OPULUXELtd.com LIFESTYLE===}}{{=== DESIGN

___oOo___EVENT Planning___oOo___LUXURY eStore___oOo___TRAVEL Agency___oOo___

Archive for Zaha Hadid

Beam Me UP to the House of Chanel Mother Ship via [Dezeen and cpluv]

Share
|

icon blurbs

Like this at Facebook Be the first in your friends to like it

OPULUXE Lounge GroovesPlayList


Chanel Contemporary Art Container

Chosen by Karl Lagerfeld to create the Mobile Art CHANEL Contemporary
Art Container by Zaha Hadid, Zaha Hadid is one of the most talented
architects of our time, awarded the Pritzker Prize, considered to be the
Nobel Prize of architecture, in 2004. Each of her dynamic and
innovative projects builds on more than thirty years of revolutionary
experimentation and research.

The Mobile Art Pavilion for Chanel, initially inspired by Chanel’s
signature quilted bag and conceived through a system of natural
organization, is also shaped by the functional considerations of the
exhibition.

Chanel
Mobile Art

Chanel Contemporary Art Container, a
travelling art space designed by Zaha Hadid Architects, opened
in its first destination, Hong Kong.

The pavilion, commissioned by Chanel head designer Karl Lagerfeld,
hosts an exhibition of artworks inspired by Chanel bags by 20 artists
and called Mobile Art.

The project was unveiled at the Venice art biennale last year – more
details and renderings in our story on the Design Museum’s
Zaha Hadid Blog
.

The following information is from Zaha Hadid Architects:

The Mobile Art Pavilion for Chanel by Zaha Hadid Architects has been
inspired by one of Chanel’s signature creations, the quilted bag. Chanel
is renowned for its layering of the finest textiles and exquisite
detailing to create the most elegant and cohesive pieces for each
collection. In her quest for complex, dynamic and fluid spaces the work
of Zaha Hadid has developed over the past thirty years through a
rigorous integration of natural and human-made systems and
experimentation with cutting-edge technologies.

Hadid’s architecture transforms our vision of the future with new
spatial concepts and bold, visionary forms.“I think through our
architecture, we can give people a glimpse of another world, and enthuse
them, make them excited about ideas. Our architecture is intuitive,
radical, international and dynamic. We are concerned with constructing
buildings that evoke original experiences, a kind of strangeness and
newness that is comparable to the experience of going to a new country.
The Mobile Art Pavilion for Chanel follows these principles of
inspiration,” states Zaha Hadid.

Continuing to arouse one’s curiosity is a constant theme in the work
of Zaha Hadid. The Mobile Art Pavilion for Chanel is the very latest
evolution of Hadid’s architectural language that generates a sculptural
sensuality with a coherent formal logic.

This new architecture flourishes via the new digital modelling tools
that augment the design process with techniques of continuous fluidity.
Zaha Hadid explains this process, “The complexity and technological
advances in digital imaging software and construction
techniques have
made the architecture of the Mobile Art Pavilion possible. It is an
architectural language of fluidity and nature, driven by new digital
design and manufacturing processes which have enabled us to create the
Pavilion’s totally organic forms – instead of the serial order of
repetition that marks the architecture of the industrial 20th century.”

Hadid’s innovative architecture is the reason Karl Lagerfeld invited
her to create the Mobile Art Pavilion. “She is the first architect to
find a way to part with the all-dominating post-Bauhaus aesthetic. The
value of her designs is similar to that of great poetry. The potential
of her imagination is enormous,” Karl Lagerfeld explained during the
launch of the Mobile Art Pavilion at the 2007 Venice Art Biennale.

Zaha Hadid Architects’ recent explorations of natural organizational
systems have generated the fluidity evident in the Pavilion for Chanel.
The Mobile Art Pavilion’s organic form has evolved from the spiralling
shapes found in nature. This system of organisation and growth is among
the most frequent in nature and offers an appropriate expansion towards
its circumference, giving the Pavilion generous public areas at its
entrance with a 128m2 terrace.

The Pavilion follows the parametric distortion of a torus. In its
purest geometric shape, the circular torus is the most fundamental
diagram of an exhibition space. The distortion evident in the Pavilion
creates a constant variety of exhibition spaces around its
circumference, whilst at its centre, a large 65m2 courtyard with natural
lighting provides an area for visitors to meet and reflect on the
exhibition.

This arrangement also allows visitors to see each other moving
through the space and interacting with the exhibition. In this way, the
architecture facilitates the viewing of art as a collective experience.
The central courtyard will also host evening events during the
exhibition in each host city. The organic shell of the Mobile Art
Pavilion is created with a succession of reducing arched segments. As
the Pavilion will travel over three continents, this segmentation also
gives an appropriate system of partitioning – allowing the Pavilion to
be easily transported in separate, manageable elements. Each structural
element will be no wider than 2.25 m. The partitioning seams become a
strong formal feature of the exterior façade cladding, whilst these
seams also create a spatial rhythm of perspective views within the
interior exhibition spaces.

MOBILE ART PAVILION FOR CHANEL
ZAHA HADID

The Mobile Art Pavilion for Chanel, initially inspired by Chanel’s
signature quilted bag and conceived through a system of natural
organisation, is also shaped by the functional considerations of the
exhibition. However, these further determinations remain secondary and
precariously dependent on the overriding formal language of the
Pavilion. An enigmatic strangeness has evolved between the Pavilion’s
organic system of logic and these functional adaptations – arousing the
visitor’s curiosity even further.

In creating the Mobile Art Pavilion for Chanel, Zaha Hadid has
developed the fluid geometries of natural systems into a continuum of
fluent and dynamic space – where oppositions between exterior and
interior, light and dark, natural and artificial landscapes are
synthesised. Lines of energy converge within the Pavilion, constantly
redefining the quality of each exhibition space whilst guiding movement
through the exhibition. The work of selected artists has been
commissioned for the exhibition. Hadid created an entire landscape for
their work, rather than just an exhibition space. Visitors will be
guided through the space using the latest digital technology developed
in collaboration with the artists.

“The fascination of the Mobile Art Pavilion is the challenge of
translating the intellectual and physical into the sensual –
experimenting with completely unexpected and totally immersive
environments for this global celebration of the iconic work of Chanel. I
see the Pavilion as a kind of a total artwork that continually
reinvents itself as it moves from Asia, to the USA and Europe,” states
Zaha Hadid.


Retail Therapy: Why not buy these HAUTE Shoes instead of paying Your Mortgage this Month?!! via [Worship Worthy]

Share|

icon blurbs

Like this at Facebook Be the first in your friends to like it

OPULUXE Lounge GroovesPlayList

 

Bad-Ass Shoe Designer from Paris, Raphael Young   by Cody Ross

PARIS/NYC: Raphael Young is the intriguing, bad-ass shoe designer hailing from Paris. His collections are explorations in extreme craftsmanship, angular geometrics and monochrome embellishment that seem fundamentally fresh — yet reflect the classical style/quality of the iconic design houses and influences that nurtured his vision, including his uncle, legendary Monsieur Alexandre Narcy, who was the footwear director at YSL for over four decades.
In just three seasons Raphael (who is 34 and of Korean heritage) has cemented a position as the ‘edgiest’ most sought-after shoe creator by fashion aficionados the world over. This week, Raphael sat in the Priestess NYC atelier in the West Village, showcasing the intricate details of his super-durable carbon-composite heels and boots in a mosaic of metal and leather. From Vogue and Lucky to The Museum at FIT, the critics were mesmerized.
While they all heap praise on the collection, Raphael has the more theatrical role of conveying his vision — especially now that his talent has been recognized by major publications and prominent stores, and is the reason he has come to NYC to percolate his brand. Paul Viguier, Raphael’s Marketing Manager, says “creativity and craftsmanship are in his blood and Raphael gives methodical attention to detail, research and quality.”

Looking like a character from the d’Artagnan era, dressed in dark tones with his wavy-slick black hair and leather-spiked boots, Raphael is one of those rare talents who seem to fall from the sky — although the reality of his story is decades of hard work and collaborations with venerable design houses from YSL and Manish Arora to the Korean powerhouse, Avista-Kaylee Tankus. Yet for all his practical knowledge of design and production, his philosophy is fundamentally that of a master artisan.

“What interests me about shoes is the transformational process,” he says. “The process of turning a concept into a concrete with amazing artistic attributes and properties that cannot be easily replicated.”
For the AW/09 collection, that means focusing on futurist motifs and morphing images of the Art Nouveau and Bauhaus periods into chic battle armor shoes and boots for exquisite women: indestructible carbon and aluminum heels with silhouettes comprised of the finest nappa and specchio nero leathers and audacious metallic finishes.
He cites Ludwig Mies Van der Rohe, Zaha Hadid and Le Corbusier as serious inspirations and is very keen on light-weight materials such as carbon-fibers and composites. Raphael’s contribution to modern fashion has been both his technical and abstract treatments of embellishment and innovative/cool décor. His ‘Eagle One’ Aluminio heels are to die for and have been seen on ‘it’ girls Eleonora Abbagnato (Dancer Etoile of the Opera de Paris), singer Katy Perry and bomb-shell Bond-girl, Olga Kurylenko. His work conjures images of strong, sophisticated women fused with courageous femininity.
Zaha Hadid
Le Corbusier
Olga Kurylenko

Eleonora Abbagnato

Katy Perry

Born in 1974 in Seoul and adopted by French parents, Raphael was raised in Romans near Avignone. His father was an engineer and his mother a pediatrician. Steeped in fashion from an early age and mentored by his uncle who was a master technician-artisan, he moved to Paris and in no time was recognized as a creative-genius. (He was also a Naval cadet where he took a keen interest in uniform tailoring and French military design).
Raphael showed his first eponymous collection three seasons ago in Paris and swiftly became a cult figure. Embedded in his work is a ‘gothic-chic-futurism’ that juxtaposes leather matte and shine, playing with textures and their reflective qualities. There’s nothing remotely simple about the complex, futuristic synthesis of line, cut, and glinting surfaces that manifest beautifully in his work (it is as if they might have been extruded from some techno-industrial machine). The shoe range is amazing and comes in iridescent gold, silver and copper tones enveloped in soft leathers with a raw, motor-bike aura.
Raphael’s genius is his projection of couture techniques into a universe of advancing and changing technology. A crude description might be “sci-fi gothic motorbike couture,” but in truth the right words are hard to find.

Raphael Young defies references or narrative, and fuses experimentation with materials and sculpture to the Nth-power. He is a visionary designer who is humble and grounded and whose shoes are, well, superb!

Cody and Raphael at Priestess NYC

Check out the gallery at:  www.raphaelyoung.com

For sales enquiries contact Paul at: paul@justwm.com

Cody Ross (cody@priestessnyc.com)