|
As a closest representation of their brand philosophy, the Louis
Vuitton stores have been the natural spokesman for the brand, communicating
the quality of the products to a wider audience. The latest addition
to the family is Louis Vuitton Roppongi Hills - a collaboration
between architect Jun Aoki, interior designer Aurelio Clementi and
design head Eric Carlson of Louis Vuitton Malletier. Opened in September
2003, the store sits on an eye-catching spot along the Keyaki-zaka
and fronts the main arena of Roppongi Hills development. Contrary
to the freestanding building in Omotesando (opened in 2002) also
designed by Aoki, this store is housed in an existing shell. This
is also the first time where the shop interior steered away from
the familiar formula and propelled towards a more abstract one that
still communicates the brand philosophy. The new image still uses
materials that the company has defined itself over the decades in
but in a freer and bolder ways that relate more closely to the exterior
when compared to the Omotesando building. The collaboration between
the three designers has produced a delightful piece of work that
is thorough in revamping the brand's image.
When compared to LV Omotesando, which is like a grand lady donning
her shimmering metallic dress, LV Roppongi Hills takes on a funkier
mood which is suitable in Roppongi. Designed by Aoki, the faÁade
explored another composition of the moirÈ pattern. The two-tiered
faÁade is 36 m wide and 12.5 m high with the upper portion resembling
a monitor screen, on first look with its multiple reflections. It
seems to be comprised of thousands of circular metallic plates reflecting
the surroundings. On closer look it says otherwise - it is a double-layered
façade with an exterior glass surface and another layer of
30,000 glass tubes of 10 cm diameter with mirrors inserted in between
them. In the day, the Louis Vuitton logo appears as black alphabets
amid the background of glass tubes. When night falls, the logo appears
as silhouetted alphabets floating amid a sea of light from the interior.
Bearing a distant echo to La Maison de Verre by Pierre Chareau,
the multiple reflections of the individual components rendered the
façade a constant ambiguity despite the transparency of the
material used. It creates the effect of a mirage, assimilating a
pixillated monitor screen. One could not see the products inside
the shop clearly. By revealing yet concealing, it attracts the eye
and arouses curiosity.
Roppongi is associated with nightlife. Therefore the interior has
the atmosphere of a nightspot. Once inside, the double-height store
space at the front welcomes customers and fans. Moving and changing
photographic images on the floor shimmer and flicker like disco
light. Enabled by fibre optics that emit light through the many
tiny holes drilled on the stone slabs, they made the apparent solid
surface appeared to dissolve. This theme is further carried right
down to how the merchandise is presented to the customers. For example,
bags are displayed vertically in the 'Bag Bar' as if they were bottles.
Customers sit on bar stools to consider their choice.
Furthermore, the two-level, 900 metre-square store has the LV symbol,
the monogram, stamped all over it. The motif is repeated thoroughly
throughout as a detail in different scale at different location.
For example, the spaces are divided innovatively by a skin made
of intertwined stainless steel rings that form the monogram geometric
floral pattern. Metal rings in the watch department again reflect
the monogram design.
Taking only 15 months from design stage to completion of the store,
Aoki, Clementi and Carlson had succeeded in creating a new image
for Louis Vuitton. The material used - glass, bronze, stone and
wood - follows the Louis Vuitton style codes and the monogram motif
is reinforced in all levels of design details. The sensitivity and
attention to details that ultimately communicate the long established
brand philosophy in a new innovative way is the greatest merit of
this design.
Meng Ching Kwah
|
