full example here (16.2 MB, pdf)

LABORATORY FOR VISIONARY FASHION
“YOU HEAR ABOUT IT AT DINNER PARTIES
AND FASHION EVENTS.
IT’S BEEN THE SUBJECT OF
COUNTLESS MAGAZINE STORIES
AND NEWS REPORTS.
SOMETHING SPECIAL
IS GOING ON IN BRAZIL.”
—Suleman Anaya.
TABLE OF
CONTENTS
006 ACKNOWLEDGEMENTS
008
ABOUT THE DESIGNER
020 BR FASHION TRAJECTORY
022 EXPERIMENTING BEAUTY
026 INSPIRATIONS
INTRODUCTION
012 ABSTRACT
014 BRAZIL TALKING TO THE WORLD
016 BONITO POR NATUREZA
( BEAUTIFUL BY NATURE )
034 CASE STUDIES
038 OWNERSHIP (CLIENTS)
040 WHO’S AROUND? (USERS)
056 PROGRAMMING
044 SÃO PAULO, BRAZIL
060 CONCEPTUAL THREAD
046 DASLU: THE FASHION EMPIRE
064 PROJECT C.D.
RESEARCH
082 RE-SKINNING
088 LOBBY
104 LIBRARY
120 RUNWAY
136 NIGHTCLUB
PROJECT
156 FINAL THOUGHTS
158 SELECT BIBLIOGRAPHY
INTRO
DUCTION
ABSTRACT
More than shaping faces and life styles, Bra-
and create their art under influence of the tech-
zilian cultural backgrounds can be seen and
nology and values acquired in this cultural
felt in what is produced nowadays in the coun-
environment. A unique mix of entertainment,
try. The cultural footprint in contemporary Bra-
manufacturing, retail, educational and cultural
zilian design is strong and dynamic, qualities
that are apparent from observation.
contours, forms, cuts, textures, shapes and col-
design cannot be completely generalized to
ors are explored side by side in each interior
the whole country to the point of establishing
space.
ion and architecture. Indeed, this design is the
product of certain strategic and aesthetic decisions that are influenced by the latest technologies, the materials and their potential uses, and
the way Brazilians engage with these aspects.
LAVIF
INTRODUCTION
ing design. Where fashion meets architecture,
The findings of this research and its final
a definitive Brazilian style and identity in fash-
12
programs are articulated within the new build-
From its beginning until the present, the
objective of the design development emphasises the creation of a new culture of fashion,
incorporating technology, and other disciplines
such as architecture and biology.
Given the cultural background, this is what
Boosting and strengthening the Brazilian
gives Brazilian design a particularly unique
fashion; promoting the cultural and economic
quality.
growth; attracting tourists; disseminating the
Located in the city of São Paulo, Brazil, the
city in the world press; generating jobs; and
Laboratory for Visionary Fashion (LAVIF) is
moving the commerce, culture, gastronomy,
the new house for the (inter)national fashion
hotels. This is why LAVIF is important to the
designers, whose interests are to experiment
city of São Paulo and its country.
INTRODUCTION
LAVIF
13
Image and text from What about Brazilian Brands?
Perhaps the first Brazilian brand to be truly interna-
Santos wrote in his book Happy 1958, The Year That
tionalized—Bossa Nova—was launched in the same
Was Not Supposed to End (Feliz 1958, o ano que não
year by two brilliant young men, Tom Jobim and Joao
devia terminar), “pride” became a fashionable word.
Gilberto. Bossa Nova soon evolved beyond a musical
trend to become a whole attitude of life. The new and
more modern Brazil was knocking on the door: even
President Juscelino Kubitschek was dubbed as “bossa
nova.”In retrospect, the music, in some ways, was an early indicator of the optimism that America’s boom years
would spread across the world only a few years later.
Juscelino Kubitschek (aka JK) was not blind to this
flood of opportunity that the U.S.’s prosperity brought
BRAZIL
TALKING TO THE WORLD
It is hard to say when exactly Brazil first
looked at the rest of the world and decided it
had to carve out its own brand and personality,
but most would say that the seeds were likely
planted in 1958, when it won its first World Cup
in Sweden. At that moment, Brazil announced
to the world its swing, its classy lifestyle, and
its soccer stars Garrincha and Pelé.
14
LAVIF
INTRODUCTION
with it. Noting the enormous potential that lay in furthering Brazil’s international growth, he opened up
And now, after fifty years, the bossa nova period in
Brazil has come into fruition, our brand (and bossa nova
itself ) is once again a rising global star. Brazil is talking to
the world, telling people that it is fun loving and highly
adaptable, with a flair for improvisation—but always
backed by numbers, strategy and lots of hard work.
In the fashion and beauty industries, brands
have evolved all of the juicy clichés, transforming
them into an innovative and contemporary professionalism. While we can’t boast the world’s unani-
the economy to foreign investors and encouraged
mous admiration of French haute couture or its
new industries to relocate to Brazil. For the first time
assessment of Italy’s impeccable taste, we have
ever, automobiles were manufactured entirely in
been able to create a language that can travel the
Brazil; VW Beetles rolled off the lines in 1958, in the
world and incite desire in a short period of time.
ABC region of São Paulo. Amid the euphoria of these
We are on the world’s agenda for fashion events,
boom years, President Kubitschek campaigned on his
we are exporting models, and now we are exporting
famous catchphrase “Fifty years in five.” He also asked
brands too. (Not many of them yet, it is true.) Brazil-
Oscar Niemeyer, a member of the cultural avant-
ian’s have a lively eye for detecting demands and re-
garde, to design the new vision of the capital of Bra-
sponding to them. Responses are alert and refined.
sília in a location that had nothing to do with beach-
Now strategy must also be refined. The behavior of
es, or with any tropical clichés involving bananas.
consumers over technology has to be understood—
Brazil’s World Cup win enabled Brazilians to drop
and the hearts and minds of new consumers, win over
their mutt complex. As journalist Joaquim Ferreira dos
to ultimately sell more.
INTRODUCTION
LAVIF
15
The identity of Brazilian fashion reflects
our multiplicity and versatility, attributes
of a diverse and young country.
BONITO
POR
NATUREZA
Since 1500, Brazil has been a place for the
BEAUTIFUL BY NATURE
blending of different cultures. Starting with Brazilian natives, Portuguese and Africans, the mixture
increased with a massive number of immigrants
from 1887 until the Second World War, who equally contributed to the formation of one of the most
ethnically diverse countries in the world. Brazilian
anthropologist Roberto Damatta affirms that Brazilians are considered the perfect synthesis of all
egory for Brazil, as a society which celebrates in
ating new and alternative products, and we have
of the races. This reveals the country’s capacity to
betweenness, is what shapes the Brazilian charac-
a unique approach to our country’s natural setting
reconsider oppositional categories and reconfigure
ter and culture.
and resources. We love analyzing things and rein-
them in a positive light. “Brazil is not a dual country
which operates only with the logic of the in or out,
right or wrong, man or woman, married or separated, God or devil, black or white. On the contrary, in
the case of our society, the difficulty seems exactly
to apply the dualism of exclusion character; an opposition which determines an inclusion of a term
and the automatic exclusion of other, as usual in
the American and South African prejudice and we,
Brazilians, consider as brutal.”, Damata states.
According to Lilia Schwarcz, Brazilians use over
130 shades to identify their skin color, such as ‘coffee and milk’ and ‘suntanned’. She affirms ‘it is not
possible to believe in a unique definition. Brazil is
so many things!’. This impossible definitional cat16
LAVIF
INTRODUCTION
Brazil’s land is lovely and bountiful. It is a landscape of endless generosity and the geography is
as warm and welcoming as the Brazilians, always
finding a way to crack a smile. There are no earthquakes, no tsunamis, and aside from the occasional drought or torrential downpour, nature is usually
in a good mood. Energy flows as if by magic: plenty of sunlight and endless supplies of water; the
Amazon pumping out oxygen to the world; gems in
Minas Gerais. There’s gold deposits, sugarcane, oil,
food and drink.
venting them, making new products and specializing in any number of other “transformations” to
show people that we are good, indeed very good,
at taking the commonplace and improving it. That
is how we make our presence felt in Brazil and
around the world too.
Beauty comes with the territory, and appreciating beauty is our calling in life. This is evident in
everything from our inarguable expertise in bikinis,
to our way of flaunting our body, and our individual
interpretations of the hang of garments (taking into
Such copious gifts of nature cannot but favor
account the high level of skin exposure required
this nation. Brazil has always been recognized as
due to the heat). Beauty lives alongside the colors
one of the world’s greatest source of food supplies
in Brazil’s sunlight and beaches, where aesthetic
and today this image is even stronger. We are cre-
democracy reigns supreme.
INTRODUCTION
LAVIF
17
SEARCH
RE
SPF W +
BRAZILIAN
TRAJECTORY IN FASHION
As time passed, the mass of immigrants began
and television began to have an extensive influ-
to settle down and identify a certain aesthetic com-
ence on fashion, in particular Brazilian soap opera.
monality. This had its public manifestation in 1922
Still habitually travelling to Europe and America,
at the first ‘Semana de Arte Moderna’ (Modern Art
fashion professionals began to adapt foreign fash-
Week) which saw itself as a rupture with European
ion to their own reality and realized that copying or
culture. However, its influence on fashion only hap-
just adapting foreign fashion was no longer good
pened around 20 years later when international
for their business as they were producing enough
cinema productions explored the rhythm and swing
to export. In response to this high demand the first
of Brazilian music and dance without any commit-
fashion school was established in Brazil in 1987, at
ment to Brazilian reality. Since then, forests, fruits,
Faculdade Santa Marcelina.
samba, beautiful women, and carnival have become the icons of Brazil.
LAVIF
RESEARCH
sil became São Paulo Fashion Week, the SPFW,
In the 1950’s the United States had a great influ-
which is now the fifth most important fashion event
ence in Brazil as a model of economic and cultural
in the world, making São Paulo known as the fash-
development. The American way of dressing pre-
ion capital city of Latin America. In the 2000’s, the
sented in movies and musicals began to be incor-
challenges for Brazilian fashion identity were to at-
porated on a daily basis. This acceptance of foreign
tend international market needs in relation to Bra-
fashion trends began to be questioned and Brazil-
zilian culture and to preserve national identity with-
ian designers created their first collections inspired
out making it look folklore or regional.
by popular Brazilian products, such as the coffee.
20
Created in 1996, the Morumbi Fashion Bra-
I admit that Brazil’s complex colonial past and
In the early 70’s the Brazilian fashion design-
rich history of immigration make the country rich
er Zuzu Angel became popular. Angel’s inspiring
pickings for designers. However, this “vast array of
themes reflected the oppression of the military
cultures” provides the Brazilian fashion a wealth
censorship imposed on the country during the 60’s,
of graphic icons, clothes, colors and identities as
a more engaged cultural expression than only Bra-
inspirations. In this scenery, the question is what
zilian natural resources. The 1980’s Rio de Janeiro
Brazilian fashion imbues to mean it is Brazilian.
RESEARCH
LAVIF
21
EX
FAS
HIO
NISW
YOU
FOU ’REOFFE HAT
YEA R TIMES RED
R. S
WH
TYL A
AT Y
E IS
O
PIC
U
KO
UT O
THA
T FA
F
SHIO
N.
PERIMENTING
BEAUTY
Beauty lies in the essence of art. For me, not every art is beautiful
but every beautiful thing is art. I see beauty in things I feel interested
in, and I find it interesting by understanding its messages, meanings,
and origins. Then, my imagination takes care of the beauty. However, it
doesn’t mean I don’t like the ugly. Those art pieces that are not meant to
be beautiful don’t mean that there isn’t something about it that does not
captivate my imagination.
In architecture, I believe there is a collision between the ugliness
in art and the utilitarian world. I disagree with Louis Sullivan’s principle
“form follows function” from the 20th century, because if you consider
only the function of things you built, it can soon be useless. However, if
you built something beautiful, it can serve multiples. In my design process, which includes my perception of architecture and fashion, beauty
is a vital resource. Through the search for beauty, I’ll design LAVIF’s
world as the first Brazilian visionary fashion home. Despite the content
and interior spaces, the technology used in the facade will expand passers’ and users’ joys.
Experimenting beauty is essential to create a balance in human life,
giving us meanings, connecting us with the world we live in, and taking
us out of routines.
RESEARCH
LAVIF
23
Opposite page - one edge
1. Flash and photo
2. Two edges
3. Two corners
4. Four corners
1
2
3
The intention of this experiment is to create an
of shapes was formed by playing with a flashlight.
item that represents my thinking process of this
Two-way mirrors, or one-way mirrors as they are
particular design. It’s visually simple, but complex
also called, are materials that transmit the light
in its process and understanding. It can represent
a space, a garment, a painting, nature, or anything
the observer imagines. With that in mind, the idea
is to create a structure made out of two-way mirrors
and light.
This research began in an raw project that was
meant to present the concept of the structural grid
as a formal principle and with that, simply create
24
LAVIF
RESEARCH
4
from one side and reflect it from the other. They
are intriguing, beguiling and thought-provoking for
the optical, perceptive characteristics and the many
connotations that derive from it.
The space of the mirror is not a field of a virtual but of a dematerialized reality. The perception
of depth in this space is retained, although in the
a beautiful thing. It was easy manual work and a
mirror image no longer exists. Apparently paradoxi-
couple of old pieces of mirrors were used to cre-
cally, the mirror time is objectified, and space is rel-
ate a cube. In order to create rhythm, a repetition
ativised, being simply turned into a plane surface.
RESEARCH
LAVIF
25
INSPIRATIONS
``
“I start with the fabric, material and touch.
Then I go to the form. Maybe forms require
a certain material or a certain material requires real form for them.”
—Yohji Yamamoto
INSPIRATIONS
HUSSEIN
CHALAYAN
Hussein Chalayan was born in Nicosia in
1970 and graduated from the Turkish Maarif
College of his hometown. He moved with his
family to England in 1978, obtaining British
citizenship. He graduated at Central Saint Martins College of Art and Design in London 1993,
his collection titled “The Tangent Flows”, contained clothes which he had buried in his back
yard and dug up again. An instant sensation,
the whole collection was purchased and displayed in luxury designer store Browns in London. In 1995, Chalayan beat 100 competitors to
clinch a top London fashion design award. In
the contest, organized by the company “Absolut”, Chalayan, aged 25, won financial backing
of £28,000 to develop creations for the British
capital’s Fashion Week in October of that same
year. His clothes are minimal in look but maximal in thought; his fascination with architec28
LAVIF
RESEARCH
ture, spatial dynamics,urban identity and aerodynamics are expressed in garments based on
concepts, architectural systems and theories
of the body. Chalayan’s sense of the visual is
ultimately true to his grasp of the practical and
cultural needs resolved by clothing.
He is one of the few fashion practitioners
who can be recognized as a designer rather
than a ‘stylist’.
Many of the creative working in the fashion
industry merely resurrect older modes of dress
or reinvent the basic garments found within the
traditional fashion canon. Chalayan moves forward with completely new forms, shapes and
materials conceived to dene space, rejecting
the construction principles and notions of contemporary architecture more than conventional
fashion.
RESEARCH
LAVIF
29
INSPIRATIONS
WORLD OF
SCI-FI PRODUCTION
Looking at the newly released production
photos from Tron Legacy, it’s hard not to be
struck by how much of the movie was shot on
real sets. With the demands of 3-D and CG movie-making, plus the need for real-life spaces
that look like they could be inside of the computer, it’s easy to see the influence of Kosinski’s
architectural background.
In a recent conference (You Tube video),
Kosinski talked about starting a small film after school where he and his partner wanted
to blend architecture, design and film. People
thought he was crazy to think that an architect
could be a film director—and that it might be a
30
LAVIF
RESEARCH
waste of a good architecture degree. Je Bridges
praised Kosinski’s ability to plan dierent constructs and lm them three-dimensionally for
this film.
“It’s interesting dierent lm makers where
they come from and what they bring to the lm
and [Kosinski’s] an architect and so the film
has a very, you know, heightened design feel
to it. And he hired this wonderful production
designer, Darren Gilford. And he is out of car
design so it adds another thing. It’s not somebody, you know, who is an interior decorator.”,
said Bridges.
RESEARCH
LAVIF
31
DESIGN BY
VARIOUS ARTISTS
CASE STUDY
Laboratory = Experiments
Stimulating environment
ARCHITECTURAL PROJECTION MAPPING
& DIGITAL INTERACTION
Motion: Visual & Touch sensitive
Informative & Proftable
Building’s nightlife
slack-jawed gawping factor it’s also a fond favorite
Visual design highlights and innovative applica-
for brand promotion.
tions interact and operate like an ingenious integral
“voucher system.” The spectacle offers an interac-
The success of the interactive windows shop
tive brand experience in any public space – with-
and interior store’s walls also has a positive influ-
out the help of street promoters, once it could be
ence on brands and buildings. By lifting the bar-
extended in smaller scale around the city. The act
riers between shop and street there is a positive
of suspending your disbelief to watch moving im-
shift in brand image and an increase in customer
ages, and the application of projecting these, has
traffic and profit. For the consumer, there is a high
its roots in cinema, but it also adds the collective
entertainment value and visual fun factor. A good
thrill of large gatherings, felt at public events like a
example is the Diesel interactive window (image
firework display or a free concert. Over the last few
4) fully embraces the zeitgeist of a target customer
years it’s become a popular way to wow crowds at
group for whom the virtual world is a life style, not
celebratory events of all kinds and because of the
a necessity.
1
1. The dynamic process of studyng how a
trashed material as cardboard can become
beautiful with few resources.Digital Design
Workshop, by MAPT.
2. Strukt Design Studio created this digital wallpaper for an office space in Vienna using only
a wall and digital projectors.
3. The picture shows a captivating moment of an
architectural projection on Hamburg Kunsthalle
Museum, in Germany. The project named
555 KUBIK, ‘How it would be if a house was
dreaming‘ makes use of the architectural
details of the Gallery of Contemporary Art to
create fantastic illusions which simply boggles
the mind.I bet you would take a second look at
the video when you finish with the page!
4. Inside Diesel’s interactive window, which was
tied to its “Destroyed” jeans campaign, shoppers could control the weather via a video
game that linked to the window set-up.
2
32
LAVIF
RESEARCH
3
4
RESEARCH
LAVIF
33
DESIGN BY
CASE STUDY
ZAHA HADID
Spectacle within a Spectacle
Respect original architecture
Color relationship
Material
JS BACH CHAMBER MUSIC HALL
Function x Form
A unique chamber music hall specially designed
to house solo performances of Johann Sebastian
Bach works – enhancing the multiplicity of his music by using a single, continuous ribbon of fabric
which constantly changes, stretches, compresses
and moves around itself to cocoon both performers
and audience within an intimate fluid space.
A translucent, fabric membrane stretched over a
steel structure suspended from the ceiling divides
and encloses the space, creating a stage, enclosure for the audience and passages into and out of
the auditorium. It would be interesting to see how
the bold monochrome design is affected by the
multicolored clothing of the audience members.
34
LAVIF
RESEARCH
Location: Manchester Art Gallery, T1 Gallery,
Manchester, UK
Client: Manchester International Festival
Program: Chamber Music Hall
Site Area: 17m x 25m
Architect: Zaha Hadid Architects
Design Team: Melodie Leung and Gerhild
Orthacker
Acoustic Consultant: Sandy Brown Associates
Tensile Engineer: Tony Hogg Design Ltd
Fabricator: Base Structures
RESEARCH
LAVIF
35
DESIGN BY
CASE STUDY
JEAN NOUVEL
Shopping experience
Stimulating environment
EXCELSIOR MILANO
Respect original architecture
Museum-like Retail use
Update trend - media
Flow & Movement
The relation between the pre-existing structure and the new one occurs by reflection: the inner walls of the old movie theatre are coated with
reflecting paints, while the exterior supports LED
screens all along the outer edge. It’s a project on
fashion, food and design. Jean Nouvel’s project is
contemporary but in line with the existing Excelsior,
designed to become a statement of style.
36
LAVIF
RESEARCH
Excelsior’s clients have a clear sense of style
and well travelled. The shopping experience it offers aims to be cross-genre and always putting the
focus on excellence. The technological flow that
ideally links the ancient site to the new hub dedicated to high profile urban shopping, is achieved by
an envelope of images that seems to run through
all floors. It invites you to take a journey into the
future of shopping.
RESEARCH
LAVIF
37
OWNERSHIP
CLIENTS’ PROFILES
Created 30 years ago, Iguatemi Empresa de
Shopping Centers S.A. is the division of the Jereissati Group responsible for planning, building, structuring and managing shopping malls. Since 1979
Iguatemi manages Brazil’s first shopping center, the
Iguatemi São Paulo mall. Focused on the South
and Southeastern regions, and Brasília, the company has 11 operation malls and five greenfields
projects.
Carlos Francisco Ribeiro Jereissati
CEO of Grupo Jereissati
Recently opened, JK Iguatemi is already part of
the architectural landmark of the city of São Paulo,
and has brought 23 international brands to Brazil.
The mall is part of the grand commercial complex
that includes three towers of offices and an entertainment and retail unit, the laboratory for visionary
fashion - LAVIF.
Established on May 23, 1979, the Jereissati
Group began its operations in the textile area and
subsequently, diversified its investments in the real
estate.
38
LAVIF
RESEARCH
Born in 2003, the Brazilian Association of Fashion Designers (ABEST) aims to strengthen and
promote Brazilian design and fashion. Their main
proposal is to assist the development of Brazilian
brands of international scope and to ensure the authenticity and creativity of each of them, and disclose the lifestyle of their country, thus contributing
to the growth of all segments related to fashion.
The brand stands for style, comfort, affordable luxury, and positive energy. The first pair of
Havaianas was born in 1962 and since then, the
company hasn’t stopped creating regional and international fashion trends. The most famous flipflop in the world has been part of the Oscars since
2003 with an exclusive model given to the nominees.
As a nonprofit association, ABEST partnership’s
goal is to show that the Brazilian fashion evolved,
found its own style and became professional. The
idea is to show members of both ABEST and LAVIF
the importance of conquering new markets, and developing special collections. Currently ABEST has
56 member brands from all over Brazil, also exporting products to 48 countries. In addition, strategic
actions run constantly to enlarge their penetration
into new markets around the globe and narrow relationships with those already achieved.
The opening of Espaco Havaianas in Sao Paulo
embodies Brazil’s envy-inducing climate of constant sun and air by funneling them into a concept
flagship store. Limited-edition models flank a tented stand featuring more coveted versions, including the monotone blue classic that helped turn the
company’s powdery sand into gold.
The famous slogan - “Havaianas - the real ones”
is launching its first nightclub, .br. The club conveys
the brand’s up-beat mood and magic exploring its
‘darker’ version. It’s impossible to describe using
words... you need to see it with your own eyes!
RESEARCH
LAVIF
39
USERS
WHO’S
AROUND?
São Paulo is a city rich in culture and art.
The large scale program of the building in
With over two hundred art galleries, museums,
São Paulo, the brain of Brazil, will create new
and private and public art schools, the city
growth opportunities and momentum for the
thrives on art and encourages exploration. The
change in the national fashion industry. With
direct target users are professionals and me-
two of the highest-end design and fashion
dia; fashion admirers of all ages who wish to
shopping malls in the country less then one
see and experience something new and excit-
mile away, it is inevitable that Itaim Bibi’s trend
ing; students, affluent art collectors, tourists,
will be followed by international spotlights.
and free thinkers. The alliance with national
Beyond affecting career or educational direc-
designers and brands with the new school of
tion, one of the most significant and intangible
visionary fashion will support and encourage
impacts of studying at the visionary school is
new businesses and provide a high level of
the students’ increased confidence and vitality.
standard for the future. The museum and the
They will develop a more sophisticated and ma-
runway spaces will become the local point for
ture way of looking at the world. They will have
fashion conventions, bringing energy and life
the understanding and skills to navigate effec-
to an otherwise lack luster area in Brazil.
tively, humanely and positively across differ-
X
EXTERIOR VIEW
RESEARCH
PUBLIC
POWERFUL
SURPRISING
ATTRACTIVE
Y
Y
LAVIF
USERS
PRIVATE
SEMI-PRIVATE
ATTRACTIVE
SURPRISING
POWERFUL
Y
40
PRIVACY X USER
RELATIONSHIP
PRIVATE
SEMI-PRIVATE
PUBLIC
ATTRACTIVE
SURPRISING
POWERFUL
INTERIOR VIEW
X
X
PRIVATE
SEMI-PRIVATE
PUBLIC
Z
Y
Z
Z
USER X SPECTACLE
RELATIONSHIP
RESEARCH
LAVIF
41
E
AT
IV
R
I-P
M
SE
C
LI
B
PU
V
G ER
CA IFT TIC
L FE SH AL
IN O & OP CI
RC
S FO B R
U
SE CU R B EST
LA
FA LF- LPT MAT Y AUR
TI
O
PA U IO
A
N
C R RE N
NT
A KIN G
D G AR
D
E
EN
USERS WITHIN
SPECTACLE X PRIVACY
V E
W IP L T
AU OR OU A
L DI KS N IL
CA IB TO HO GE
R P S
G F
I
BE AL ET RA UM C
L
E
LA
AU ER R
SS
TY Y IA RY
ES
SP
A
R
T
N
C
PA DO IRC
R CK U
KI
LA
N
TI
G
O
N
H
I
EL
T
RA
C
AT
T
E
IS
PR
R
SU
S
M
O
R IG COP
C U
T
VI ON N H ER
T Z
B P FE
VE OH LOU RE W C ON
LO R
N NC AY L E
G
VA AD TIC
U
ES E
LL IN AL
RO
B
E G
E
AT
IV
PR
ER
PRIVACY
USER
SPECTACLE
in
od d
to an e
rs ult od g
de es m in
un r ng th is
e, the isti no rs
cl
x
ta oth e ys ea pec b he sa pp a he ll ,
sp is f t It a d f t a n
e lity t o ... at oo t o y in tio Th ta ec ion h g ar et ma p
“... to roj ct ‘w is he oci for sum
its e p odu han at the l s , in on
th pr t wh is rea s t c ..”
of ore d, .It of form rec nt.
m o s’.. m ar di e
n
io
go ar lis ul or inm
ct
pe rea rtic ing rta
lle
un pa rtis nte
co - d
a ela te l
its dve of e
ot al r dia ea le
a n
n
e
i
r
tio
is c m e mp es e
i g
e so ,
cl a ns th s a th
ta ut so re to m d n
ec b er e in e i an f a the
o is
sp es, g p Wh s pl s
he ag on ... ge im ng ns It the c“T f im am es an e s thi tio ... of du o n ag ch h l va ior on pro mp
tio y im ld s, t rea oti av ati in su
r e e m h rm e on
b
o
w ag om nt be affi mad ry c
im c ie ic nt y la
l
t
be fic o se ad ro
a- er,
ef pn re lre co
p
iz
hy mni ce a d its
al ow
i n
ci f p le.
o
o
e
c
o
ch a
sp n ta a h f
n
ic o
al io ec
tio n”
ci at sp us h e c
tio
so liz e th w bl ti a
st cia f th is ity em om l so r
l
a e
de pe o e v
ol e s oot cl cti ens dip hic oth he
e arc y T t
he th r ta a e
“T n, the ec ed th is th ier ver ed. os
tio at sp liz or It f h e e m m
is he cia s f rs. n o her har the
T e k e tio w is re,
sp pea oth nta elf, ch he
s e se its ee is
th pre to f sp ern ell”
re ty o od w
e
ci rm t m as
fo os ic
m rcha
a
PO
W
DESIGNERS
MEDIA
STUDENTS
FASHIONISTS
PUS=XYZ
SÃO PAULO
BR
AREA 3,287,000 SQ.MI.
POP
. 192 MILLION
BRAZIL
LANG. BRAZILIAN PORTUGUESE
ECON. 6th IN THE WORLD
AKA. NATURAL ENV., SOCCER, WILDLIFE, SAMBA.
SP
AREA 3,067 SQ.MI.
POP
. 20 MILLION
ECON. 1st IN THE COUNTRY
AKA. BUSINESS CITY, TERRA DA GAROA (Land of Drizzle).
SP
Brazil is comprised of twenty-six states and is
The country has a mixed economy with abundant
São Paulo (SP) is located in the Southeastern re-
the only Latin American nation that derives its lan-
natural resources. Its economic industries include
gion of Brazil, in southeastern São Paulo state and
guage and culture from Portugal. The native inhab-
textiles, shoes, chemicals, cement, lumber, iron ore,
it is also the state’s capital. SP state is surrounded
itants mostly consist of the nomadic Tupí-Guarani
steel, aircraft, motor vehicles and barts. Its chief
by Minas Gerais in North, Parana in South, Rio de
Indians. It has a population of over 193 million peo-
crops are coffee, soybeans, wheat, rice, corn, sug-
Janeiro in East, and Mato Grosso do Sul in West.
ple. The early explores brought back a wood that
arcane, cocoa, and citrus.
The city is located on a plateau that is part of the
produced a red dye, called pau-brasil (brazil-wood),
from which the land received its name. Portugal began colonization in 1532 and made the area a royal
colony. The country is home to two of the world’s
twenty seven current megacities, São Paulo (the
9th largest with 21.1 million) and Rio de Janeiro
(12.7 million). Brazil covers nearly half of the South
America and is the continent’s largest nation. It ex-
In October 2010’s second round of presidential
elections, Dilma Roussef became the country’s first
woman president. She is expected to follow through
with Luiz Inacio’s (aka Lula, he is the first workingclass president, 2002-2010) agenda, but faces the
task of improving the country’s education, health,
and sanitation systems.
Serra do Mar (Portuguese for “Sea Range”), itself a
component of the vast region known as the Brazilian Highlands, with an average elevation of around
799 meters (2,621 ft) above sea level, though at a
distance of only about 70 kilometers (43 mi) from
the Atlantic Ocean. The city is rounded by two main
rivers, Tiete and Pinheiros rivers. Both were once
important sources of fresh water and leisure for the
tends 2,965 mi north-south, 2,691 mi east-west,
Brazil participants in well-kown international
and borders every nation on the south continent
organizations such as G-15, G-24, Interpol, Mer-
except Chile and Ecuador.
cosul, UN, UNESCO, and the most recent BRIC—
The São Paulo metropolitan area has over 10
Brazil is the largest national economy in Latin
countries that are all deemed to be at a similar
million people within 3,000 sq. mi area and it is the
America, the world’s sixth largest economy at
stage of newly advanced economic development.
largest metropolitan zone in Latin America. As the
market exchange rates and the seventh largest in
The country has a 9.8% unemployment rate and
most ethnically diverse city of the country, hosting
purchasing power parity (PPP), according to the
22% of Brazil’s population lives below the nation
a large community of European, Asian, Arabian
International Monetary Fund and the World Bank.
poverty line.
and African descendants, all living peacefully. The
44
LAVIF
RESEARCH
city, only become grossly polluted by raw sewage
and industrial.
city has a monsoon-influenced humid subtropical
climate. In summer, temperatures are between 63
F and 82 F. In winter, are between 52F and 70 F.
Because of its elevation, however, SP enjoys a distinctly temperate climate.
São Paulo is the 10th richest city in the world,
and is expected to be the 6th in 2025. Its gross domestic product (GDP) in 2006 was over R$282 billion. The city is also unique among Brazilian cities
for its large number of foreign corporations. Many
analysts point to SP as an important global city,
even though this categorization can be criticized
considering its serious problems of social exclusion
and spacial segregation.
Despite being the most important financial centre of the country, SP also presents a high concentration of shopping centers. You can find practically
anything there. Imported goods can be expensive,
but look out for Brazilian-made bargains in all categories. It’s not a hard task to spend some time in
one of the 50 shopping malls while in Brazil.
RESEARCH
LAVIF
45
DASLU
THE FASHION EMPIRE
“Once upon a time there was a little shop
belonging to friends that grew to the size
of the world. This is neither a fairy tale,
nor an attack of folie de grandeur.”
—Daslu, description on the website.
D
aslu (pronounced daz-LOO) is a posh
multi-brand boutique store and it’s
known as the “fashion designers Mecca”
free espresso, biscotti and sparkling water at bars
of Brazil as it houses more than 60 fashion labels.
or spaces, vertical circulations and communication
It is the place where Brazilian socialites, ranging
between floors, which allows its form to be directed
from multi-millionaire soccer players to conglom-
by its new functions. Counting all seven floors (two
erate bigwigs shop for the latest accessories and
basements and five public floors) the total area
clothing. It is also a renowned shopping institution
of construction passes 600,000 sq. ft. and it has
in South America for being a “purveyor” in chic and
played an important role in the Brazilian fashion in-
exclusive couture.
dustry. Taking it in advantage, the implementation
When opened, you wouldn’t plan on walking to
Daslu. It’s against the rules to arrive on foot at São
46
LAVIF
RESEARCH
spread throughout the store. The building clearly
expresses its character through the immense interi-
of LAVIF will create an irony on a sense that “the old
international empire” is over and “made in Brazil”,
Paulo’s most over-the-top shopping emporium. A
perhaps by a foreign designer, can be high fashion.
taxi is one option, though a much chicer option is to
Daslu (now LAVIF) is part of the commercial
arrive by chopper at the rooftop heliport. The store
complex composed by the Santander tower, the JK
itself looks like an all-white Roman villa on steroids.
IGUATEMI shopping and its two office buildings,
Servants in black-and-white uniforms dole out
the JK towers.
RESEARCH
LAVIF
47
DASLU
THE ORIGINAL PROJECT
SITE PLAN
NO SCALE
NORTH ELEVATION (FRONT)
NO SCALE
WEST ELEVATION (SIDE)
NO SCALE
48
LAVIF
RESEARCH
RESEARCH
LAVIF
49
DASLU
SECOND BASEMENT
NO SCALE
FIRST BASEMENT
NO SCALE
GROUND FLOOR
NO SCALE
50
LAVIF
IF
RESEARCH
RESE
RESEARCH
LAVIF
51
DASLU
FIRST FLOOR
NO SCALE
F
OR
FOURTH FLOOR
NO SCALE
SECOND FLOOR
NO SCALE
FIFTH FLOOR
NO SCALE
THIRD FLOOR
NO SCALE
ROOF TOP
NO SCALE
52
LAVIF
IF
RESEARCH
RESE
RESEARCH
LAVIF
53
JECT
PRO
PROGRAMMING
BUILDING ANALYSIS
DEFINE PROGRAM &
FIVE SPACES
ADAPT PROGRAM INTO
THE BUILDING
ROOF TOP
HLZ
STORAGE
EVENTS AND
AUDITORIUM
“What we were really trying to do was
to make something that had the firmness,
the scale, the gravity, or the sense of gravity, that potentially a piece of architecture
does – having those qualities that a building produces, of really challenging you
and pressurizing the space in such a way
that it would be a kind of an equivalent to
a building.”
—Michael Maltzan
56
LAVIF
PROJECT
MANUFACTURES
AND OFFICES
CREATE CIRCULATION &
VISUAL CONNECTIONS
RETAIL
LOBBY : 19,265
LIBRARY : 25,474
RETAIL : 52,456
RUNWAY : 13,561
NIGHTCLUB : 18,768
CLASSROOMS
NIGHTCLUB
ACCESS
LIBRARY AND
COMPUTER LABS
BOH AND
LOADING DOCK
PARKING
LOWER
LOBBY
PARKING
UNDERSTAND EACH
SPACE AND ITS NEEDS
PROJECT
LAVIF
57
Parking
Storage
Lobby Access
Lounge
Gift Shop
Café
Parking Access
Loading dock
Concierge
Nightclub Access
General ADM
Restrooms
Storage rooms
Library
Workshop classromms
Lab rooms
Library ADM
Auditorium
Cafeteria
Library Lounge
Restrooms
Storage rooms
Shops
Seating area
Concierge
Personalite Sevices
VIP rooms
VIP Lounge
Manufactures
Designers’ offices
Retail ADM
Restrooms
Storage rooms
Shops
Seating area
Concierge
Personalite Sevices
VIP rooms
VIP Lounge
Manufactures
Designers’ offices
Retail ADM
Restrooms
Storage rooms
Events room I
Events room II
Events room III
Lounge
Coquetel room
Conference room
Backstage rooms
Restrooms
Storage rooms
Nightclub
Lounge
HLZ
VIP Access
Backstage rooms
Restrooms
Nightclub ADM
Storage rooms
PARKING
PARKING
ACCESS
A
ACCESS
EDUCATIONAL
R
RETAIL
MANUFACTURE
M
RETAIL
MANUFACTURE
EVENTS
ENTERTAINMENT
2nd
BASEMENT
B
1st
BASEMENT
GROUND
G
FLOR
F
1st
F
FLOOR
2nd
FLOOR
F
3rd
FLOOR
4th
FLOOR
5th
FLOOR
176,418
1
176,418
76,992
7
7
73,464
73,464
7
73,464
7
6
62,129
47,168
LOWER
LOBBY
LIBRARY
RUNWAY
NIGHTCLUB
6,867
6
12,268
15,141
7,240
18,768
58
LAVIF
PROJECT
TOTAL PROJECT
DESIGN DEVELOPEMENT
759,517
60,284
PROJECT
LAVIF
PROGRAMMING
Parking
Storage
59
CONCEPT
CONCEPTUAL
THREAD
The project describes the architecture’s role in the formation of a Brazilian visionary fashion identity through exploring fashion and architecture. In a complex
matrix of experience and information, each interior space questions the relationship between fabric (fashion) and building (architecture) and works as a thread
from which they must gather and weave together all the strings relevant to this
project.
There is a significant relationship of promoting fashion exhibition, retail and
education through the architectural manipulation of the environment. During the
conceptual development, I was lead to an investigation of beauty and how it can
be translated in each discipline analyzed. The existing structure was adjusted to
receive the new design while scale, textures, and colors of the elements applied
were magnified when light intensity was added performing incredible effects,
impacting the final result.
When designing to host a fashion focused program, it is important to remember how fast the trends change. A simple collection developed and launched at
LAVIF, can hold an extensive impact onto the architectural decisions, such as
moving important walls or occupying unusual spaces. Therefore, the idea of creating a “white canvas” and flexible space was present in every move and in all
the spaces.
LAVIF’s conceptual thread includes the literal, metaphorical and allegorical interpretations of fabric in different scenarios. It’s used as a set of rules to discover
the warp and weft of each space based on the big idea and its programmatic
needs. The art of digital fabrication and parametric design were also tested to
include a deep meaning into the environment that will inspire clients, users and
provoke many visionary trends.
60
LAVIF
PROJECT
It’s hard to beat a clever use of negative space
in logo design. It’s no coincidence that the most
memorable logos are also the most simple in appearance. The intention is to create an identitiy to
be instantly recognisable, acting as a memorable
identifier and supporting LAVIF’s philosophy.
LAVIF’s logo design has influences from its
conceptual thread diagram and the city’s sidewalk
pattern. There’s a deeper meaning behind the two
ribbons-like coming together to form the acronym.
One side is always black or white, the back side
of the ribbon allows the customization of the logo
according to the season’s campaign. In a place
where both national and international cultures colapse, the big idea of flexibility and a white canvas
of the project is extended to its brand logo.
PROJECT
LAVIF
61
CONCEPTUAL THREAD
FABRIC
M E TA P H O R
CONNECTIONS
LOBBY
A N A L O G Y
GATHER
LAYER
L I T E R A L
P UBLIC
S PA C E
P RIVATE
EXPERIENCE
LIBRARY
MOVEMENT
WARP
CIRCULATION
FUNCTIONALITY
CURTAIN
PATTERNS
SKIN
RUNWAY
P RIVATE
S PA C E
P UBLIC
EXPERIENCE
WEFT
PEOPLE
FLOW
RUNWAY
MUSIC
NIGHTCLUB
PINHEIROS
FREEWAY
NACOES UNIDAS AVENUE
CONSTRUCTION
DOCUMENTS
LAVIF
SITE PLAN
0 5 10
25
50
100
GO
JUSCELINO KUBITSCHEK AVENUE
ME
SD
EC
AR
VAL
HO
STR
EE
T
SANTANDER
TOWER
JK TOWER
NORTH
JK IGUATEMI
SHOPPING
JK TOWER
SOUTH
Site Plan
1st Basement
LOWER LOBBY
Ground Floor
LOBBY
1st Floor
LIBRARY
2nd Floor
3rd Floor
4th Floor
RUNWAY
5th Floor
NIGHTCLUB
CHEDID JAFET STREET
6th Floor
64
LAVIF
PROJECT
PROJECT
LAVIF
65
A
B
C
D
E
F
G
H
I
J
K
N
O
P
Q
R
S
T
U
V
X
Y
Z
1
A
A
2
3
4
5
6
7
GROUND FLOOR
LEVEL +0’ - 0”
0 5
66
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
67
A
B
C
D
E
F
G
H
I
J
K
N
O
P
Q
R
S
T
U
V
X
Y
Z
1
A
A
2
4
5
6
7
1ST FLOOR
LEVEL +15’ - 0”
0 5
68
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
69
A
B
C
D
E
F
G
H
I
J
K
N
O
P
Q
R
S
T
U
V
X
Y
Z
1
A
A
2
4
5
6
7
2ND FLOOR
LEVEL +27’ - 0”
0 5
70
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
71
A
B
C
D
E
F
G
H
I
J
K
N
O
P
Q
R
S
T
U
V
X
Y
Z
1
A
A
2
4
5
6
7
3RD FLOOR
LEVEL +39’ - 0”
0 5
72
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
73
A
B
C
D
E
F
G
H
I
J
K
N
O
P
Q
R
S
T
U
V
X
Y
1
A
A
2
4
5
6
7
4TH FLOOR
LEVEL +51’ - 0”
0 5
74
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
75
I
J
N
O
Q
S
T
V
Y
1
A
2
A
4
5
6
5TH FLOOR
LEVEL +69’ - 0”
0 5
76
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
77
A
A
ROOF TOP
LEVEL +84’ - 0”
0 5
78
LAVIF
PROJECT
10
25
50
100
PROJECT
LAVIF
79
+ 84’ - 0”
+ 69’ - 0”
+ 51’ - 0”
+ 39’ - 0”
+ 27’ - 0”
+ 15’ - 0”
+ 0’ - 0”
- 9’ - 0”
- 18’ - 0”
SECTION A-A
0 5 10
25
50
100
NIGHTCLUB
RUNWAY
RETAIL
RETAIL
RETAIL
RETAIL
LIBRARY
SECTION A-A
SCHEMATIC CIRCULATION PROGRAM
LOBBY
LOBBY
LOWER LOBBY
RE-SKINNING
COMMERCIAL
COMPLEX
JK TOWERS
JK IGUATEMI SHOPPING
Sleek and asymmetrical, with gleaming white
side is constituted of the same bluish glass used
walls, media façade, and a soaring atrium, LAVIF
in all the buildings of the complex combined with
will be a beacon of white modernity amid the color-
a new technology called GraphExeter, a one-atom-
ful sprawl of São Paulo.
The new form ia an approach founded within
the harmonious balance of technology, materials,
and form of its context. The simplicity is dissolved
when, in a surprising hour of the day, the technol-
GraphExeter is the thinnest substance capable
of conducting electricity and it can be used for the
creation of ‘smart’ mirrors or windows, with computerized interactive features. Since this material is
skin is structured by carbon fiber composite frames
also transparent over a wide light spectrum, it per-
to integrate the varied surface façade. The front
mits day lighting inside the building.
LAVIF
PROJECT
LAVIF
thick material, made of graphene.
ogy behind the glass curtain it is revealed. The new
84
SANTANDER TOWER
“It’s more interesting to have just a picture of a small detail - then you can
dream all the rest around it. Because
when you see the whole thing, what is
there to imagine?”
—Dries Van Noten
PROJECT
LAVIF
85
EXTERIOR
LOBBY
INTEGRATED
LOBBY
CIRCULATION
CONCEPT
Fabric: Connections
Warp: Circulation
FLOOR LEVEL
Weft: People
Besides the ground floor, the lobby is constructed with five different levels (including the
first basement) and it is conceived as a single
space. Without clear distinctions, the floors are
connected with the impact generated by the
oversized glass screen. The heart of the building is, in fact, represented by the catwalks and
staircases. Structured in steel and cladded in
a shiny metallic layer that highlights its exceptional sculptural presence, it is an entity that
is ambitious to convey in terms of any normal
geometric shape that originates from a vortex
with great dynamism, surrounded by the different surfaces that accommodate the LAVIF
world.
What is really important to a space as large
and dense as the lobby is that it has performances and exhibitions that are always active.
The lobby itself serves as a stage for the public,
the environment and the architecture. There’s a
choreography performed capable of creating
new understandings and, therefore, new realities. In this space, the “metaphor is not merely
a matter of language; it is a matter of conceptual structure. And conceptual structure is not
merely a matter of the intellect -it involves all
the natural dimensions of our experience, including aspects of our sense experience: color,
shape, texture, sound, etc.”, according to Lakoff
and Johnson, authors of Metaphors We Live By.
The movement of the ribbons that constitutes the catwalks, skimming each floor, disenchants the possibility to recognize the geometry. The general layout of every floor develops
according to the different flexures of the ribbons, creating a space controlled by the vortex.
90
LAVIF
PROJECT
CHANGE & PATTERNS
NEW HEADQUARTERS OF THE IED, BARCELONA
by Franconi Gonzalez Architects
HARD SURFACES
CLEAN PARTITIONS
GEN SYS LABORATORIES, Sci-fi Movie
Concept Art of Rise of the Planet of the Apes
TRANSPARENCY
& DAYLIGHTING
SECURE ENTRANCE
ALICE TULLY HALL, NYC
by Diller Scofidio + Renfro
EXPOSED STRUCTURE
INTERESTING
CIRCULATION
PROJECT
MAXII MUSEUM, ROME
by Zaha Hadid Architects
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
The lobby is washed with natural light by day. The
clear glass wall offers a glorious view of the new
landscaped park along the Pinheiros River, and it
1st BASEMENT + Gd FLOOR
NO SCALE
becomes a window to promote interior and exterior
interactions. Although it’s an angular space, nobody
walks turning at 90 degrees. The dynamic design of
the ceiling, floor patterns, and the fluidity of the vertical circulations smooth that transition and create
contrast with the regular structural system.
92
LAVIF
PROJECT
PROJECT
LAVIF
93
LOBBY
As a tribute to the traditional Sao Paulo sidewalk,
the black and white pattern is made of Portuguese
mosaic. At some moments, it is interrupted by a
café and gift shop entrance, a futuristic concierge
zone or elevator lounges, which can be confused
as special exhibition of classic Brazilian furniture.
Names like Sergio Rodrigues, the Campana brothers, and the architect Paulo Mendes da Rocha,
represent the modern and contemporary Brazilian
current collection.
LOBBY
96
LAVIF
PROJECT
PROJECT
LAVIF
97
LOBBY
98
LAVIF
PROJECT
PROJECT
LAVIF
99
LOBBY
100
LAVIF
PROJECT
PROJECT
LAVIF
101
LOBBY
102
LAVIF
PROJECT
PROJECT
LAVIF
103
LIBRARY
INTERACTIVE &
LIBRARY
INFORMATIVE
TRANSPARENCY
CONCEPT
& LIGHTNESS
Fabric: Gathering
Warp: Functionality
Weft: Flow
Libraries have been around in various forms
for thousands of years and have become a
cornerstone of activities for the communities
in which they exist. Even though the function
of what’s happening inside will change, the library itself will remain a powerful entity around
which the communities will rally. An important
role of LAVIF’s library is the unique archive of all
the in-house art. It is necessary to clarify that
as a digital library, the only physical elements
archived are samples of materials used in collections developed by in-house designers.
The recessed entrance showcases a floor to
ceiling LED screen that welcomes passersby a
hint of what they can discover inside. A sculptural black volume gathers both sides of the library, serving as a contrasting background to
the gallery and the bright spaces. Visitors are
taken to a short exhibition exploring an exclusive range of that season’s designers’ work.***
Members are allowed to enter into the hightech research and workspace room. The metal and cool look tends to read very futuristic.
Bright whites, shades of gray and rich blue accents, create a special atmosphere with sleek
materials. A wide clear glass wall separates the
archive from the noisy area. If activated, it turns
into a human sized touchscreen wall that allows
several people to work at the same time, providing high level of interaction between them. The
same feature is found in the stations. A robotic
system delivers the material to a common point
provoking users to communicate and collaborate with each other.
106
LAVIF
PROJECT
INTERACTIVE DIGITAL WALL, SCI-FI MOVIE
Iron Man Movie
PUBLIC USE
SOFT MATERIAL
PICNURBIA, VANCOUVER
by Loose Affiliates
MATERIAL
SUPRIMENT
WORKSPACE
LAPA TEXTILE MANUFACTURE, SAO PAULO
Founded in 1855
ROBOTIC SYSTEM
SPACE
PERCEPTION
PROJECT
LAVIF
107
JOE AND RIKA MANSUETO LIBRARY, CHICAGO
by Helmut Jahn
1st FLOOR
NO SCALE
Inspired by the antique textile manufactures, the
and intensities. In the quiet reading and cafe zone,
material transporting path is suspended above the
a flexible nano-porous blanket covers the chill out
stations, working as an extension of the workspace.
niche facing the city. Silica-based aerogel particles
The ceilings are covered in recycled aluminum pan-
are incorporated into a high value blanket that is
els, originally developed as parts for cars.
With the ambience of a laboratory, information
and functionality come together in different ways
108
LAVIF
PROJECT
non-toxic, supple, low dusting, and waterproof,
making it ideal to perform in a space where people
react in distinctive ways.
PROJECT
LAVIF
109
LIBRARY
LIBRARY
112
LAVIF
PROJECT
PROJECT
LAVIF
113
LIBRARY
114
LAVIF
PROJECT
PROJECT
LAVIF
115
LIBRARY
116
LAVIF
PROJECT
PROJECT
LAVIF
117
LIBRARY
118
LAVIF
PROJECT
PROJECT
LAVIF
119
RUNWAY
RUNWAY
CONCEPT
Fabric: Layering
LAYERING OF
Warp: Curtain (history)
Weft: Runway
THREADS
In fashion, presentation matters. Show venues these days are every bit as important as the
collections to the statement a designer makes.
It is a prime opportunity to flex their creative
muscles and stand out from the crowd. Fashion
shows are all about a heterogeneous army being thrown together for a short time in a small
space. In this setting, people expect something
different. There’s potential to take them a little
outside of their comfort zone. As a leasing
space for events, this show takes place in the
first half of the room, leaving the other for backstage. Layering is the concept that questions
the peculiar spectacle of the catwalk. Who is
the spectator and who is part of the spectacle?
By dressing the void, a fabric is a layer between body and space. Here, the present audience is seated between past and future. Bradley
Quinn explains that “reconstructed architecture
is in part a monument to the antecedent style it
preserves, highlighting the role of architecture
as a repository for collective memory. As both
garments and buildings convey these abstract
messages within specific spatial frameworks,
they forge new links between memory and
space.”
The existing façade and crown moldings are
maintained as a curtain to the corridor that gives
access to the space. Bright colors and lights tie
these trends together and is alternately covered
to create different moods. The dramatic blue
lighting guides the crowd between three seating
sessions. Fashion space is a synthesis between
fiction and realism. In the fusion between them,
the act of forming an illusion is performed by
a repetition of the catwalk structure projected
onto the panel that covers the runway.
122
LAVIF
NEEDLE BOX
SEWING ROOM OF MOVIE COCO AVANT CHANEL
by Anne Fontaine
EXPOSED STRUCTURE
AND RAW FINISHES
HIGHER CATWALK
A/W PRADA MENSWEAR 2008
by OMA / AMO colaboration
MODELS & RUNWAYS
INTERACTION
BLACK & WHITE
PICNURBIA, VANCOUVER
by Loose Affiliates
SEE THROUGH
SECURE AND FAST
SET UP STRUCTURE
PROJECT
CHRIST THE REDEEMER STATUE, RIO DE JANEIRO
by engineer Heitor Costa & sculpter Paul Landowski
When the show starts this panel retracts, fol-
the human psyche, revealing that the ‘mood’ creat-
lowed by the walk of the first model. The double lev-
ed by fashion photography often relies more on the
el scaffolding-like structure surprises the audience
backdrop context than the models or the clothes
when they realize that the starting point is located
themselves. Following this, light tubes are layered
on the upper level of the runway. Behind the two
along the catwalk structure that creates an optical
LED screens, the models make their way down giv-
illusion effect. The scaffolding inspiration comes
ing the spectators time to catch every detail of the
from an idea to (re)construct an architectural tool
show. Architecture often works as an analogy for
that is used when a change is made in buildings.
124
LAVIF
PROJECT
4th FLOOR
NO SCALE
PROJECT
LAVIF
125
RUNWAY
By layering several metallic towers,
the configuration of the room is adapted
according to the tenants’’ needs. The
runway is broken down into individual
8x8 feet pieces that slide through the
suspended track, making it easier for
storage and to create a wide variety of
Option A
Option B
Option C
INTERIOR ELEVATION
RUNWAY OPTION A
126
LAVIF
PROJECT
PROJECT
LAVIF
127
RUNWAY
RUNWAY
PROJECT
LAVIF
131
RUNWAY
132
LAVIF
PROJECT
PROJECT
LAVIF
133
RUNWAY
134
LAVIF
PROJECT
NIGHTCLUB
TROPICAL
ATMOSPHERE
NIGHTCLUB
CONCEPT
Fabric: Movement
UNIQUE
Warp: Patterns & Forms
ILLUMINATION
Weft: Music
In a nation with new venues springing up
left, right, and center to channel the cash spilling out the pockets of its young, hedonistic upper class. It is refreshing to come across a club
that’s been designed to deliver the rhythmic
pulse its people are so innately in tuned with,
for all the right reasons. It’s not a new idea to
find nightclubs at hotels or commercial buildings, but as stated by Roger Thomas, a secret
‘it-club’ is described by “drama, mystery, and
memories. After all, what designers have to
make is an experience. If the users don’t go out
with a memory, it is all down the drain.”
A cross-discipline team was recruited to
brainstorm this space and the goal is to show
design in action, not on a pedestal. The elegant
and futuristic style is combined with the sponsor’s culture. Havaianas, the Brazilian most famous flip-flop brand in the world, has the ability
to create experiences and invest in a brand that
works both globally and locally. The company
steps into a new market with the same consum-
MARINE BIOLUMINESCENCE, ATLANTIC OCEAN
by a phytoplankton known as dinoflagellates
PARTY EXPERIENCE &
EXCLUSIVE ELEMENTS
URBAN BEACH
LIFSTYLE
NEW YEARS EVE, RIO DE JANEIRO
by Copacabana Palace Hotel
TRADITIONAL
ELEMENTS
BRANDING
ers, launching its first nightclub “.br”.
The name comes from Internet country code
top-level domain (ccTLD) for Brazil. It emphasizes good product technology mixed with art
and design to promote the strong brand that
touches consumers’ hearts. It also shows how
creativity, innovative thinking and perseverance can create a buzz that transcends one’s
initial territory. There are several positive cultural meanings that users around the club associate with the brand and Brazilian cultures,
such as vibrant colors, sensuality, joy, fun, nature and sense of humor.
138
LAVIF
PROJECT
HAVAIANAS STORE, SAO PAULO
by Isay Weinfeld
SOUND & LIGHT
SYSTEM
INTERIOR x EXTERIOR
RELATIONSHIP
PROJECT
LAVIF
139
D.EDGE, SAO PAULO
by Muti Randolph (lighting) and Renato Ratier
It all starts at the ground level, where an elevator tower takes clubbers to the highest level of the
building. When stepping out, they’re surprised with
the movement generated by a wave of lights that
morphs into the entry hall. It was developed based
on the data captured by a strange sound of the water movement named ‘bloop’, produced towards the
ocean bottom. The wave motion spreads throughout ceilings and walls that sweep up enclosing the
spaces with a unifying gesture.
5th FLOOR
NO SCALE
Many inspirations were carefully picked for each
area developed. From under the sea creatures, to
the traditional fireworks at the beach on New Year’s
140
LAVIF
PROJECT
PROJECT
LAVIF
141
NIGHTCLUB
INTERIOR ELEVATION
RUNWAY OPTION A
142
LAVIF
PROJECT
eve, to Muti Radolphs’ explorations of time and
indoors provide a unique experience fusing stimu-
space relationship through music and interactive
lating and conceptual lighting, polished materials
generative videos. It is all synchronized with the
and customized furniture with a state of art. An ex-
movement of the users.
clusive VIP lounge faces the exotic jellyfish tank,
Two main lounges, a fifty feet long bar, an out-
and is available for the elegant and sophisticated,
door deck, and a breath taking dance floor emit a
to truly indulge, at the most fashionable experience
unique glow and energy, giving guests priceless
in Brazil. The legacy of ‘.br’ is not about today, to-
views of the linear park along Pinheiros river. The
morrow or next year. It’s about the century ahead.
PROJECT
LAVIF
143
NIGHTCLUB
144
LAVIF
PROJECT
PROJECT
LAVIF
145
NIGHTCLUB
NIGHTCLUB
148
LAVIF
PROJECT
PROJECT
LAVIF
149
NIGHTCLUB
150
LAVIF
PROJECT
PROJECT
LAVIF
151
NIGHTCLUB
152
LAVIF
PROJECT
PROJECT
LAVIF
153
NIGHTCLUB
154
LAVIF
PROJECT
PROJECT
LAVIF
155
FINAL
THOUGHTS
For decades Brazil’s tropical chic has enchanted
the outside world in a variety of forms; from the
white concrete sweeps of Oscar Niemeyer’s architecture, inspired by Rio’s undulating mountains, to
the rubber Havaianas flip-flops. But not everybody
in the industry accepts the notion that there is a
typically Brazilian style of design. It is important
to mention the significance of the idea of “Brazilian-ness”. A global exchange of influences means
Brazilian designers find their inspiration as much
abroad as at home. I believe there is no such thing
as typically Brazilian or typically London design.
There are Americans doing excellent oriental art,
and Brazilians making European designs.
“The interesting thing about Brazilian designers
is that they concentrate less on technique and focus more on artistic freedom. I think that all professions here are more based on creativity and the
natural intensity of our people and less on studies
and rules”, says Julia Bolliger, head of journalism at
magazine Zupi.
156
LAVIF
CONCLUSION
CONCLUSION
LAVIF
157
SELECT
BIBLIOGRAPHY
- “Malls r us”. Dir. Klodawsky, Helene, Documen-Holmes, Kevn. “Creativity Bytes: A Brief Guide
tary. DVD, 2010.
To Architectural Projection Mapping.” The Creators
-Gies, Sheila, PhD, and Tracy Cassidy, PhD. Project. N.p., 16 Mar. 2011. Web. 20 July 2012.
“Contemporary Brazilian Fashion Design: Cultural
-“#84.” Eye Magazine Nov.-Dec. 2012. Print
Evidences.” Design De Moda Brasileiro Contem-Konetschny, Christoph. “New Graphene-based
porâneo: Evidências Culturais, n.d. Web. 25 July
Material Could Revolutionise Electronics Industry.”
2012.
Materials Gate. N.p., 2 May 2012. Web. 23 Aug.
-Aufzeichnungen Zu Kleidern Und Stadten = 2012.
Notebook on Cities and Clothes. Dir. Wim Wenders.
-Lakoff, George, Mark Johnson. Metaphors We
Perf. Wim Wenders, Yohji Yamamoto. FilmprodukLive by. Chicago: University of Chicago, 2003. Print.
tion in Cooperation with the Centre National D’Art
“New Graphene-based Material Could RevolutioEt De Culture Georges Pompidou, 1989. DVD.
nise Electronics Industry.” University of Exeter. N.p.,
- “Visual Acoustics”. Dir. Eric Bricker, Documen27 Apr. 2012. Web. 23 Aug. 2012.
tary. DVD, 2006.
-Phillips, Tom. “Artistry in the Blood.” The Guard“Issue 76.” FRAME Sept.-Oct. 2010. Print
ian. Guardian News and Media, 13 Mar. 2008. Web.
-Anaya, Suleman. “Inside Brazil’s Booming 22 May 2012.
Fashion Industry | BoF - The Business of Fashion.”
-“The school of textiles and materials technolBoF. N.p., 5 Aug. 2010. Web. 10 June 2011.
ogy.” Philadelphia University’s Textile Design Depart-“Acoustic ecology | Airgun Report Executive ment... Do You Know? N.p., n.d. Web. 16 July 2012.
Summary.” ACOUSTIC ECOLOGY | Airgun Report
-“The World at Its Feet.” The Story of Remarkable
Executive Summary. N.p., n.d. Web. 24 Sept. 2012.
Transformation of Havaianas into a Premium Brand.
-“Aspen aerogels.” Aspen aerogels. N.p., n.d.
N.p., 2 Sept. 2012. Web. 24 Oct. 2012.
Web. 24 Aug. 2012.
-Hadid, Zaha. “Zaha Hadid Architects.” JS Bach
-“The Bloop: A Mysterious Sound from the Deep
Chamber Music Hall. N.p., n.d. Web. 12 July 2011.
Ocean | NOAA SOSUS.” YouTube. YouTube, 28 Apr.
-“Issue 139.” Wallpaper Mag Oct. 2010. Print
2010. Web. 24 Aug. 2012.
-“Inside Brazilans Booming Fashion Industry
-“Smart-Materials_f10.” [CP][MB] Smart-Materi| BoF The Business of Fashion.” BoF. N.p., 5 Aug.
als_f10. N.p., n.d. Web. 24 Aug. 2012.
2010. Web. 10 Mar. 2012.
-“Ecouterre.” GrapheneBased Conductive Mate-Interbrand. “What about Brazilian Brands?” Inrial Could Revolutionize Wearable Tech Comments.
terbrand
n.d.: n. pag. Web. 3 July 2011.
N.p., 2 May 2012. Web. 23 Aug. 2012.
-“Dona Da Daslu.” Folha. N.p., 23 June 2009.
-FFW. “Vestido De Luz.” Fashion Forward. N.p.,
Web. 5 Apr. 2010.
18 Jan. 2013. Web. 20 Jan. 2013.
-“Strukt Design Studio: Digital Wallpaper.” Design-“Hayward Gallery | Move: Choreographing You.”
Hayward Gallery | Move: Choreographing You. N.p., boom Strukt Design Studio Digital Wallpaper. N.p.,
n.d. Web. 15 Apr. 2011.
n.d. Web. 24 July 2011.
158
LAVIF
PROJECT
-“Iris Van Herpen Haute Couture S/S 2013: Volt-“Visual Merchandising and Store Design.” Diesel’s Interactive Window. N.p., 11 Aug. 2010. Web. age (Teaser).” YouTube. YouTube, 21 Jan. 2013. Web.
15 Apr. 2011.
-“What Infinity Looks Like.” YouTube. YouTube, 26
-“555 KUBIK | Facade Projec.” Vimeo. N.p., 2010. Sept. 2012. Web.
Web. Apr. 2011.
-“When Infinity Comes To Life.” YouTube. YouTube,
-Aranda, Benjamin, and Chris Lasch. Tooling. 07 Nov. 2012. Web.
New York: Princeton Architectural, 2006. Print.
-“Electroluminescent Fashion | The Making of Al-Beylerian, George M., Andrew Dent, and Brad- pha Lyrae by Vega Zaishi Wang.” YouTube. YouTube,
ley Quinn. Ultra Materials: How Materials Innovation 25 Oct. 2012. Web.
Is Changing the World. New York, NY: Thames &
-“Reimagining Transit.” YouTube. YouTube, 01 Nov.
Hudson, 2007. Print.
2012. Web.
-Boer-Schultz, Sarah De., Carmel McNamara,
-“Future Touch Screen Everything.” YouTube. Youand Marlous Willems. Powershop 3: New Retail DeT
ube,
29 Dec. 2011. Web.
sign. Amsterdam: Frame, 2012. Print.
-“Probes; SKIN Dresses.” YouTube. YouTube, 29
-Brooker, Graeme, and Carlo Scarpa. Form +
Structure: The Organisation of Interior Space. Laus- Feb. 2008. Web.
anne, Switzerland: AVA/Academia, 2007. Print.
-“Future Touch Screen Everything.” YouTube. You-Brooker, Graeme, and Sally Stone. Elements/ob- Tube, 29 Dec. 2011. Web.
jects. Lausanne: AVA Academia, 2010. Print.
-“Fashion and Technology.” YouTube. YouTube,
-Gagg, Russell. Basics Interior Architecture 05 - May 2009. Web
Texture + Materials. N.p.: Ava, 2011. Print.
-“Digital Draping” YouTube. 21 Jan. 2010. Web.
-Iwamoto, Lisa. Digital Fabrications: Architectural
-“China’s Emerging Electronic Music Scene Meet
and Material Techniques. New York: Princeton ArchiDead J.” YouTube, 06 Sept. 2012. Web.
tectural, 2009. Print.
-“SLOW FURL - A Collaboration between Mette
-Jodidio, Philip. Shopping Architecture Now ! CoRamsgard Thomsen and Karin Bech.” YouTube. Youlogne: Taschen, 2010. Print.
Tube, 26 Aug. 2009. Web.
-Mesher, Lynne. Retail Design. Lausanne, Swit-“Massive Futuristic Party In Beijing | The Crezerland: AVA Pub., 2010. Print.
ators Project.” YouTube, 17 Sept. 2012. Web.
-“Textile Tectonics.” NAi Publishers:Textile Tecton-“Yeasayer Casey Reas ArandaLasch - Fragrant
ics. Web. 25 Jan. 2013.
World Tour 2012.” YouTube, 24 Sept. 2012. Web.
-Quinn, Bradley. The Fashion of Architecture. Ox-“Yeasayer: How To Build A Stage | Fragrant
ford, UK: Berg, 2003. Print.
-Reas, Casey, Chandler McWilliams, and Jeroen World 2012.” YouTube. YouTube, 25 Sept. 2012. Web.
Barendse. Form+code in Design, Art, and Architec-“Muti Randolph.” Muti Randolph. N.p., n.d. Web.
ture. New York: Princeton Architectural, 2010. Print. 24 Sept. 2012.
-Spuybroek, Lars. The Architecture of Variation.
-”Sao Paulo: Daslu’s Carnival of Luxury | BoF The
London: Thames & Hudson, 2009. Print.
Business of Fashion.”, 23 Dec. 2007. Web. 28 June
-“Malls r us”. Dir. Klodawsky, Helene, Documen- 2012.
tary. DVD, 2010.
-”Inside Brazilans Booming Fashion Industry. The
-“Amateur Architecture: A New Vernacular?” Business of Fashion.” BoF. N.p., 5 Aug. 2010. Web. 28
Archinect. N.p., 11 Mar. 2012. Web. 3 Nov. 2012.
June 2012.
CONCLUSION
LAVIF
159