Posts tagged with "Fashion":
Like an architect, fashion designer Thakoon Panichgul carefully balances contemporary and historical influences. His eponymous brand has won him fans from Michelle Obama to Target, but when it came time to build a brick-and-mortar store, Panichgul and New York–based SHoP faced a more complex balancing act. They wanted to carefully devise an interior that would reflect its Soho surroundings and the Thakoon aesthetic, all while grabbing the attention of passersby and setting itself apart from competitors.
“Thakoon was really interested in making [the store] of its place, of New York, bringing in the grit of the city,” said Coren Sharples, principal at SHoP. Concrete with dark aggregate covers the floors, and the architects tapped Brooklyn-based Fernando Mastrangelo Studio to cast multiple concrete walls throughout the store. Mastrangelo reproduced the subtle gradients of his furniture on an architectural scale, pouring multiple layers of gray-hued concrete in a single casting. “This was crazy, it was done on site,” said Sharples. “This was formed up and poured. Really a little scary, but [Mastrangelo] was amazing.”
Wood was also an important part of Panichgul’s vision—the designer had prepared a mood board with several wood treatments that figured prominently in other fashion brands’ aesthetics. These ranged from light treatments with vernacular ornamentation (what he called “American Traditional”) to richly grained and darkly stained (“American Glam”). SHoP and Panichgul ultimately chose an unfinished white oak (“American Cool”), a look that left the wood in its raw, natural state. White oak surfaces sinuously undulate along the showroom’s walls even as they retain a dry, coarse texture. The architects and client also worked closely with Brooklyn-based furniture maker Vonnegut/Kraft on the store’s wood furniture: Connection details, leather seating, and each edge and taper went through multiple iterations before landing on a design that features simple woven-leather straps. Vonnegut/Kraft’s pieces stand in the main showroom and hug the curves of each dressing room.
Extra seating is provided by travertine blocks that were CNC-milled in Italy to 3-D models provided by SHoP. Panichgul tapped London-based designer Michael Anastassiades for the principal lighting features: simple orbs with brass detailing. Brass is also used for the store’s clothing rods and the towering sculptural display rack that stands prominently in the main showroom.
Taken all together, the materials find ways to somehow be both angular and curved, smooth and gritty, even as their neutral tones give the clothing center stage. “We wanted it to be infused with material sensibility and warmth, but at the same time, it’s always this line you walk because you don’t want to overpower or dictate,” said Sharples.
Formed in 1999, 24 years after Rem Koolhaas founded the Office for Metropolitan Architecture (OMA), AMO is the architecture practice's research think-tank. Directed by Reinier de Graaf, a partner at OMA, AMO addresses issues surrounding architectural production and other mediums such as fashion, print, online media. Past projects include a redesign of the EU flag and being a leader in the production of Volume magazine.
In 2011, the group worked with Prada on the confusingly titled OMA*AMO for/with Prada, an exhibition in Venice. This year, OMA's Shohei Shigematsu designed the exhibition space for Manus x Machina at the Met.
This year's project for Prada, however, is on a much larger scale. The design features a catwalk runway divided into three zigzagging segments that slope down to the audience seating. The upper-most level, the entry gangway, is located behind a mesh-crafted colonnade.
Made from metal, the mesh dominates the interior space and allows an array of colored lighting to permeate through and illuminate the space. "Generating an abstract layer, composed of meshes with different patterns and dimensions...overlap to recreate a total space. The transparency of the cladding material unveils the underlying framework with Cartesian precision," the firm said in a press release.
Subsequently the resultant glow from the lights aims to de-humanize the space, "[dematerializing] all the surfaces, coloring the room, now reminiscent of a post-human scenario."
Technology within the realm of the fashion industry is seldom appreciated from an artistic perspective. Instead, it is synonymous with churning out standardized sheets of fabric, lacking the charm and value inherent in handmade garments.
Andrew Bolton, curator of The Costume Institute, is hoping to change that with Manus x Machina, a daring new fashion exhibition at the Robert Lehman Wing at The Metropolitan Museum of Art. Director of the Office for Metropolitan Architecture New York, Shohei Shigematsu, led the exhibition design working alongside the Met’s design department.
Featuring more than 170 ensembles, spanning the 1900s to the present, Manus x Machina seeks to identify the role technology has played in the fashion industry since the emergence of haute couture in the 20th century. Shigematsu said he was wary of representing the difference between man and machine literally. Instead, his team sought to create a “neutral, themeless” environment that could be used as a platform for discussion about the exhibits themselves. “It’s all about people paying attention to detail,” explained Shigematsu.
Shigematsu’s design also offers a sense of ephemerality, juxtaposing the permanence of the Met’s stonework with scaffolding and a translucent screen—a “theatrical material that has different properties of translucency and transparency depending on the light,” said Shigematsu. “You can see the structure through the scrim,” he continued. “You have the classical language of the arches and domes, but it has a very contemporary material and a sense of temporality that doesn’t exist within the Met. It’s a fresh internal space.”
When walking into the exhibition, visitors enter into what appears to be an all-white church. Despite avoiding any theme when developing the exhibition design with Bolton, Shigematsu said, religious themes arose. One of the main exhibits, chosen by Bolton, is an ornate Karl Lagerfeld–designed Chanel scuba knit wedding dress. “We [Bolton and Shigematsu] noticed that the pattern on the dress was really beautiful, so we thought to project this pattern onto the dome, almost creating the feel of the Sistine Chapel. We really inspired each other to make it look like a church.”
“We had to block out a lot of natural light because there are a lot of sensitive garments. So we basically decided to create an inner shell—then that started to look religious because of the existing structure’s spatial configuration,” he added. Interestingly, the entrance to this “religious” wing only has one entry point—a medieval exhibition currently on display that “already looks like a religious room,” said Shigematsu. “We thought that we could extend that world, but in a completely different material, creating a sense of classical continuity… I thought that this tension between the classical and the contemporary was quite interesting,” he continued.
He also opined that the exhibition was a good opportunity for OMA to alter its image. “Our firm tends to be known as focusing too much on the intellectual side,” he continued. “I really would like to change that culture… I think that this exhibition was a great realization for us to do something very pure and also maybe ‘romantic.’”
From Functional to Fashionable: glass blocks used to create a glowing facade in Shanghai.Located in a high-end fashion district in Shanghai, this storefront was dramatically reclad in a custom glass block assembly by Toronto-based architecture studio UUfie. The facade is part of an adaptive reuse project, converting an old office building into a new flagship store for fashion house Ports 1961. Eiri Ota, the Director and Principal Architect of UUfie, says the design concept evokes the idea of a landform that resembles an iceberg floating freely in the ocean, “During the day, [the facade] mutes the surroundings, while subtly reflecting the sunlight. In the evening, the view is icy and crisp, and the surface illuminates with embedded LED lights integrated into the joints of the masonry.” The iceberg concept is inspired in part by the fashion brand’s celebration of the spirit of travel. The facade is composed of two types of glass blocks, a standard 12” (300mm) square block and a custom mitered block of the same dimensions. The use of corner blocks offers a seamless uninterrupted materiality. From a distance a larger grid emerges, registering the facade control joints and steel frame beyond. The grid acts as an organizing element for the building envelope, controlling the limits of the material while providing a basis for formal adjustments to the massing of the facade. At key moments, the building face pulls and pushes, establishing the main pedestrian entry and billboard displays for passersby. Ota relates these design moves to the building’s context, “the building has a sense of being undulated, expanding and contracting, as if it is shaped by its environment.” UUfie was able to achieve a three-dimensional “corbeling” look for the glass block by carefully integrating steel plates into the design. As the facade tapers, the blocks rest on a stainless steel plate of the same dimension, which extends to a steel frame. LED lighting, inserted into the masonry joints casts light toward the interior, which is indirectly reflected back to the exterior, establishing a soft glow effect and conveying the depth of the assembly. UUfie’s Toronto-base office worked to refine the detailing of the wall system to ensure that the on-site assembly process would operate as smoothly as possible, which meant condensing the number of connections in the modular assembly down to a set of standard details. This effort doubly helped to establish a rigorously refined aesthetic and efficient construction process, reflecting Ports 1961’s approach to carefully honed craft production. The finishes selected for the facade were a thoughtful addition to the project. The glass block is a satin finish, and the underside of the exposed steel plates is shot blasted to create a soft matte finish. These deliberately “soft” finishes operate contextually to contrast with Shanghai’s electric chaos. Ota attributes the success of the project to the facade’s materiality and formal massing: “The differing geometries and changing perspectives of the facade express the transformative nature of the city and the people of Shanghai.”