Munich La Roca by Bailo+Rull ADD Arquitectura

Shoes are displayed on conveyor belts at this store in Barcelona by Spanish firm Bailo+Rull ADD Arquitectura.

Munich La Roca by Bailo+Rull ADD Arquitectura

Designed for shoe brand Munich, the interior has reflective walls while peep-holes in the facade allows shoppers to glimpse behind-the-scenes of the store.

Munich La Roca by Bailo+Rull ADD Arquitectura

Photographs are by Albert Marín unless stated otherwise.

Munich La Roca by Bailo+Rull ADD Arquitectura

Above image is by Pol Viladoms

The following information is from the architects:


The innocent and fresh vision of kids are the leitmotiv of the new shop that Munich Shoemakers have opened in La Roca Village Shopping Complex in Barcelona.

Munich La Roca by Bailo+Rull ADD Arquitectura

From the start, the project uses the imaginary set around the question ‘How do things work?’, commonly asked by us in our childhood.

Munich La Roca by Bailo+Rull ADD Arquitectura

The shop plays with the idea of moving Munich’s factory in Capellades to La Roca.

Munich La Roca by Bailo+Rull ADD Arquitectura

The aim is to make the costumer believe that, behind the eight meter wall, a team of 21st century shoemakers are doing their pair of shoes in the same moment.

Munich La Roca by Bailo+Rull ADD Arquitectura

The shopping experience becomes something more exciting: to buy a Munich’s pair means to become, for a while, a lucky kid.

Munich La Roca by Bailo+Rull ADD Arquitectura

The amazing conveyor belts system invading the ceiling, crossing and rotating when necessary.

Munich La Roca by Bailo+Rull ADD Arquitectura

The walls that multiply the shop to a blurring infinite… the traffic of boxes going up and down the warehouse… the traffic lights orchestrating all the movements… a sense of speed …

Munich La Roca by Bailo+Rull ADD Arquitectura

The election of materials was easy from the start: the intention was to recreate an industrial atmosphere using the products that the conveyor belt wholesaler offers, and making a reflecting environment that multiplies the belts to infinite.

Munich La Roca by Bailo+Rull ADD Arquitectura

The pavement galvanized steel All the furniture is also done with the conveyor belt rollers.

Munich La Roca by Bailo+Rull ADD Arquitectura

The project wants to fix the memory of a kid that once visited, with their parents, a shoe shop where a team of shoemakers hidden behind a wall made his first pair of Munich shoes.

Munich La Roca by Bailo+Rull ADD Arquitectura

They let them fall through a conveyor belt to the counter, like if they were ‘freshly baked’.

Munich La Roca by Bailo+Rull ADD Arquitectura

Project: Munich LaRoca
Site: La Roca Village

Autor:
BAILO RULL ADD+
Manuel Bailo Esteve + Rosa Rull Bertran
Project Leader: Javier Jiménez Iniesta
Photographer: Albert Marín

Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Munich La Roca by Bailo+Rull ADD Arquitectura

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Shoebox by
Sergio Mannino
Camper store
by TAF
Sneaker dept at Dover Street Market by Studio Toogood

132 5. Issey Miyake by Tokujin Yoshioka

132 5. Issey Miyake by Tokujin Yoshioka

Japanese designer Tokujin Yoshioka designed this boutique to display fashion designer Issey Miyake’s 132 5. collection of garments, which fold from two-dimensional geometric shapes into structured clothes (see our earlier story).

132 5. Issey Miyake by Tokujin Yoshioka

Taking the same name as the collection, the shop displays each garment on a transparent mannequin suspended from the ceiling, with folded versions laid alongside and an iPad to explain the construction process.

132 5. Issey Miyake by Tokujin Yoshioka

Photographs are © Yoshinaga Yasuaki.

132 5. Issey Miyake by Tokujin Yoshioka

See all our stories about Tokujin Yoshioka »
See all our stories about Issey Miyake »

132 5. Issey Miyake by Tokujin Yoshioka

The information below is from Yoshioka:


Tokujin Yoshioka x 132 5. ISSEY MIYAKE

The first store for “132 5. ISSEY MIYAKE” designed by Tokujin Yoshioka has been launched.

132 5. Issey Miyake by Tokujin Yoshioka

“132 5. ISSEY MIYAKE” is a new label and a new evolution of “A piece of Cloth” by Issey Miyake, based on the ideas of “Regeneration and Re-creation.”

132 5. Issey Miyake by Tokujin Yoshioka

“Way of selling” is the concept of this space rather than the superficial interior design.

132 5. Issey Miyake by Tokujin Yoshioka

The clothes are displayed on five transparent torsos, which are strung down from the ceiling.

132 5. Issey Miyake by Tokujin Yoshioka

Customers can access freely to the computer graphic images of the complicated process on the iPad installed in the store.

132 5. Issey Miyake by Tokujin Yoshioka

The display of the process from 2D to 3D is as if it is of the Japanese Kimono store.

132 5. Issey Miyake by Tokujin Yoshioka


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More about 132 5.
by Issey Miyake
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Rhus Ovata Tel Aviv by k1p3

Fashion Boutique by k1p3 Architects

Karina Tollman and Philipp Thomanek of Israeli studio k1p3 have completed the interior for this fashion boutique in Tel Aviv, with a contiunous metal clothes rail dividing the store lengthways.

Fashion Boutique by k1p3 Architects

The shop’s window was narrowed leaving a horizontal strip of glass in the centre, while mannequins and displays inside are lined up to run parallel with the street.

Fashion Boutique by k1p3 Architects

Display stands and counters are made of MDF while horizontal lights hover over the central rail.

Fashion Boutique by k1p3 Architects

More retail interiors on Dezeen »

Fashion Boutique by k1p3 Architects

Photographs are by Daniel Sheriff.

The following information is from the architects:


k1p3 architects designed a new flagship store for the fashion label Rhus Ovata in Tel Aviv.

The premises are located on a busy fashion shopping street, the Rhus Ovata brand identifies itself as a subversive brand and therefore chose a shop set back from the sidewalk. The architects’ concept for the shop was born from this position, trying to accentuate the depth of the shop. Creating a horizontal layering parallel to the street.

Fashion Boutique by k1p3 Architects

The shop façade was redesigned, using steel to close the lower and upper parts of the vitrine and leaving a clear horizontal strip through which the shop shines and draws passers-by in. Openings were introduced in the back wall exposing a back garden.

Fashion Boutique by k1p3 Architects

The materiality was kept minimal and basic in its nature narrowed down to a rectangular steel profile and MDF, and the style draws references from contemporary art.

Fashion Boutique by k1p3 Architects

The shop displays both the Rhus Ovata collection and it’s ‘Borrowed’ vintage accessories collection. The collections were organized in the space according to the layers concept.

Fashion Boutique by k1p3 Architects

The majority of the fashion collection is hanging on a continues single axis across the entire width of the space with three passages crossing it where the steel profile is set into the floor. In the entrance the same steel profile suspends from the ceiling creating a topography within the space.

Fashion Boutique by k1p3 Architects

Along the backdrop of the shop, the ‘Borrowed’ collection is displayed in a library next to selected art books and alongside it is a wall installation of vintage scarves.

Fashion Boutique by k1p3 Architects

Special diamond shaped hangers were designed and hand made to present the bags on a single column.

Fashion Boutique by k1p3 Architects

A great emphasize was given to the design of custom made light bodies. The light bodies generate a dialogue with the floor plan highlighting its orientation and creating a hierarchy in the space.

Fashion Boutique by k1p3 Architects

Long horizontal lamps were designed emphasizing the long suspended rack creating a ‘highway’ of light in alternating positions above it. Vertical, mushroom like, lamps were designed to highlight particular points in the space.

Fashion Boutique by k1p3 Architects

And pink neon was used for the logo, casually leaning against a wall, repeating around the single column. The logo and packaging branding is by Koniak design.

Fashion Boutique by k1p3 Architects


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Ahoti by
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Interno Giorno by Teka Studio

Interno Giorno by Teka Studio

Architects Teka Studio have converted an old tannery store house in Bergamo, Italy into a family home.

Interno Giorno by Teka Studio

The three-storey building now features a free-standing wine cellar on the ground floor (above) and an indoor swimming pool on the top floor (below).

The bathroom is located on the ground floor and looks out, through a glazed wall, onto a little courtyard.

Interno Giorno by Teka Studio

The living spaces are on the first floor.

Interno Giorno by Teka Studio

A corten steel staircase links the ground and first floors.

Teka Studio corten stairs

Photographs are by Luca Santiago Mora.

Teka Studio corten stairs

Here’s some more information about the project:


“Interior Day” renovation of a productive area

Space
Simple volumes of different shapes placed on top of one another and linked in such a way as to create a subtle effect of interconnections, amid itineraries of light, recurrent geometries and points of emphasis.

Interno Giorno by Teka Studio

This interior design was conceived for a three-storey building, formerly the storerooms of an old tannery in the north-east of Bergamo, to be converted into a home, characterized by the presence of industrial activity which has now been completely abandoned.

Interno Giorno by Teka Studio

On the ground floor, the square floor plan was divided by concrete pillars into three bays of different widths. The service rooms are located here and defined by elements of a lower height with respect to the area accommodating them, to reveal the industrial character of the pre-existing space.

Interno Giorno by Teka Studio

The cellar is exemplary and visually the strongest element, a real “container”: its iron cage supports two horizontal wooden surfaces and takes on the shape of inner shelves, closed off by ruby red panes of glass. The wooden latticework, which screens the panes of glass to avoid the effect of the light on the bottles, reinforces the alien character of this pulsating structure, parked at the bottom of the house.

Interno Giorno by Teka Studio

A long cor-ten staircase leads from here to the first floor, to be used as the living area and connected by another staircase to the second floor where there are the bedrooms and the swimming pool. Both floors are defined by an L-shaped floor plan: in the long arm (40m x 10m) there is a simple row of pillars , the short one (14m x 3m) forms a single bay.

Interno Giorno by Teka Studio

To underline the unbalanced ratio between length and width characterizing these spaces, a narrow opening has been made – corresponding both to the roof and the inter-floor gap. This aperture conveys light to the first floor, where the relationship of light with the exterior is also marked by a long (35 metres) cor-ten window.

Interno Giorno by Teka Studio

Thanks to the presence of slits, holes and long perspectives, these spaces can be perceived in a continuous succession, connected in a narrative route with a good rhythm. This aspect is particularly evident in the shorter arm of the L, where the spaces, on both the first and second floors, are to be mono-functional. The ceiling of the formal dining room is also the bottom of the swimming pool: its portholes look on to the long highly polished black table, plunging the dining room into the atmosphere of the upper floor and anticipating it in a suspended discourse of reflections and light.

Interno Giorno by Teka Studio

Light
The theme-issue of light is a separate chapter in the development of this project: solutions that are never predictable were used to get round substantial obstacles: the building overlooks, unfortunately, the roofs of the surrounding buildings or the back of the nearby apartment blocks, which are all very high and completely blind.

Interno Giorno by Teka Studio

Exploiting light from above to the full by creating original paths to take it through the whole architecture is the central passage in an operation which guaranteed different luminous effects, giving the home a real variety of atmospheres, dimensions and suspensions. In two cases, the light comes from above into the glass parallelepipeds of the skylight wells, pierces the house through its floors and enters it together with a portion of the external space, with its plants and its seasons.

Interno Giorno by Teka Studio

In another case, “informed” by portholes and coloured by metres of water, the swimming pool expands softly and densely into the dining-room below. Lastly, again from above, it works itself into the narrow slit corresponding to the roof and the inter-floor gap, slides along the walls and is released to be diffused on the first floor.

Interno Giorno by Teka Studio

Regarding the access of the light from the side walls as well, despite the difficult position of the building, in some cases the indoor/outdoor relation has been designed with effective and specific solutions. On the first floor, for example, a long cor-ten window allows selecting the views and evokes the delightful image of landscapes impressed upon old photographic. On the bottom wall of the swimming pool, a large cone is directed outwards, defining with its black and enclosing frame, a portion of greenery and the blurred and iridescent light that can come from it.

Interno Giorno by Teka Studio

Matter

On the second floor, in the bedroom area, three large cubes mark the space of the long corridor which leads to the bedrooms. Two are made of leather, one covered with the shiny side and the other with the darker and iridescent “back” of the leather, almost as though it were pigment.

Interno Giorno by Teka studio

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These are the most obvious signs of a discourse on matter which runs through the whole house, in a continuous reference to the once active and bustling world of work – craft and industrial production – in the area where the building stands.

Interno Giorno by Teka studio

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If leather is a clear reference to what the building, a former tannery, was first used for, the interior is characterized throughout by an eclectic and honest unadorned use of matter. Stone, iron, concrete, wood, glass, felt and leather are used in such a way to make their natural essence felt amidst the things of the house and to highlight that they are raw materials, in reference to the world of work.

Interno Giorno by Teka studio

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Sometimes this is done through successful contrasts, in lively dialogues between the materials and in unusual pairings. The best example is the formal dining room, which brings together very different surfaces and colours: the floor of Taxos, a Greek marble of a miraculous white, faces the exposed concrete that dominates it from the ceiling, whilst a lacquered table captures their interaction perfectly, reflecting it. The yellow, studded with travertine on the threshold of this scene, and the green of the soft light from the ceiling with the portholes, complete it, effectively highlighting the essence of every material.

Interno Giorno by Teka studio


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House by
BeL Associates
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Threefold Architects
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Centre for Paper Restoration by LOLA

LOLA centre for paper restoration

Design studio LOLA – Local Office for Large Architecture have completed the renovation of a paper restoration centre in Lecce, Italy.

Centre for Paper Restoration by LOLA

Previously divided into small, badly connected spaces, the renovation has now created dedicated zones for each process of paper restoration.

Centre for Paper Restoration by LOLA

The upper level has a slatted floor you can see through and features tables suspended from the ceiling.

Photographs are by Edoardo Delille.

Centre for Paper Restoration by LOLA

Here’s a bit more information from the architects:


CENTRE FOR PAPER RESTORATION

The Restoration Center is located in historical Lecce, in the midst of ancient and irregular streets flanked by buildings of small and medium size, all built in the traditional local stone. This is an office where many types of ancient paper are restored: manuscripts, books, parchments, prints, wallpapers and papier-mache statues.

Centre for Paper Restoration by LOLA

The project area was previously divided into small, poorly connected spaces, which were the result of multiple renovations that had completely altered the original structure. The project’s goal was to create a room for the treatment of the papers (washing and drying), an area for scientific research, analysis and preliminary stages of the restoration work, an archive, a library, a space to wash the tools and a changing room for the staff. 
The first step was to recover the original structure by tearing down everything that didn’t have a historical or structural connection.

Centre for Paper Restoration by LOLA

White was used to increase the reflection of light and the space was opened up as much as possible, trying to use existing openings and steps. The cutouts in the structure created between the walls rhythmically mark the strength of the space; the empty emphasises the full, which at the same time represents the hidden elements, creating perspective views through which are possible to read its depth. This is the language. A game of solids and voids where the local stone takes expressivity and is the absolute protagonist.

Centre for Paper Restoration by LOLA

Elements were added which seem to rise and come to life by integrating with the supporting structure such as the staircases, the large tanks for washing the paper and other horizontal tanks for the conservation and cleaning of brushes and tools.
 The height has allowed us to design a floor that has the characteristics of an almost abstract environment so it wouldn’t oppress the spaces below.

Centre for Paper Restoration by LOLA

We needed something light, solid but intangible, almost like a sole parasite which returned the light it was given during the evening. This creates a filter of light between the two environments that changes, as the light of day and night does. The staircase, made of local stone that protrudes from the wall and seems to float in the air takes you to this place, which almost deceives, a space in metamorphoses.

Centre for Paper Restoration by LOLA

Empty spaces interrupt by box-shaped iron profiles that fold into steps, railings and balustrades of communication with the lower floor. This is a context, a little elusive, almost mysterious, where the suspended tables move and assemble together, sliding on rails placed on the ceilings.

Centre for Paper Restoration by LOLA

Click for larger image


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Double 00 ‘09 by
Case-Real
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on Dezeen
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Habitat Antique by Facet Studio

Habitat Antique by Facet Studio

Facet Studio have completed the interior of a vintage shop in Osaka, Japan, using cedarwood, rice paper and linen.

Habitat Antique by Facet Studio

Called Habitat Antique, layers of timber have been stacked to form pillars, with shelves slotted in between them to create display units.

Habitat Antique by Facet Studio

Photographs are by Tomohiro Sakashita.

Habitat Antique by Facet Studio

Here’s a bit more information from the architects:


HABITAT ANTIQUE

Located at a residential area in Japan is a small shop which sells antiques. “Antiques” are objects which are, different from manufactured products, becoming increasingly charming together with the passing of time.

Habitat Antique by Facet Studio

Furthermore, it is also dependant on the location and era of collection that the objects possess their own individuality.

Habitat Antique by Facet Studio

The characteristic of this shop is that there is only one of each item, honouring their individuality.

Habitat Antique by Facet Studio

Timber is a living material. The section of this material records the passing of time in the form of growth rings.

Habitat Antique by Facet Studio

Also, the expression of the material is created by the different patterns formed by growth rings.

Habitat Antique by Facet Studio

In order to extract the charm of this material, we layered the sections of timber, to allow the timber sections to create the “pattern of time” for us.

Habitat Antique by Facet Studio

To enjoy the charm of changing with time; to adore the expression of individualism… This material of timber calmly expresses the secrete pleasure of antique lovers.

Habitat Antique by Facet Studio

PROJECT DATA

PROGRAM: Retail Fitout
LOCATION: Osaka, Japan
AREA: 25m2
MAIN MATERIAL: cedarwood, rice paper, linen fabric

Habitat Antique by Facet Studio

Click for larger image


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Dressler Papeterie und Accessoires by eins:33Brandbase Pallets by
Most Architecture
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on Dezeen

Loft Access by Tamir Addadi Architecture

Loft Access by Tamir Addadi Architecture

London studio Tamir Addadi Architecture have inserted a tiny staircase to access a tiny loft in a London house.

Loft Access by Tamir Addadi Architecture

The painted steel staircase has been slotted into a 140 cm x 90 cm space on the landing.

Loft Access by Tamir Addadi Architecture

The self-supporting stairway is separated from the walls by a narrow gap while a free-standing steel pole serves as a handrail.

See more staircases in our Dezeen archive.

Loft Access by Tamir Addadi Architecture

Here’s some more information from the architects:


Tamir Addadi Architecture

Loft access, London
Completed 2010

The client asked us to replace the ladder to the loft with permanent stairs in order to improve the connection of the loft to the rest of the house, as he decided to start using it as a study. The main challenge was to design a staircase for the narrow space of 140 cm x 90 cm.

Loft Access by Tamir Addadi Architecture

We found it important to come up with a design solution that would help integrate the two differently designed floors – the wood-clad loft with its clean modern lines, and the carpeted Victorian lower floor with its engraved banisters – without disturbing each of their distinctive characters.

Loft Access by Tamir Addadi Architecture

We aimed to achieve this by designing three minimal and separate elements that function together as a staircase but remain abstract in shape, and can be seen almost as pieces of furniture that have been placed in the space – rather then a fixed feature of either the lower or upper floor.

Loft Access by Tamir Addadi Architecture

One result of widening the opening to the loft was an increase in the amount of natural light coming in from the loft’s skylight into the originally quite dark landing of the lower floor.

Loft Access by Tamir Addadi Architecture

The narrowness of the stairs and the fact that they are slightly removed from the wall contribute to this effect, as they let some light in all around them.

Loft Access by Tamir Addadi Architecture

Improving the flow of light was also another way of strengthening the connection between the floors and making it more inviting to use the staircase and climb up into the loft.

Loft Access by Tamir Addadi Architecture

Materials: 6mm welded and painted steel sheet, 50mm painted steel post, 20mm toughened glass.

Loft Access by Tamir Addadi Architecture


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Residence in Kurakuen by NRM-Architects OfficeMore staircases on
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Delicatessen 2 by Z-A Studio

Delicatessen Clothing Store by Z-Astudio

This clothing store in Tel Aviv by Z-A Studio of New York features items displayed on a pegboard that runs to the ceiling of the double-height space.

Delicatessen Clothing Store by Z-Astudio

Called Delicatessen 2, the interior of the shop features furniture that appears to be emerging from the walls, with the spaces beneath them painted yellow.

Delicatessen Clothing Store by Z-A Studio

Clothes are displayed on the pegs along one wall, with handbags mounted at the back of the space.

Delicatessen Clothing Store by Z-Astudio

Photographs are by Assaf Pinchuk.

Delicatessen Clothing Store by Z-Astudio

The following information is from the architects:


Delicatessen Clothing Store

By mounting the pegboard on the entire 5m tall space, and lighting it from behind, this rough hardware store material  turned into an ephemeral, lace-like dress that wraps around the space.

Delicatessen Clothing Store by Z-A Studio

In addition to the vertical pegboard display, horizontal display fixtures, made of found and recycled furniture pieces were cut out of the pegboard dress and “pulled” out of the wall revealing the yellow undergarment.

Delicatessen Clothing Store by Z-Astudio

The pegboard material was selected because it is the most bass flexible display infrastructure, which allows the constant change, growth and mutation of the space.

Delicatessen Clothing Store by Z-Astudio

Spatial transformation can follow a change in display needs, evolution of the brand or simply the change of fashion seasons.

Delicatessen Clothing Store by Z-A Studio

The recurring customer who is used to the change of goods can now encounter an immersive transformation and the spatial design can become a commodity consumed on a regular basis.

Delicatessen Clothing Store by Z-A Studio

Delicatessen Clothing Store by Z-A Studio

Delicatessen Clothing Store by Z-A Studio

Delicatessen Clothing Store by Z-A Studio

Delicatessen Clothing Store by Z-A Studio

Delicatessen Clothing Store by Z-A Studio

Delicatessen Clothing Store by Z-A Studio


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Lik+Neon by
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Movie: Kumikolnu Boutique by Chops and Moxie

Kumikolnu Boutique by Chops and Moxie

Amsterdam studio Chops and Moxie have shared with us this short film representing the concrete interior of a boutique by Japanese architect Kumiko Inui as though it’s being inflated from soft materials.

Can’s see the movie? Click here.

Watch all our movies »

Kumikolnu Boutique by Chops and Moxie

Entitled Kumikolnu Boutique, the film is based on Inui’s Tokyo store for German fashion designer Jurgen Lehl.

Kumikolnu Boutique by Chops and Moxie

In the movie, concrete walls, wooden display stands and metal rails materialise as though from soft fabric.

Kumikolnu Boutique by Chops and Moxie

The information below is from Chops and Moxie:


The facades of Japanese architect Kumiko Inui’s buildings are often visual puns or optical illusions.

We saw the opportunity to create a simple visual pun after seeing her Marunouchi boutique created for Japan-based German fashion designer Jurgen Lehl.

The contrast between the soft fabric of the garments and the hard ‘fabric’ of the architecture inspired us to have the architectural materials take on the soft and billowing properties of Jurgen Lehl’s textiles.

First we recreated the boutique interior as a ’still’ image and tried to capture the rich shadows, and wall colours important to Kumiko Inui, then we set to work inflating the space as if it were being assembled in a television studio.

The music is fun but slightly mad, sound adds another dimension to the unnerving experience of watching glass and concrete and wood loose their prescribed properties!


See also:

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The Transcendent City
by Richard Hardy
Marquise do Parque do
Ibirapuera by Pedro Kok
Retail
interiors

Drawing Fashion at The Design Museum by Carmody Groarke

Drawing Fashion by Carmody Groarke

Here are some pictures of Carmody Groarke’s exhibition design for Drawing Fashion, which opened at the Design Museum in London earlier this month.

Drawing Fashion by Carmody Groarke

The design comprises a series of interlinked curved partitions, backlit to resemble paper lanterns and provide ambient lighting throughout the space.

Drawing Fashion by Carmody Groarke

The exhibition displays fashion illustrations collected by Joelle Chariau of Galerie Bartsch & Chariau over the past 30 years, and includes work from fashion houses such as Chanel, Dior and Viktor & Rolf.

Drawing Fashion by Carmody Groarke

Design studio A Practice For Everyday Life (APFEL) created the graphics for the space.

Drawing Fashion by Carmody Groarke

Drawing Fashion is show at The Design Museum until 6 March 2011.

Drawing Fashion by Carmody Groarke

Photographs are by Richard Davies.

Drawing Fashion by Carmody Groarke

Here’s some more information about the exhibition:


Drawing Fashion opens at Design Museum

‘Drawing Fashion’, an exhibition charting the work of the most important fashion illustrators from the 1920s to the present day, opens at The Design Museum. Carmody Groarke have collaborated with A Practice For Everyday Life (APFEL) to create a unique exhibition experience, transforming the existing space into a series of interlinked, curved ‘lantern’ forms, on which the series of drawings are presented.

The exhibition design takes its idea from making a strong material reference to paper, which is backlit giving a sensuous ambient lighting effect to the overall space whilst giving subdued definition to the silhouette of the supporting structure and to the elegant exhibition lettering, designed especially for the show. A sequence of spaces has been designed to bring intimate emphasis to clusters of work (categorised by each illustrator), as well as to the particular subtle and beautiful qualities of individual drawings in the collection.
For the graphics, APFEL adapted the font designed for Vogue in the early twentieth century, which had never been digitised. As the entire exhibition was backlit it was the ideal opportunity to use reverse cut vinyl and apply all the lettering to the back of the paper. The letter forms are ‘white on white’ (white vinyl on white paper walls) but legibility is achieved from the careful lighting and shadowing of the type. The result is a very seamless, tonal use of typography which compliments the delicate works on paper.

Drawing Fashion by Carmody Groarke

Click for larger image

From The Design Museum:
“Drawing Fashion celebrates a unique collection of some of the most remarkable fashion illustrations from the 20th and 21st Century. These original illustrations reflect not only the spirit and style of the decades, but also evoke a sense of elegance and glamour long associated with the world of couture and high fashion. Drawings from the collections of Chanel, Dior, Comme des Garcons, Poiret, Lacroix, McQueen and Viktor & Rolf amongst others, will feature in the exhibition, which charts the changing perception of fashion drawings from its origins as an advertising tool used prior to the advancements of photography, through to its establishment as a unique representation of collections which has endured through to today’s leading designers.

This exhibition showcases the creativity and skills of a unique artistic approach, celebrating the art and artists of fashion illustration whose exquisite images gave each collection an emotive and stylistic sense of direction. The drawings reflect the spirit of the time, through Art Nouveau, Art Deco, Pop Art and beyond with each era resonating with flare and style. This exhibition, co curated by fashion historian and writer Colin McDowell, celebrates key artists at the height of their careers: Lepape at the beginning of the century, Gruau the 40s and 50s, Antonio throughout the 60s, 70s and 80s, to current artists Aurore de La Morinerie, Mats Gustafson and Francois Berthoud. Film-clips, news reels, music and photography will sit alongside the original illustrations, allowing the visitor to reflect on the wider social and cultural changes of the century. Films of the artists at work will be displayed alongside examples and projections of the couture clothes shown in the illustrations.
This collection, regarded as one of the most exceptional collections of fashion illustration in the world, has been put together over 30 years by Joelle Chariau, one of the very few experts on fashion drawings. This is the first time the collection has been displayed.”


See also:

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The Surreal House by
Carmody Groarke
Studio East by
Carmody Groarke
Regent’s Place Pavilion by Carmody Groarke