WALLANDER, JULIANA
ze 2011 num Award
08
Eyeball window display timer: 100 seconds
The shop windows are covered with facial images missing their eyes. While the idea may not be a new one, the scale of the window display and creepiness of the black-out eyeballs make for an interesting viewing.
playing
Bonobo Kiara
EYEBALL WINDOW DISPLAY JUN TAKAHASHI for UNDERCOVER SHOP 2012 AOYAMA TOKYO BLACK-OUT EYEBALLS
09 Tag
timer: 100 seconds The main concept that sets Kidult against the brands and the governing institutions is the commercialization and the market value of graffiti. Following this logic, the brands are creating an abyssal gap between the value of graffiti and the price that they sell it for, making profits out of something they do not and will never own. The hijacking happens in both senses; Kidult takes over the brand’s marketing strategies in order to pirate their image. He uses the same techniques they do to advertise for his cause, to be seen and heard by all. Kidult use their notoriety. By using the same media, he use their tool to dismantle their system.
playing
Ravel Bolero
TAG KIDULT for KENZO 2011 PARIS
COMMERCIALIZATION AND COM ZATION OF GRAFFITI-
MMODITI-
01
INSTALLATION from GUERRILLA STORE REI KAWAKUBO WARSAW
02
INSTALLATION from GUERRILLA STORE REI KAWAKUBO LOS ANGELES
BIBLIOGRAPHY Alessandra Criconia, Architetture dello shopping, Meltemi editore, collana Babele, 2007 Alex Wall, Victor Gruen: From Urban Shop to New City, Actar editore, 2006 Germano Celant, Prada Aoyama Tokyo Herzog & De Meuron, Fondazione Prada, 2003 Simone Micheli, Negozi, Federico Motta editore, 2004
SITOGRAPHY http://vimeo.com/27642744 http://vimeo.com/13737212 http://player.vimeo.com/video/98497973 https://www.youtube.com/watch?v=oGTOq4RGMP4 https://www.youtube.com/watch?v=lryy7YBhM4A https://www.youtube.com/watch?v=xFgvNMN2DiQ https://www.youtube.com/watch?v=Mk2bA8QBbnk