5 Pane

project byXhefri LondoAnita PierobonSimone Rossi

PANE

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 chequotidianamente lo pervade. Attraverso un percorso guidato,l’imposizione di un tempo di osservazione prestabilito e l’aiuto di unsonoro deviato, si è cercato di costituire un’ esposizione totale chefaccia partecipare l’ospite in modo sinestetico e sensoriale. Unaricerca precisa sul significato di “mostrare” e come quest’ultimoconcetto si sia trasfigurato e degenerato col tempo. Unaricostruzione 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 display- 09 Tag

GUERRILLA STOREComme 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 archi-tecture 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, histori-cal 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

00Bloom 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 HatanakaBloom skin

BLOOM SKINWOW Inc; TAKASHI AOKI and FUMITO ANZAIfor ELTTOB TEP ISSEY MIYAKE2012GINZA TOKYO

FANS ARE CONTROLLED

01Prada 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 sub-stantially influenced by the angle of incidence of the local pro-file. 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 chang-ing and oscillating character of the building’s identity is height-ened by the sculptural effect of its glazed surface structure.

playing Bad SectorTelemetry

PRADA STORE HERZOG DE MEURONfor PRADA 2003AOYAMA TOKYO

CRYSTALLINE THREE-DIMENSION PRISMATIC MAXIMUM CONVEX TUBU-LAR CROSS SECTIONS RHOMBOID FACADE CAGE-LIKE STRUCTURE ALU-MINIUM WETSEALED WITH SILICONE

02Ch-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 store-front is approached from either side of the street, a series of lines and planes seem as if they are randomly floating in mid-air. this is achieved through the utilization of minimalist struc-tural 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 ARCHITECTSfor ELTTOB TEP ISSEY MIYAKE 2014 GINZA TOKYO

date: may 31, 2014 – june 29 2014location: 4-4-5 chuo-ku ginza, tokyo

03Maison Martin Mar-giela shop timer: 100 seconds

A smaller space with high ceilings, Martin Margiela Aoyama is dedicated exclusively to two selected Martin Margiela Col-lections 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 appreci-ate its work on the Martin Margiela ‘0’ and ‘1’ collections.

playing Feldman’s Rothko chapelWhy patterns?

MAISON MARTIN MARGIELA SHOPMAISON MARTIN MARGIELA for MAISON MARTIN MARGIELA2002AOYAMA TOKYO

COMING SOON

04Nike 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, PROJECT ZOLTAR NIKE for SELFRIDGES2010LONDON

SHIRTS FROM RECYCLED PLASTIC BOTTLES

05Blue 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 ap-pearance 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 CHAIRSYOICHI YAMAMOTO ARCHITECTSfor ELTTOB TEP ISSEY MIYAKE2011 AOYAMA TOKYO

2D / 3D

06Prada 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 nonfunction-al. 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 imme-desimazioni non richieste ma richieste

PRADA MARFA MICHAEL ELMGREEN and INGAR DRAGSETfor PRADA 2005 60 KM NORTHWEST OF MARFA, TEXAS

PILGRIMAGE IN THE MIDDLE OF DESERT

07Interactive 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 ChainPsycocandy

INTERACTIVE WINDOW CONCEPT GUSTAF ENGSTRÖM, LUCAS LIMA, MARCUS WALLANDER, JULIANA OLIVEIRA and BEA AREILZAfor NORTH KINGDOM 2012STOCKHOLM

Clio 2011 Student. Innovative Media-BronzeAds of The World February-Silver Award 2011Creativity International Awards 2011-Platinum Award

08Eyeball 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 BonoboKiara

EYEBALL WINDOW DISPLAY JUN TAKAHASHIfor UNDERCOVER SHOP 2012 AOYAMA TOKYO

BLACK-OUT EYEBALLS

09Tag 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 RavelBolero

TAG KIDULT for KENZO2011 PARIS

COMMERCIALIZATION AND COMMODITI-ZATION OF GRAFFITI-

01INSTALLATIONfrom GUERRILLA STORE REI KAWAKUBOWARSAW

02INSTALLATIONfrom GUERRILLA STORE REI KAWAKUBOLOS 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

SITOGRAPHYhttp://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

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