It's been 4 years since you worked with TGH.
Could you give us a brief background to the launching of the project back then?
To achieve good work and get enough freedom for the project, you have to start
feeling good to think in a proper way. We remember the first visit of the place with
David Kang, it was an art gallery at the time. We knew his dynamism and confidence,
with the quality to listen will help us. It was also this space that had exhibited artists
like James Turrell, Ugo Rondinone and Mark Handforth, and the energy that emanated
from Tom Greyhound Seoul, everything was together to work in the same direction.
You have been working with many projects related to fashion industry,
Is there any particular reason for that?
Originally, there were two centers of interest, theater scenography and museography,
the idea of putting a volume in a scenario.
It was no coincidence that the first to trust us in fashion were Yohji Yamamoto
and Rei Kawakubo for Comme des Garçons.
It was certainly an extremely intellectual vision of fashion that had seduced us.
So, when you work with fashion brands, to embody each brand’s concept
properly in the architectural design seems to require a lot of effort,
how do you usually grasp the brand's key identity before the project starts?
To work with fashion brands, it is all about the right feeling,
we often say that we are the extremely sensitive antennas, to translate precisely.
We work well if our clients also deliver their requirements in strong position with specific goals.
We must also be extremely curious all the time to feel the world around us, desires, life style...
Theater, dance and cinema have been great sources of inspiration for us.
However, through contemporary art and the meeting with certain artists who enrich us most
recently, those are the only field of absolute mental freedom.
Could you tell us about the theme that you mainly focused on during designing our store?
To design a multi brand store, we immediately took into account the variety of collections,
multiple formal proposals...suddenly we saw a succession of rhythms, graphic sequences,
while remaining in an aesthetic continuity. For that we were inspired by constructivism,
the story of graphics which became three dimensional. Our part took place rather in high, we
were not in the aesthetic contradiction with the collections.
There are 49 tall wooden columns between the street entrance
and the shop's main retail space, it's a distinctive feature for the fashion boutique
to keep the main shopping area confidential from the outside.
What was the intention of concealing the store with these bars?
Because of the visual constraints imposed in Paris,
a strong gesture was needed behind the historic facade to ensure attractive visibility.
We like in our work to have a notion of dialogue between two styles
which were originally in contradiction. Also, multi brand store is a place
where clients adhere to the choices, the aesthetic proposals of fashion they choose.
The act of entering into this space must reflect all these.
The transformation of the architectural space not only changes
the physical space itself but also have a substantial impact on the
cultural atmosphere around its environs. What significance do
you think that TGH has in the neighboring area, le Haut-Marais?
The particular feeling of TGH in the Haut Marais is obviously
something else than an umpteenth shop. The proximity of many art
galleries is important for the general feeling of the neighborhood.
We love creating a place like this, which can welcome the
international travelers but especially can attract over time loyal
customers nearby, sensitive to the culture that comes and goes, the
concept of an intimate space of people who trust the creative
positions of a particularly dedicated team.
In comparison with the brand's boutiques, multi brand concept stores
like us carry a wide variety of brands,
could you tell me a little bit about the differences between
them through out the designing process?
In the architectural concept of a multi brand store, we must create a
united global concept reflecting the spirit of the artistic direction of the
place, we must also work in the form of sequences showing thematic
choices clearly or respecting the personality of each creator. We must also
think of a certain fluidity, a possible flexibility while respecting the overall
architectural concept. The "sculpture islands" for the accessories of TGH
are a perfect example, they are not fixed and evolve perfectly according
to the purchases and presentations of new collections.
It might be a worn-out question, but what is your favorite&inspirational
architectural project these days?
Fondazione Prada which has just completed its last phase, because this architectural project reflects in its result the perfect union and the perfect trust between the architect and the initiators of the project.
In Europe, especially in Paris, combining old and new
elements in architectural design seems to be very significant
and challenging factor for architects, but still it’s meaningful
to respect the historical background by preserving an old
building and create something new from it. How do you see
this specific feature of architecture in Paris and what do you
expect in the future?
In Paris, perhaps thanks to our participations in several
museums, particularly in the Louvre Museum, we are especially
interested in this duality. The important thing when working in
this context is above all not to seek compromise. Only a strong
gesture can save you. Perhaps because historically, the French
remain partly revolutionary! And so, in the future, these
oppositions will always be beneficial for the projects.