Flagship Dior

source:christiandeportzamparccom
In 2011, Bernard Arnault entrusts to Christian de Portzamparc the design of a flagship at the heart of the elegant district of Cheongdam-dong, on the avenue Apgujeong in Seoul for the brand Dior. Inspired by high fashion creations of Dior, the building is a manifesto with its white lines which wave towards the sky in a subtle asymmetry, evocation of the canvas, genesis of all haute couture pieces.

“I wanted the building to represent Dior and to reflect Christian Dior’s work. So I wanted the surfaces to flow, like the couturier’s soft, woven white cotton fabric. These surfaces, which soar into the sky and undulate as if in motion, crossed by a few lines, are made from long moulded fiber glass shells, fitted together with aircraft precision.
In Seoul, where the quadrangular buildings align with the avenue, and which are all occupied by leading international fashion labels, the building stands out like a large sculptural tribute to Dior, inviting everyone to step inside.
The entrance, where two shells come together, is a sort of modern lancet arch, in which two metal mesh surfaces cross in line with the clothing metaphor. Once inside, the customer makes a succession of discoveries – a feature typical of the interiors designed by Peter Marino.”
Christian de Portzamparc

After several months of research and works, Christian de Portzamparc delivers in June, 2015 his building with its volutes of the facade, these hulls, executed as boat hulls, in fiber glass, with very impressive sizes. The panels of more than twenty meters high and seven meters wide, designed in one piece, textured, reproducing the pattern of weaving, dress the Dior Women store.
At the rear, as a jewellery metallic case, a silvery rectangular “box”, decorated with the motive canework of the French luxury brand, hosts the Dior Homme shop.
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source:au17pinicombr
Arquiteto e urbanista premiado inúmeras vezes – merecedor dos grandes prêmios nacionais da França, em 1992 e em 2002, respectivamente, e do Pritzker, em 1994, Christian de Portzamparc é atualmente um dos dez arquitetos mais solicitados em todo o mundo. Seus projetos singulares estão hoje espalhados por diversas cidades da Europa, Ásia, Américas do Sul e do Norte, do Oriente Médio e da África. O arquiteto não acredita em teorias, dogmas e regras absolutas. Procura se fundamentar em reflexões muito peculiares, e o resultado é um trabalho intenso, criterioso e poético, que transcende a funcionalidade. Na arquitetura, evita confrontos com o contexto e persegue uma ligação sutil com o lugar da implantação. “São os diferentes locais onde trabalho que me inspiram”, afirma. E esses lugares tanto podem ser o Rio de Janeiro, no Brasil, quanto Fukuoka, no Japão, ou qualquer outra cidade do mundo, como Casablanca, Pequim, Beirute ou Nova York. “Cada projeto exige uma resposta diferente, mas a ligação com o lugar é sempre muito importante”, diz ele. Desde o final do ano passado, vários de seus projetos estão sendo inaugurados, dentre os quais há obras dedicadas à cultura, à administração pública, torres esculturais e conjuntos habitacionais. Há ainda os trabalhos de urbanismo que vêm projetando para a França, Holanda, China e Estados Unidos, nos quais procura transformar os “pedaços de cidade”, e não renová-los, como fizeram os modernistas.
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source:franceculturefr
Christian de Portzamparc , né en 1944, est architecte et urbaniste – la ville et la façon dont on y vit, y travaille, y circule, sont la colonne vertébrale de son travail. Nous lui devons le Château d’eau de Marne La Vallée (1974), le quartier des Hautes Formes, dans le 13ème arrondissement à Paris (1979), La Cité de la Musique à La Villette, (1995), la Tour de Lille (1995), l’ambassade de France à Berlin (2003), le siège du quotidien *Le Monde * (2005), la Tour LVMH à New York (1999), et bientôt seront achevés à Rio de Janeiro une Cité des Arts, à Casablanca un immense théâtre, et à New York, une nouvelle tour et un nouveau quartier.

C’est au milieu des années soixante que Christian de Portzamparc, né à Casablanca et élevé en province, fait ses études d’architecture. Il est élève des Beaux-Arts, à Paris. Pendant qu’il dessine et apprend l’histoire de l’architecture, l’Europe entière se presse de construire les grands ensembles et les villes nouvelles. Il faut remplacer les bidonvilles, reconstruire après les ravages de la guerre et s’adapter au baby boom. On construit au plus vite, en suivant les doctrines de l’architecture moderne dont ce sont les derniers feux. Christian de Portzamparc, que les murs des ateliers des Beaux-Arts ne rendent ni sourd ni aveugle, comprend, avec d’autres architectes de sa génération, que la ville court à la catastrophe. Les ateliers d’architecture se scindent entre progressistes et conservateurs. Ces derniers s’accommodent de l’architecture fonctionnelle des années 1960, quand les premiers pensent qu’il existe une troisième voie, entre la ville classique et les barres. Puis Mai 68 arrive et la rumeur court que l’architecture du futur est dans l’auto-construction : à chacun de se débrouiller avec son kit. Tandis que certains étudiants renoncent à la pratique pour la théorie, Christian de Portzamparc part sur le terrain et essaie de trouver cette troisième voie. Elle consiste notamment, à ouvrir : plus de cours à l’arrière des immeubles, invisibles de la rue, et le moins possible de hauteurs écrasantes.
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source:petermarinoarchitectcom
Peter Marino, FAIA, is the principal of Peter Marino Architect PLLC, a 160-person, New York–based architecture firm founded in 1978. Widely credited with redefining modern luxury through equal emphasis on architecture and interior design, Marino’s work includes award-winning residential, retail, cultural, and hospitality projects worldwide. Well known for integrating art within his architectural designs, Marino has commissioned more than 300 site-specific works of art.

Current and recently complete projects include ‘The Getty’ an 11-story condominium and art gallery adjacent to The High Line in NYC, a high rise tower for Chanel in Tokyo’s Namiki district and Chanel flagships in Seoul, Paris, and NYC, Chicago, and Istanbul, ‘The Lobster Club’ restaurant in NYC’s Seagram Building, a new flagship for Louis Vuitton at Place Vendome in Paris, Bulgari and Ermenegildo Zegna flagships on 57th Street in NYC, a Cheval Blanc hotel in the historic ‘La Samaritaine’ in Paris, Dior flagships in Seoul and Beijing, and numerous private residences worldwide.

Significant completed architectural projects include Hublot in NYC (2016), Louis Vuitton in L.A. (2015), ‘Boontheshop’ in Seoul (2014), 170 East End Avenue in NYC (2009), the Chanel Ginza Tower in Tokyo (2005), the Armani building in NYC (1995), and Barneys flagships in L.A. (1991), and NYC (1990).

Marino has received numerous prestigious industry awards including 22 citations from the American Institute of Architects for architectural design excellence. In 2012 the French Ministry of Culture named him a Chevalier de l’Ordre des Arts et des Lettres for furthering art and culture France and Marino was named an Officier de l’Ordre des Arts et des Lettres in 2017. Cultural design projects include ‘Fire and Water’ an exhibition of his sculptural bronze boxes at Gagosian Gallery in London (June 25th-August 11th, 2017), ‘Memento Mori: Robert Mapplethorpe Photographs from the Peter Marino Collection’ in Tokyo (March 14th – April 9th, 2017) and Kyoto (March 14th –April 9th, 2017), ‘One Way: Peter Marino’ at the Bass Museum of Art in Miami (December 3rd, 2014-May 17th, 2015), and ’Beauty & Power’ an exhibition of his Renaissance and Baroque bronze collection at the Wallace Collection in London (April 29th – July 25th, 2010).

Marino is a member of the board of directors of the Venetian Heritage Foundation and the International Committee of L’Union Centrale des Arts Décoratifs. He holds an architecture degree from Cornell University and began his career at Skidmore Owings & Merrill, George Nelson and I.M. Pei/Cossutta & Ponte.