Vnz exhibitions and showrooms


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Vnz exhibitions and showrooms

  1. 1. Exhibitions and Showrooms Exhibiting space is a visual feast. Thus it is definitely a challenge for designers to create such a “work” in a limited time and space. It is to be innovative as well as serving as a background to boast the products. Exhibitions and Showrooms, aimed at designers, exhibition professionals and design students, is a collection with fifty innovative design works involving different styles, from the simple and classy to high-tech and experimental designs. The book selects excellent ex- hibiting projects of designers from different countries and is categorised into two parts – exhibition and trade fair. These projects will be a good source of insight and inspiration for the readers. Exhibitions andShowrooms DESIGN MEDIA PUBLISHING LIMITED DESIGN MEDIA PUBLISHING LIMITED
  2. 2. Exhibitions and Showrooms DESIGN MEDIA PUBLISHING LIMITED
  3. 3. Preface Space for exhibiting products can be perceived as artistic work, which must combine perfectly with the products exhibited with regard to cultural and aesthetic aspects. Thus it is definitely a challenge for designers to create such a “work” in a limited time and space. It is to be innovative as well as serving as a background to boast the products. At the same time, it needs to be understandable and interesting enough to attract visitors as soon as they step in. Nowadays, with the rapid advancement of commercialisation, it is undoubtedly a good idea for companies in different industries to exhibit products in a certain space in order to promote themselves. The main function of exhibiting space is to reflect corporate culture and identity from design styles and space quality. What is more important, it can materialise the value of the products exhibited and give a direct and clear understanding for customers. To be aware of the company orientation and products' feature is a necessary pre-condition to design an exhibiting space. In this way, it can help customers have a deep and comprehensive understanding of the corporate brand as they buy products. Exhibiting space should be different from a pure commercial space; it should be of culture and art. In addition, products to be exhibited usually can define the best way to create the right exhibiting space. Exhibiting space is a visual feast from a certain aspect; lighting and colour constitute the two main elements for its design. Moreover, the space needs to be fluid in design, thus designers must consider the space circulation and visitors' feeling during the process of design. A successful design of exhibiting space should create an environment which visitors can talk with and each product can tell its own story in. This book selects excellent exhibiting projects of designers from different countries and is categorised into two parts-exhibition and trade fair. Cases concluded in range from simple to complex, from natural to high­-technology. We hope and believe it will be a good reference book for students engaged in design field, professional designers, people working in the field of exhibition and those who are interested in this!
  5. 5. - The project aims to scale the space to the object that will be displayed, providing order and rhythm to an exhibition that wants to be intimate. The models of public sculptures done by Susana Solano are treated as jewels that relate to each other visually as they do historically. A single system is designed to suit two spaces with opposed spatial attributes, allowing for a single reading of the exhibit. A fragile, translucent, white, almost sacramental envelope is built to receive a number of sturdy and powerful pieces. The reference is clear: the paper lamps used in fairs, made out of a fragile honey- comb paper, with its volume build up on air and inventiveness. From paper lamps to the recycled paper used inside wood doors to reinforce them there are a few hours of investigation, and the conviction to find in the paper industry a material that would fulfill the architectural aims, and be ecological friendly and economic. The technical and technological implications of the material drove to the definition of a standard module, built out of a couple of standard doors and 5 layers of paper. A thick wall could be set up; its perpendicular view, creating a moaré, offered transparency within spaces and pieces; a tangent view would show a solid texture, building the limits of the constructed space, and framing the pieces. The attributes of the material depending on how it was approached were one of the key aspects of the project. The installation responded to ecological and sustainable issues. Not only the design was part of an itinerant exhibition, but also more, the main material used to build up was made up of recycled paper and could be recycled again. Moreover, decision on the material implied a radical decrease in costs. Project name: Susana Solano Exhibition Location: Madrid, Spain Completion Date: 2008 Designer: Cadaval, Sola-Morales Photographer: Adrià Goula, Santiago Garcés, Manolo Iyera Area: 1,000m² SUSANA SOLANO EXHIBITION
  6. 6. - 1. Display wall in unique shape 2. Display wall made of honey-comb paper showing innovation and being sustainable 3. Products light in weight and creative in design 1. Entrance 2. Exhibition area 3. Exhibition table 1 2 3 3 2 1 2 3
  7. 7. 10 - 11 ARCH/ SCAPES ARCH/SCAPES was designed as official Swiss contribution to the 7th International Architecture Biennial São Paulo. The exhibition focuses upon new Swiss architecture and its negotiation between the public and the private in an aspect of architectural production. The exhibition design is a dynamic abstraction of a thematic journey through the Swiss cultural landscape, from urban areas to the central lowlands and peripheries, and finally to the lpine regions. The featured projects are offset throughout the exhibition by large-scale photographs of Joël Tettamanti which contrast the extreme lpine landscapes with the scattered urbanisation. This framing of the featured architecture with these images of fragmented topographies is meant to underline a contemporary Swiss reality. Within this reality the careful negotiation between private and public primarily to maintain norms and traditions is increasingly compromised. The gradual erosion of the Swiss landscape by urbanisation means that new architecture will in future need to devise entirely new typologies that take account of wholly uncharacteristic forms of public terrain. For a deepened insight on the specific conditions of each project video modules present interviews with the architects. Arch/Scapes focuses upon 15 new architecture within the heterogeneous cultural landscape of Switzerland, the urban and peri-urban areas, the village typologies of the lpine landscapes and the burgeoning agglomeration. Switzerland’s landscapes – in particular the rural and lpine typologies – are considered public terrain, and a precious asset. New architecture that is to be developed within this landscape is the result of complex democratic processes in which not only the communities or states, but also numerous public bodies protecting the Swiss traditions, have a decisive voice. By changing some of the angle -and flat board-elements different layouts are generated. In 2008 ARCH/SCAPES was shown at the Swiss Architecture Museum. In 2009 the Today Art Museum Beijing/China and the Shenzhen/Hongkong Architecture Biennial host the exhibition. Project name: ARCH/SCAPES Locations: Swiss Architecture Museum, Today Art Museum Beijing Completion date: 2007 Designer: HHF architects, ZMIK designers, Tatin Photographer: Tom Bisig, ZMIK Area: 125 m²
  8. 8. 1. Entrance 2. Exhibition room 3. The angle -and flat board-elements 4. Stairs 1. Large-scale picture highlighting the theme of “human and nature” 2. Corner view 3. Dynamic and abstract exhibition 12 - 13 1 2 3 4 1 2 3
  9. 9. 14 - 15 4. Undulating display board 5. Video modules presenting interviews with the architects 6. Different layouts being generated by changing some of the angle -and flat board-elements 4 5 6
  10. 10. 16 - 17 The project is a 400-square-metre exhibition and showroom for Bayer Material Science AG, one of the world’s largest producers of polymers and high-performance plastics. In close cooperation with Bayer´s advertising and events department, GOLDEN PLANET developed the idea to create a space which would link the laboratories where the materials are developed and optimised to the finished products and applications showing the possibilities of high-tech engineered polymers. The entire ceiling and parts of the walls are clad with the most well known polycarbonate material Bayer produces: translucent Makrolon® sheets. With the light shining through these diffusing panels, and a special light choreography, the space has an almost floating, clean atmosphere. A very special performance feature is big inside windows, at first hidden by custom made vertical blinds showing Bayer´s Vision Works campaign, which suddenly split in the middle and open sideways to reveal the view into the secret laboratories, allowing a glimpse into the heart of the high-tech inventions. Project name: Showroom Polycarbonates Location: Leverkusen, Germany Completion date: 2008 Designer: GOLDEN PLANET design Photographer: Eduardo Perez SHOWROOM POLYCARBONATES
  11. 11. 18 - 19 1. Bright and open exhibition area 2. White as the key tone 3. Various display products 1. Show area 2. Display counter 3. Rest area 4. Bench 4 3 2 1 1 2 3
  12. 12. 20 - 21 BERNHARDT DESIGN SHOWROOM The Bernhardt Design Showroom recently moved locations within the Chicago Merchandise Mart to the opposite side of the building. The move created a challenge for the design team since the new space no longer had the wonderful views of the river and the showroom decreased considerably in size to only 650 square metres. This move caused a significant challenge to adequately display the client’s furniture product. The design team’s solution was to create a space that would emulate a museum setting for the furniture to be displayed as art. The biggest challenge the design team was charged with was to create a small space that feels much larger than its actual size. The design team utilised light as the medium for solving this challenge and the source for extending the perception of space. Light was used so that solid planes never touch floors, walls or ceilings and always have the appearance of floating. Light panelled walls were also used as accents to reflect light so as to create the appearance that natural light leads one into the space beyond – as if the front door was opening and allowing daylight to enter the space. The space also had no interesting views to the outside world so the design team decided to create a world inside the showroom and focus the attention of the viewer on the art – the furniture. The design team’s solution was to create an ephemeral wall which would also double as a backdrop for the client’s chair display. The wall is comprised of metal painted white with a custom designed perforated pattern. Scrim Fabric was stretched behind the panels to wash the light fixtures and create a consistent source of light. The finishes used in the space also played a significant part in the overall design. The materials used in the architecture and furniture are all “visually quiet” not to interfere with the lines and detailing of the furniture. The space is void of colour and the fabric and carpet used hints at the idea of wool or cotton before it is dyed and coloured. Project name: Bernhardt Design Showroom Location: Chicago, USA Completion date: 2008 Designer: Lauren Rottet, Kelie Mayfield, Christopher Evans Photographer: Eric Laignel Area: 650m²
  13. 13. 22 - 23 1. White sofa harmonising with the dominating tone of the whole space 2. Simple-styled furniture 3. Reception desk 1. Reception 2. Meeting room 3. Furniture showroom 4. Corridor 4 3 2 1 1 2 3
  14. 14. 24 - 25 4. Corporate sign shining under the bright light 5. Long passage immersed in white 6. Plaster panel partitioning the entire space 4 5 6
  15. 15. 26 - 27 BREAKING NEW GROUND 100% Design Shanghai celebrates Shanghai International Creative Industry Week with the joint installation Breaking New Ground,a collaboration between MÜ designer Jutta Friedrichs and sound artist Ben Houge, providing a sneak preview of next year's 100% Design Shanghai show. The 240-square-metre joint installation provides a showcase for new local and international design objects, specially selected for the exhibition, which metaphorically break through the ground and float amid shards of ice, as a fresh wind blows in from overhead. This complete sensual experience reflects excitement and anticipation for the gathering wave of design and creativity that is swelling in China. Designer Jutta Friedrichs, recipient of two Red Dot Design Awards this year, provides the vision behind the MÜ design furniture collection. Sound artist and composer Ben Houge has long been operating at the nexus of sound and new media. Prior to moving in Shanghai in 2004, he founded the Sound Currents concert series in Seattle and participated in the Seattle School composers' collective from its first performance. . Project name: Breaking New Ground Location: Shanghai, China Completion date: 2008 Designer: Jutta Friedrichs, Ben Houge Photographer: Jutta Friedrichs, Ben Houge Area: 240m²
  16. 16. 1. General view of the whole space 2. Furniture floating amid shards of ice 3. Red chair breaking through the ground 1. Entrance 2. Display area of design objects 3. Display area of chairs and sofas 4. Display area of bookshelves 5. Centre of the exhibition 1 2 3 4 5 28 - 29 1 2 3
  17. 17. 30 - 31 4. Book shelves in various shapes 5. White book shelves in the shape of water droplet floating amid shards of ice 6. Sofas displayed in the corner 4 5 6
  18. 18. 32 - 33 BUTTERFLIES + PLANTS: PARTNERS IN EVOLUTION In the fall of 2008, the Smithsonian Institution National Museum of Natural History opened a new Butterflies+Plants: Partners in Evolution exhibit displaying the co-evolution of butterflies and plants. Reich+Petch Design International was responsible for the conceptualisation and design of all exhibits inside the Pavilion and in the surrounding Hall. The firm worked closely with the museums' scientists and writer to develop the narrative sequence. In addition, Reich+Petch Design International also worked closely with the architectural firm responsible for the Pavilion shell structure to ensure efficient visitor flow and seamless integration of displays and environmental support systems. The concepts were inspired by the colour and forms of the beautiful content and played with scale and imagery to create a delightful experience of fun exploration. The space planning and details were designed to accommodate the museums’ exceptionally high number of visitors (several million per year). The exhibit surrounds the visitor with colourful arrays of imagery and specimens to reinforce the connection between evolution and diversity. Project name: Butterflies + Plants: Partners in Evolution Location: Washington, D.C., USA Completion date: 2008 Designer: Reich + Petch Design International Photographer: Jiri Von Drak Area: 357.7m² Client: Smithsonian Institution National Museum of Natural History
  19. 19. 34 - 35 1. Display board mounted on the wall 2. Exterior view of the exhibition space 3. Information about the exhibition upon entrance 1. Ticketing 2. Entry vestibule 3. Intro graphics 4. Feeding station 5. Wings graphics 6. Puparium station 7. Exit vestibule 8. Exhibit hall 1 2 3 4 5 6 7 8 1 2 3
  20. 20. 36 - 37 4. Colourful arrays of imagery and specimens 5. Passage 6. Gardens planted with flowers and displayed with animal specimens 4 5 6
  21. 21. 38 - 39 CAESARSTONE FLAGSHIP SHOWROOM This showroom project for a quartz products company located in the San Leandro Neighbourhood in San Francisco investigates the condition of liminality of a party wall. The project is thus generated from a very simple move: the longitudinal split of the large warehouse space housing the showroom into two discreet entities by a dividing wall. This wall needed to perform tasks on several levels: delineate between showroom space and offices, mitigate between different levels of transparency and enclosures, engage the clients and the displayed products, and generate a visual setting against which to read the existing old wooden trusses. Thus, the investigation of the multi-performative aspect of this party wall while preserving its formal integrity constituted the driving force of the project. This multi-tasking was achieved through a construction system using a screen of 2 thick plastic laminated wood fins carefully gaged to answer all demands. In fact, the sleek plasticity of the screen defamiliarised the intervention from the existing warehouse shell, which was sandblasted to reveal the warmth of its wooden structure. Also, the sinuosity and striation of the fins subtly referred to the quartz quarries, from which most of the showroom products originate. The wall’s fins are placed such as to offer appropriate levels of opening according to their juxtaposing programmes. Moreover, the sheer size of the wall, measuring roughly 120' long and 15' tall, combined with its thin, light constitutive fins renders an ambiguous condition: one of simultaneous massiveness and ethereality. Finally, they introduced a new program which serves the nearby suburban community: a fully equipped, show kitchen which displays a CaesarStone counter and can be used for free by local cooking clubs twice a month. Project name: CaesarStone Flagship Showroom Location: San Francisco, USA Completion date: 2007 Designer: Dan Brunn Architecture Photographer: Dan Brunn Area: 500m²
  22. 22. 40 - 41 1. Sales area 2. Wall made of quartz 3. Tidy and simple atmosphere of the showroom 1. Entrance 2. Spinning display 3. Show kitchen 4. Show bathroom 5. Concetto lounge 6. Sales area 7. Manager 8. Conference room 9. Office 10. Women’s restroom 11. Men’s restroom 12. Employee kitchen 13. Storage room 14. Technology room 1 23456 7 8 9 10 11 12 13 14 1 2 3
  23. 23. 42 - 43 4. Fin structure formed by stacking wooden panels 5. Living room 6. Reception desk in bright colour 4 5 6
  24. 24. 44 - 45 CONFLICTS OF INTEREST MET Studio has designed a challenging, graphics-led exhibition called Conflicts of Interest for Britain’s National Army Museum on Royal Hospital Road in Chelsea. The brief for the project was to examine the last 40 years of major conflicts involving the British Army across the globe and the impact of those conflicts on forces personnel, both within and beyond the confines of military life. The idea behind 'Conflicts of Interest', explained MET Studio’s Design Director Lloyd Hicks, was to examine the differing aspects of conflict and pressure in army life, from enemy action to the stresses and pressures of army life on the home life of a modern-day soldier. This examination was expressed through the real, first-person voices of soldiers who have served and lived through each conflict. These are not the voices of the British Government, or of the Museum, or indeed of senior British Army spokespeople—but of the front-line troops, who have lived and fought in the featured conflict zones. The entrance area’s real work of art, however, faces the visitor at the far wall of the corridor: a huge-scale image of a modern female British soldier, made up of hundreds of tiny images, each one a real image from the life of a contemporary soldier. The right-hand wall of the corridor alludes to the military/real-life overlap of soldiers’ lives in the form of a series of domestic-scale framed images of soldiers at home, getting married and so on, whilst a soundscape introduces the important role of sound in the exhibition, with a stream of words from politicians, wives and children mixed in with the sound of marching boots on the parade ground. The 450-square-metre space that houses the main body of the exhibition creates an initially dramatic, stark and highly graphic impression thanks to the overall blacked-out floors, ceiling and walls and through the geometric arrangement of ceiling-hung panels. Project name: CONFLICTS OF INTEREST Location: Chelsea, England Completion date: 2009 Designer: MET Studio Photographer: MET Studio Area: 450m²
  25. 25. 46 - 47 1. Wall displaying images 2. Soldiers’ lives at home in the form of a series of domestic-scale framed images 3. Scene of soldiers being hurt 1. Introduction 2. Home 3. Conflicting opinions 4. Showcase 1 2 3 4 1 2 3
  26. 26. 48 - 49 4. Home area sofa 5. Homelessness panel 6. Aghanistan zone 7. View of main space 4 5 6 4 6 75
  27. 27. 50 - 51 8. Corner view 9. Entrance corridor and recruitment posters 10. Northern Ireland zone 8 9 10
  28. 28. 52 - 53 FUJI XEROX EPICENTRES Geyer were commissioned by Fuji Xerox, in collaboration with Landor brand and graphic consultants, to create four customer innovation centres across the Asia Pacific to celebrate the heritage brand and reinforce their leadership position in the digital production print market. These Epicentres are located in Sydney, Tokyo, Singapore and Shanghai. The vision of the centres is to offer Fuji Xerox’s global customers a complete digital print experience – with a focus on business solutions not just hardware equipment. Visitors are provided with a personalised journey depending upon the reason for their visit and the level of existing knowledge of the Fuji Xerox products and services. A series of experiential zones are personalised for each customer, ensuring relevance of brand communication through to sales conversion and customer retention experiences. From arrival the customer’s experience is extraordinary. An iconic sphere, projecting welcome messages to the customer, denotes the entry point. Visitors are greeted by a roaming attendee, unrestrained by the confines of a reception desk. The traditional reception zone has been replaced by a dynamic Fuji Xerox brand Immersion Zone where visitors are subliminally immersed into the total brand experience through sound and video content. The journey continues through workflow zones where clients are shown end-to-end business solutions and finishes. Visitors seeking a deeper level of knowledge can browse at their discretion. An educational and knowledge hub also provides training and forum facilities for visitors from around the region. Ultimately, the journey is about experiences–showing not telling. The Epicentres have created a powerful platform to showcase the Fuji Xerox Brand three dimensionally and subliminally. Project name: FUJI XEROX EPICENTRES Location: Sydney,Tokyo, Singapore and Shanghai Completion date: 2007 Designer: Geyer Photographer: Tyrone Branigan Area: 5,000–8,000m²
  29. 29. 54 - 55 1. Reception 2. Meeting 3. Immersion zone 4. Equipment zone 5. Manager room 1 2 3 4 5 1. Grandiose spiral staircase 2. Exhibition space in cylindrical shape 3. Interior of the exhibition space 1 2 3
  30. 30. 56 - 57 4. Wooden-grid passage 5. Silver screen 6. Flexible style 4 5 6
  31. 31. 58 - 59 IDEAL STANDARD The Ideal Standard profiling slogan: “Body and mind”, inspired the design to manipulate the display space in two respective ways: space as an active foreground process, and space as a more relaxed background allowing customers to select and combine products. The design concept, therefore, evolves around the two-fold use of an exhibition space as a foreground and background at the same time. Thus from the elevation/section point of view, the proposed stand elements operate as a background to the exhibited products. Whereas in terms of the plan view, as the visitor’s location changes in relation to space and time, the proposed radial organisation of the showroom plan engages the viewer to interact bodily with space, acting this time as a foreground, organising and allowing specific pre-designed perspective views to unfold. The space has an overall sense of simplicity, through the use of clear forms and materials. The space is divided into two main parts corresponding to two different heights, exhibition display methods, lighting, and construction materials. On the one side the full available 6m height of the existing space was employed, to create a prominent space. Coiled, metallic curtains spanning the entire height of the space act as a backdrop for the bathroom utilities stands. The colours used in this tall space are mainly greys, silvers and blacks. In the other part, a lowered ceiling creates a more intimate space. This low height allowed for small scale displaying techniques to be used. Baths and showers are displayed by stands and walls designed to echo objects shapes, resulting in zigzags. The chrome taps are hung on transparent glass panels set against ‘lumigraph’ (holographic plastic), illuminated by RGB lighting. There is also a themed stand space by the entrance, where four bathroom sets are exhibited. The walls, ceiling and the gravel and resin composite flooring were painted green, adding a natural element to the space. Project name: Ideal Standard Location: Athens, Greece Completion date: 2006 Designer: Anamorphosis Architects Photographer: Anamorphosis architects Area: 630m²
  32. 32. 60 - 61 1. Tidy and bright exhibition area 2. Metal curtains suspended from the ceiling forming a distinctive background for exhibition products 3. Combination of green, black and white arousing a fresh feeling 1. High Space 2. Low Space 3. Bathroom Utilities Stands 4. Sink and Furniture Stands 5. Orthogonal Bath Stands 6. Corner Baths Stands 7. Shower Stands 8. Taps Stands 9. Sind Stands 10. Themed Sets Stands 11. Black Box Stand 4 1 2 3 5 6 7 8 9 10 11 1 2 3
  33. 33. 62 - 63 INTERNATIONAL KOGEI TRIENNALE The venue called Rifare was formerly the remaining space left over from a large bookstore, and its temporary use as an exhibition venue necessitated that the empty retail space be left more or less intact, without placing drastic changes to the leftover interior. Working within a limited budget, designers were also required to obtain ample space for use by five curators. For this reason, they decided to set up five pre-fabricated agricultural greenhouses made of plastic within the venue space and turn them into individual gallery spaces. The lighting used to highlight the works inside would softly pour from the translucent plastic walls, and their gentle glow turned the greenhouses into large lanterns of light. Moreover, winding “trails” of black stapled carpets ran throughout the exhibition venue, with white vinyl panels for displaying the works positioned alongside the “trails”. While keeping costs low, they were thus able to create the semblance of “farmland” that partitioned the area where people would walk and where the works would be displayed. This form of expression was in fact an expanded version of the “home-use greenhouse” that they had used at pre-event venue held half a year earlier, and they found that this environment was most suitable for expressing the development and growth of crafts in the unique “soils” of Kanazawa. Project Name: International KOGEI Triennale Location: Kanazawa, Japan Completion date: 2010 Designer: Nendo Photographer: Daici Ano Area: 1,010m²
  34. 34. 64 - 65 1. Showrooms based on plastic greenhouses 2. Wooden sculpture in the middle 3. White as the key tone in the exhibition area 1. Entrance 2. Hall 3. Storage 4. Display 32 4 1 1 2 3
  35. 35. 66 - 67 4. Wood carvings on display 5. Winding “trails” of black stapled carpets running throughout the exhibition venue 6. Semi-translucent exhibition area reflecting brightness and softness 4 5 6
  36. 36. 68 - 69 LEVEL GREEN– THE CONCEPT OF SUSTAINABILITY Personal responsibility in the sustainable use of global resources continues to play an increasingly important role in the life of the average consumer. In this context, the offices of J. MAYER H. Architects and Art+Com Berlin were commissioned to develop a permanent exhibition on the topic sustainability for the Autostadt in Wolfsburg, Germany. The exhibition LEVEL GREEN was opened on the 4th of June 2009 and encompasses approximately 1,000 square metres. The exhibition renders this highly complex topic tangible, providing an aesthetic access to information. In doing so, it seeks to unfold the various aspects of the topic while creating an information environment that addresses the visitor on different sensual levels. Subject to constant re-evaluation based on the latest scientific findings, the term sustainability is characterised by a high degree of complexity. The architectural design of LEVEL GREEN takes the numerous interdependencies of the topic as a starting point and translates this quality into the metaphor of the web. Similar to a continuous organism, the single elements of the exhibition are connected into one homogenous structure that houses all content and technical installations. As one of the first prominent signs of the growing consciousness for environmentally friendly consumption, the well known PET-sign was taken as a starting point from which the metaphor of the extensively branched web was developed. This originally 2-dimensional sign was extended into the third dimension and through a series of step by step manipulations a complex structure was created, which allows for an abstract property of the topic to be experienced on a spatial level. The dramaturgy of the exhibition is not determined by a linear approach but one of nonlinear logics, opening the space for a more ambiguous experience. Vertical Elements define different areas within the exhibition without strictly separating them, allowing the visitor’s experience to be carried by the idea of playful discovery. Project name: LevelGreen– The Concept Of Sustainability Location: Wolfsburg, Germany Completion date: 2009 Designer: J. MAYER H. Architects Photographer: Uwe Walter Area: 1.000m²
  37. 37. 70 - 71 1. Green colour highlighting the sustainable concept 2. Extensively branched web 3. Exhibition area with a strong stereoscopic feeling 1. Main entrance 2. 360° cinema 3. Automotive Life Cycle 4. Entrance centre 5. Talking head 6. Multi-media wall 7. Media corner 1 2 3 4 5 6 7 1 2 3
  38. 38. 72 - 73 4. Web housing all content and technical installations 5. Eye-catching stereo image 6. Vertical elements adding a sense of hierarchy 4 5 6
  39. 39. 74 - 75 MADE IN ITALY FILES The purpose of the exhibition is to show the ideas and projects conceived by different Italian and foreign universities for the new museum of the Made in Italy to be built in Rome. The students developed twelve stories and twelve exhibition models that, prompted by stories or metaphors, express fresh ideas for the new museum. The fascinating location of the exhibition is the Roman Stadium of Domitian, inaugurated in 86 AD, traceable in the cellars of the buildings surrounding Piazza Navona, in the heart of Rome, and in particular in the basement of the building owned by the client, Fondazione Valore Italia. The exhibit design focuses on the contrast between contemporary materials with bright colours and the ancient scenario offered by the archeological site. The client are keen on comunicating the work-in-progress strategy that will lead to the new contruction, so the design has been conceived as a work-in-progress building site using scaffolding metal structures and under-construction materials. The suspended catwalk is an “architectural promenade” through the stadium ruins and, simultaneously, allows a theatrical view of the projects. Each of them is represented by a plexiglass model mounted on a made-to- measure totem and an explanatory flash video. The overall effect is enhanced by a continuous orange wall running parallel to the suspended catwalk. The presence of the exhibition is perceived from the outside of the building by a red banner wall with holes to provoke visitors’ curiosity. Through the holes they can catch a glimpse of the exhibition, which lies 4 metres under the street level, and then, following the red tape on the floor and on the staircase walls, they can reach the level below. Downstairs they are introduced to the projects by videos and floor-to-ceiling panels painted in bright orange and then smoothly led to the catwalk where the exhibition journey begins. Project name: Made in Italy Files Location: Rome, Italy Completion date: 2007 Designer: CESARETTI, DE LA FELD, DI LORENZO Photographer: Stefano Stagni, paolo+stefano, Bologna Area: 600m²
  40. 40. 76 - 77 1. Temporary red catwalk for visitors 2. Productss on show 3. Plexiglass model 1. Walkway at grade 2. Dais 3. Walkway 4. Screens 5. Small models 6. Large models 1 2 3 4 5 6 1 2 3
  41. 41. 78 - 79 4. Eye-catching red banner wall 5. Arch structure 6. Traditional architectural style with modern decoration 4 5 6
  42. 42. 80 - 81 THE MANCHESTER UNITED EXPERIENCE The Manchester United Experience is a new, immersive exhibition and experience, centring on the world’s most famous football club, Manchester United. The £1.5m, 1,000-square-metre indoor attraction is located within the Venetian Macao-Resort-Hotel in Macau and is the first ever visitor attraction featuring the club to be opened outside of Manchester United’s Old Trafford heartland (and Asia’s only interactive football experience). It has been created to appeal to both fans and a lay audience alike, with aim of creating the most exciting and world-class experience outside of actually watching the beautiful game live. Visitors are taken through the highly interactive experience on a route, which covers everything from the earliest beginnings of the club, to a real sense of what it means to support, play for and manage the world-class club of today. From huge-scale media walls to exhibits which allow fans to pit their own footballing skills against today’s team, to be directly addressed by Sir Alex Ferguson in a behind-the-scenes look at the Old Trafford Changing Room and join the players in the tunnel before a game, the experience completes in a wraparound and highly stylised 4-minute presentation of a classic Manchester United game, atmospherically captured and represented by award- winning film director Daryl Goodrich. MET Studio’s client on the project was The Venetian Macao-Resort-Hotel, owned, as is its sister hotel in Las Vegas, by the Las Vegas Sands Corporation. The Venetian hotel in Macau is part of a new-build, mixed use retail and leisure complex on the Cotai Strip, bordered by canals, including a 600-square-metre Manchester United Megastore, which serves as an entry point to the Manchester United Experience. Project name: The Manchester United Experience Location: Macau, China Completion date: 2008 Designer: MET Studio Photographer: Kieran Ip Area: 1,000m²
  43. 43. 82 - 83 1. Uniforms of Manchester United Football Club on show 2. Experiencing area for visitors 3. “Highlights” on show 1. Retail store room 2. Training 3. The club 4. Comms Room 5. The Match 6. The Tunnel 6 5 4 3 2 1 1 2 3
  44. 44. 84 - 85 4 5 6 4. Display of the screens 5. Souvenir sales area 6. Glass model of Old Trafford
  45. 45. 86 - 87 7. Experiencing area for visitors trying “shooting” 8. Independent transparent experiencing area 9. Exhibition area bottom 10. Large screen playing “highlights” 7 9 108
  46. 46. 88 - 89 MERCEDES BENZ MUSEUM EXHIBITION Mercedes Car Group presentation has been placed in the lower part of the “passage” to create a thematic connection between the Museum and the Mercedes Benz Centre. Its total area amounts to 519 square metres and it offers 56 seats. This space consists of five individual circles accentuated by cylinders which seem to grow out of the ceiling. Each brand is represented in one circle which becomes a small world of its own. The representation of the Corporate Identities is limited to the inner surfaces of the cylinders. The outside is kept in neutral white. In combination with the light gleaming from the inside of the cylinders, the visitor’s curiosity is stimulated and they are drawn into the circles. The two smallest islands are resting points. The ceilings are transformed into two big eyes, which turns the idea of a museum upside down: After hours of looking at the exhibition, the visitor himself is finally observed. Project name: Mercedes Benz Museum Exhibition Location: Stuttgart, Germany Completion date: 2006 Designer: Concrete Architectural Associates Photographer: Christian Richters Area: 519m²
  47. 47. 1. Individual circle exhibition stand 2. The ceilings being transformed into two big eyes 1. Exhibition hall 2. Stand 3. Circle bench 4. Restaurant 2 3 4 1 90 - 91 1 2
  48. 48. 92 - 93 MODULAR LIGHTING SHOWROOM A large existing exhibition space underneath Centrepoint, the iconic space that once held the title of the tallest building in London, was successfully transformed from a minimalist open-space plan to a theatrical and colourful showroom for the innovative Belgian lighting manufacturer, Modular Lighting Instruments. RHE took advantage of his client’s proclivity for the extraordinary to design this showroom. The open space of the original showroom was broken into smaller spaces by the introduction of six sculptural walls, all of different heights and forms, custom made using fibreglass with a shiny gel coat. These walls wrap, slice and enclose the areas, creating a narrative journey, built on by the hi-tech theatrics of Modular’s lighting and dimming systems. RHE then took these walls and punctured them with a veritable menagerie of animal cut-outs, an idea sparked by the exquisite photographs in Modular’s cult catalogue. These apertures allow the viewers a small glimpse into other zones of the showroom, effectively pulling their attention to the adjacent areas. The various cut-outs also serve a functional purpose, in addition to their decorative one. These cut-outs are instrumental in demonstrating and showcasing the lighting’s effects on different shapes and materials. The faux lamb’s wool spilling out from the flock of sheep cut-out, the red velvet lining of the heron or the LED strands falling from the steel grizzly bear cut- out all effectively describe how different fixtures and colours distort and enhance the overall space. Project name: Modular Lighting Showroom Location: London, UK Completion date: 2006 Designer: Richard Hywel Evans Architecture Design Ltd. Photographer: Theo Chalmers Area: 128m²
  49. 49. 94 - 95 1. Gorgeous interior 2. Attractive lighting effect on the red wall 3. lighting fixtures in various shapes 1. Entrance 2. The bear room 3. Office 4. Seating area 5. The bull room 6. The pelican room 7. Storage 1 2 3 1 2 34 56 7
  50. 50. 96 - 97 4. Distinctive wall 5. Lighting fixtures of different types 6. Bright and playful passage 4 5 6
  51. 51. 98 - 99 MOONRAKER Like a set design these interior worlds will be erected within a hangar or loft space. They will become accessible statements, places of experimentation and inspiration. The Moonraker partners will contribute to these efforts with products and consultation. To provide a tangible, engaging experience representative of future Volkswagen customer needs and desires. An advanced look at themes will be of growing importance in the coming decade. The Life Settings will be a powerful tool to support and inspire a multitude of projects. Four futuristic scenarios illustrate a broad spectrum of user types, interests, competencies and aesthetics. Aspirational architecture will showcase forecast technologies and concepts in a progressive sequence, preceded by a walk through the current consumer kit presentation and finishing with an automobile sized viewing “drive way”. The installation can be modified to suit a variety of foreseeable scenarios and uses. Project name: Moonraker Location: Burbank, USA Completion date: 2006 Designer: Graftlab
  52. 52. 100 - 101 1. Exhibition area designed with a strong futuristic feeling 2. Special model 3. Distinctive car model 1. Environmental/Community Awareness 2. Regentrification-Dynamic Comfort 3. HearthHome-Family Focus 4. Technology Driven/Adaptive Complexity 1 2 3 4 1 2 3
  53. 53. 102 - 103 4. White colour highlighting the simple style 5. Purple light creating a mysterious atmosphere 6. Space with a futuristic feeling playing with light and shadow 4 5 6
  54. 54. 104 - 105 ORGANIC TRACE GUESTROOM CONCEPT The Organic Trace concept is the next step in the evolution of the lifestyle trend towards “bleisure”, the blurring of lines between work and pleasure. Today’s business nomads require adaptability in fulfilling their personal and professional needs, and the hotels which can meet this expectation with style and intelligence will have a competitive edge. The ability for travellers to stay in a hotel that supports their personal commitment to a healthy and sustainable lifestyle continues to grow in importance. Innovation is the fuel for progress in a frenetic and globally wired world; in order to implement these new ideas, there is an increased need for the “feminine” soft skills of facilitating communication and cooperation among team members. So as business executives are as likely to be women as they are men, a hotel room must balance hi-tech requirements with an atmosphere of well-being and rejuvenation. With this in mind, this design firm has developed a prototype that addresses the yin and yang balance of travellers who mix their work with pleasure. Their creation of a “wellness island” integrates a bed, desk and soaking tub into one organically shaped unit. This “hypermodern” sinuous sculpture melts two comfort zones into one. The plush bed and jacuzzi tub create a hybrid of health and relaxation that is bridged by an arc which forms the desk. Fusing modern materials and progressive thinking, the modular unit is an ideal example of the creative potential that can be achieved from acrylic solid surfacing, in this case LG Hi Macs in “Alpine White”. Thermal molds allow the piece to be seamless and have wildly curved shapes limited only by the designer’s imagination. The fluidity of its sculptural form and concept is enhanced by the wave-like flow in the curved walls, space plan and patterned carpet. Project name: Organic Trace guestroom concept Location: Düsseldorf, Germany Completion date: 2008 Designer: JOI-Design GmbH Photographer: JOI- Design GmbH, Tobias D. Kern Area: 39m²
  55. 55. 106 - 107 1. Blue, wave-like guestroom arousing a fresh feeling 2. Soft linear patterns on the carpet 3. Different functional structures flow into one organic whole 1. Bed 2. Desk 3. Soaking tub 4. Wash basin 1 2 3 4 1 2 3
  56. 56. 108 - 109 MAHONIA SHOWROOM Mahonia is a Persian word, actually the name of Barberry flower that has meritoriously been chosen by the owner of the company as the brand for his products. The important goal of the design is to attract the customers and to make the customer apprehend and interact with Mahonia products. For this purpose there can be two main strategies: Customers should be able to see the products in use in the interior space. The space matches and deserves the name of the brand. The space with its rich quality increases the value of products. Customers should be able to consider the variety of Mahonia products through human behaviors, such as skimming the catalogues and brochures, looking at the sample products, watching and studying the pictures of spaces decorated with Mahonia products, discussions between different customers. How will the above behaviors come to certainty? The answer can be using thought islands with following qualities as the behavioral concept of the project: Privatised, with relative visual and acoustic privacy. Available seats, the possibility to consider all the varied products in the shop. To have a unique space, a unique showroom, designers must avoid the mistakes of other designers in similar projects. For this purpose they did a pathological case study. The result of this study shows that the following options will reduce the quality of any space and therefore have well been avoided in Mahonia: the lack of interior illumination, interruption between different behavioral zones,customer’ s discomfort of long term presence in the space, lack of sufficient space for different groups of customers. Project name: Mahonia Showroom Location: Tehran, Iran Completion date: 2009 Designer: Payadis Creative Architects Photographer: Mohtadi Zare
  57. 57. 110 - 111 1. Spiral display board forming different exhibition areas 2. “Flying” display board 3. Exhibition area for visitors choosing products 1. Secretary zone 2. VIP customer zone 3. Management zone 4. Customer zone 1 2 3 4 4 1 2 3
  58. 58. 112 - 113 4. Bright and soft lighting 5. Precisely designed partition wall 6. Expansive display board 4 5 6 4 5 6
  59. 59. 114 - 115 RAUMLABOR The limited series or custom-made products offer hoteliers and gastronomes an enormous opportunity for individuality. The main theme of “Raumlabor” (“space laboratory”), experimentally designed by Zurich interior designer Karsten Schmidt is dedicated to this future-oriented issue. Presenting specific examples in a friendly atmosphere, six companies demonstrate how limited series or custom-made products can be incorporated into the large design plan, as well as into the fondest of details. For the “Raumlabor”, Karsten Schmidt was inspired by an artistic project: floors, walls and ceilings blend into a three dimensional unit through all encompassing and exciting ornamentation. A new sense of space is created! The unusual stand design should not least show that a layout like this can also be used in the hotel and restaurant industry. Karsten Schmidt founded his own architecture firm in 1993 under the name of Ida 14, focussing on the restaurant/hotel business, as well as art and culture. Ida 14 projects distinguish themselves through the incorporation of complex aspects into the design plan process, such as location, corporate identity or host personality. Architecture allows Karsten Schmidt to create new, inspiring living spaces. Project name: Raumlabor Location: Basle, Switzerland Completion date: 2005 Designer: Ida 14 Photographer: Michel van Grondel Area: 200m²
  60. 60. 116 - 117 1. Bright and brilliant exhibition area 2. Floral patterns dominating the entire space 3. Work area seen from the exhibition area 1. Display area 2. Desk 3. Work area 1 2 3 1 2 3
  61. 61. 118 - 119 STYLECRAFT SHOWROOM Stylecraft is a leading provider of high quality commercial, hospitality and residential furniture to the architectural and design community, representing original contemporary design from Arper, Akaba, Bonestil, Cornwell Hecker, Dynamobel, ESO, Parri, Stua and Verzelloni. Stylecraft wanted to create a dynamic and innovative space that draws customers to the showroom—and encourages them to return. Geyer’s design solution embodies Stylecraft’s brand attributes—energetic, confident, kinetic and fun. The space has been designed to evolve and change with the business, and enables a diversity of customer experiences. A highly flexible environment has been established that allows the space to constantly evolve and change to support a range of local and international brands and new product lines. Two key environments have been created, the showroom and sales work area. While there are no walls separating these areas, the use of different finishes and lighting dramatically affects the mood and creates a clear distinction between the spaces. In a move away from the traditional “chair wall”, mobile chair towers are suspended from the ceiling and slide effortlessly through the showroom. This gives the chairs (Stylecraft’s core product offer) prominence within the space. The mobile towers also allow the space to be quickly and easily reconfigured to cater for Stylecraft product launches and industry events. Project name: Stylecraft Showroom Location: Sydney, Australia Completion date: 2007 Designer: Geyer Pty Ltd Photographer: Andrew Sheargold Area: 500-600m² 21
  62. 62. 120 - 121 1. Chairs placed on removable structure 2. “Chair wall” reconfiguring the entire space 3. Mobile chair towers are suspended from the ceiling 1. Chair wall 2. Display 3. Meeting area 4. Bar counter show 1 2 3 4 1 2 3
  63. 63. 122 - 123 4. Furniture exhibition area 5. Table and bar counter display 6. Different finishes and lighting creating a clear distinction between the sales and exhibition spaces. 4 5 6
  64. 64. 124 - 125 The exhibition “The Miracle of Bregenz” depicts a fictitious football match between Austria, Switzerland and Germany within the UEFA European Football Championship 2008 at the Festspielhaus Bregenz (the festival house), directly adjacent to the ZDF studio on the Seebühne (Lake Stage). Arranged into two 45-minute halves and 30 minutes of extra time, significant moments from 100 years of football history are compiled and transmitted through the idea of an imagined match. The subject matter is displayed on a 100-metre-long semi-transparent wall, which twists and turns its way from one end of the space to the other. 39 identical display cases represent 39 football heroes – 11 Austrian, 11 Swiss and 11 German players, 3 referees and 3 trainers – and present a range of legendary exhibits: the miracle ball of ’ 54, shirts worn by football greats, the Wembley whistle, important cups, the cardboard advertisement that German football legend Jürgen Klinsmann once kicked his foot through, etc. The translucent graphic of the wall shows authentic photos in a continuous panorama, linking the exhibits with numerous reports, photographs and film documents to form 39 unforgettable moments in football history. The scene in the 1,600-square-metre black room is framed at either end by two topographic areas of turf each representing “Before the game” and “After the game”, where visitors can stretch out and rest. The rest of the display space consists of two stands with 11 monitors each and a centre circle that acted as half-time bar. In the evenings the wall, together with the light and the film projections, is elevated 3 metres into the air via 36 chain hoists attached to the metal truss that hovered above the space. The exhibition thus clears the stage for the post- match parties. Suspended above the heads of guests, this feature offers a fascinating club atmosphere. Project name: The Miracle of Bregenz Location: Bregenz , Austria Completion date: 2008 Designer: Jangled Nerves GMBH Photographer: Andreas Keller Area: 1,600m² THE MIRACLE OF BREGENZ
  65. 65. 126 - 127 1. Aerial view 2. Information displayed and souvenir 3. Expansively curving passage for exhibition 1. Entry tunnel 2. Reception 3. 1st halftime 4. Halftime bar 5. 2nd halftime 6. Stage 1 2 3 4 5 6 1 2 3
  66. 66. 128 - 129 The basic principle of the concept is to see all paintings in one instant. All works are presented along an 80-metre-long curved wall which creates an elegant ballroom-space within the existing architecture. The paintings are hung in chronological order, from the moment of purchase and accompanied with a personal story. In this way the visitor can experience the development of the collection. To remain the focus on the paintings the exhibition space is completely white. White curtains along the wall in combination with a light cove on the top of the wall create a soft and bright background for the works of art. The paintings are fixed on distance – it seems like the paintings are hovering in the air, in front of the curtain. Three huge chandeliers are hung between the columns, creating a link to a classical living room interior. In line of the concept the chandeliers are white and are an abstraction of that classical type of lamp. To complete the “living room” six white chesterfields couches stand between the columns as well. The Kremers and the visitors can take place and enjoy the collection of the masters. Project name: Exhibition “Rembrandt, ein Jugendtraum” The Kremer collection Location: Cologne, Germany Completion date: 2008 Designer: Concrete Architectural Associates Photographer: Ewout Huibers Area: ~450m² EXHIBITION “REMBRANDT, EIN JUGENDTRAUM” THE KREMER COLLECTION
  67. 67. 130 - 131 1. Paintings displayed on the white, circular curtain 2. Chandeliers and sofas adding an elegant and noble sense to the entire space 1. Display area 2. Sofa 3. Curtain 1 2 3 1 2 3
  68. 68. 132 - 133 Brunner is a prestigious manufacturer of utility furniture with a main focus on furniture for events, conventions and nursing homes. This family-run company has made a name for itself in custom-made furniture that is precisely tailored towards customer requirements. In the context of a strategic brand repositioning, the furniture manufacturer wishes to position itself more strongly as an architectural brand. The Brunner exhibition stand at the Orgatec 2010 was expressly designed to underscore this new positioning. The exhibition stand features the latest innovations in chairs and conference tables across an area of 390 square metres. The challenge was to portray the brand world as a holistic entity while staging the individual product groups in close, coherent groupings across the elongated, rectangular stand. Translucent gauze ceiling hangings were used to create separate layered, flowing spaces. This channelling of attention enables visitors to focus more clearly on the individual products. At the same time, the entire stand always remains visible and comprehensible. The gauzes were hung in strict geometric alignment to recall urban cityscapes. The white landscape effectively draws the individual products into the foreground. Precisely positioned elements in a yellow accent colour – from large square ceiling and wall frames, a display of smaller format frames on one wall, to slim vertical strips and large yellow panels – establish additional focal points in the separate product areas. These abstracted objects provide a conceptual context for the products, while supporting the overall structure of the stand and hinting at the high standard of quality inherent in the brand thanks to their innate precision. The continuous white melamine resin floor is the site of an additional zonification. Here individual products are contained by grey carpets, floor markings as areas, lines or dotted grids, as well as a field of white limed oak. Project name: Brunner Fair Stand Orgatec Location: Stuttgart, Germany Completion date: 2010 Designer: Ippolito Fleitz Group Photographer: Andreas Koerner Area: 390m² BRUNNER FAIR STAND ORGATEC
  69. 69. 134 - 135 1. General view 2. Distinctive layout 3. Exhibition works showcased in the pure white space 1. Welcome desk 2. Storage 3. Bar 4. Kitchen 5. Cafeteria 6. Conference room 1 2 3 4 5 6 1 2 3
  70. 70. 136 - 137 4. Creative exhibition works 5. Lounge 6. Conference showroom 4 5 6
  71. 71. 138 - 139 FAIR STAND FOR BURKHARDT LEITNER CONSTRUCTIV AT EUROSHOP Burkhardt Leitner develops, produces and distributes modular architecture systems for temporary constructions employed in trade fair, exhibition and presentation design. Epitomising the fantastic – systematic claim, the Burkhardt Leitner stand transforms the minimalist functionality of its spatial systems and its core brand values precision, lightness, sustainability, flexibility and mobility into a playful and atmospheric stage set. The outer shell of the stand is constructed using the constructive Pila IV system, which is the first system to span areas with an edge length of 6 metres. The sides of the stand demonstrate the sheer multiplicity of visualisation options. An expanse of gauze displays a grid of letters, for example, from which the company’s core competences emerge as red bars. The neighbouring wall is designed as a three-dimensional façade using the constructive clic system and demonstrates a surprising spatial depth: Different-sized floral elements are applied on the different levels as diagonal reinforcement, giving the wall an ornamental structure that varies depending on the angle from which it is viewed. This varying effect is repeated in a concertinaed wall on the other side of the stand. A solid wall of maritime pine panels conjures up an association with transport boxes, thus highlighting the internationality of the brand. The exhibition stand illustrates how Burkhardt Leitner modular systems can be transformed into a creative playground and unfurl their full atmospheric potential. Wholly in line with the company’s brand-defining practical minimalism, simple, reduced construction elements contrast boldly with amusing ornamental details to set striking accents. With dynamic, three-dimensional walls, tactile surfaces, ingenious graphics and surprising changes of vantage point, the Burkhardt Leitner stand invites visitors to explore its multifaceted constructive and decorative nuances. Project name: Fair stand for Burkhardt Leitner Constructiv at Euroshop Location: Düsseldorf ,Germany Completion date: 2011 Designer: Ippolito Fleitz Group Photographer: Zooey Braun Area: 200m²
  72. 72. 1. Table and chair 2. Info 3. Display 4. Display counter 1. General view 2. Entrance on the side 3. The interior boasting a dynamic feeling 1 2 3 4 140 - 141 1 2 3
  73. 73. 7. Rest area 8. The eye-catching patterns on the wall 9. Architectural model 10. Creative show of the plants 11. Small umbrellas suspended from the ceiling adding lightness to the whole space 7 10 119 142 - 143 8
  74. 74. 7. Small umbrella suspended from the ceiling adding lightness to the whole space 8. Architectural model 9. Creative show of the plants 10. Lounge 11. Unique floral patterns 12. Simplicity emerging from the design 144 - 145 7 9 108
  75. 75. 146 - 147 1211
  76. 76. 148 - 149 KOMB HOUSE AT LE MARCHE EXHIBITION KOMB HOUSE is an ideal dwelling that utilises technology to create traditions, customs and a sense of family and community. It creates a lifestyle that incorporates both the modern and traditional material with a minimal impact on the environment. Ecological ideas are incorporated into the house, such as solar panel heated water, energy efficient appliances, reuse of pluvial and grey water, low energy LED lighting and raised radiant flooring. The house can be easily disassembled and its materials, such as wood, metal, glass, and solar panels can be reused. The house shell is composed by a repetition of reclaimed wood fins. Each is set at slightly different profiles to the next creating a dynamic, fluid quality to both the outside inside walls of the house. Due to their angles and depth, the fins create a play on privacy. Viewing from outside one can scantly see into the house, but from the interior the natural light creates a dynamic play of light shadows on the fins. The interior of the house is composed of four spaces that represent our main activities: Play, Eat, Sleep and Cleanse. The central space, inspired by Islamic patios, features an oasis with a skylight and a centre plunge pool. The skylight opening controls the house temperature. When open the skylight captures rain water which is then filtered by the pool. A kinetic art sculpture levitates above. As the sculpture rotates it captures wind power and distributes the energy throughout the house. The house layout flows from the central pool and expands to four quadrants making up the living room, bathroom, bedroom and dining room. The black floor morphs into different floor inlays in the kitchen and bathroom. In the living room and bedroom the flooring motif translates into soft carpeting. Project name: Komb House at Le Marche exhibition Location: Nasr City, Egypt Completion date: 2010 Designer: Karim Rashid Inc Photographer: Karim Rashid Inc Area: 482m²
  77. 77. 150 - 151 1. Exterior view 2. Resting chair 3. Exterior wall detail 1. Main entrance 2. Central courtyard plunge pool 3. Living room study 4. Kitchen dining room 5. Bathroom 6. Bedroom 7. Closet 8. Back entrance 9. Outdoor deck area 1 2 3 4 5 6 7 8 9 1 2 3
  78. 78. 152 - 153 4. Interior view 5. Living room exhibition 6. Dining room and kitchen exhibition 4 5 6
  79. 79. 154 - 155 7. Study room exhibition 8. Living room exhibition 9. Bedroom exhibition 10. Circular-shaped sofas 7 9 8 10
  80. 80. 156 - 157 WIRTSCHAFTSFOERDERUNG REGION STUTTGART-FAIR STAND EXPO REAL The Ippolito Fleitz Group designed and implemented the project in cooperation with the Agency Emmy as the new joint state of the Stuttgart region. The new pavilion for a total of 33 state partners represents the specific success factors that distinguish what the economic region has always been: the productive balance of stability and continuity on the one hand and dynamic and innovative force on the other side. Main theme was the picture of the tree that is firmly rooted in the earth and symbolises the same dynamic growth. The 352-square-metre stand was developed as a sculpture, which staged a picture of the tree architecturally sophisticated and formally independent. Flooring and furniture were painted in earth tones and formed by their apparent homogeneity of the stable foundation for a spectacular canopy of oversized, mirrored cubes, which evolved dynamically to the top. The shiny silver cubes were also bearers of ideas and the projection for the performance and the cultural wealth of the region. Printed photographs of pioneering inventions such as Kepler's model of the solar system, spark plugs from Bosch, the ballet of the Theatre House Stuttgart, historic half- timbered façades or chocolate squares of Ritter Sport are just some examples of the diversity of the region in the true sense misleading. These multiple reflections showed in a subtle way the mutual influence of all regional achievements, which then form into a dynamic whole. And functional approach to the requirements of the Fair booth partner was adjusted perfectly. The central information and service point of the WRS and the clear division into the various fields of communication made for a pleasant and undisturbed working atmosphere and conversation,and at the same time offered the partner level sufficient space for media presentations and model shows. A counter area in the middle provided the visitors to the stand with snacks and drinks. Project Name: Wirtschaftsfoerderung Region Stuttgart-Fair stand Expo Real Location: Munich, Germany Completion Date: 2010 Designer: Ippolito Fleitz Group, Emmy B. Photographer: Zooey Braun Area: 352m²
  81. 81. 158 - 159 1. Side view of the exhibition stand 2. The exhibition space in the shape of a big tree 3. The ceiling resembling “hanging boxes” 1. Display area 2. Counter 3. Equipment room 4. Storage 5. Kitchen 6. Online terminal 7. Reception 1 2 3 4 5 6 7 1 2 3
  82. 82. 160 - 161 4. Bar 5. Corner view of bar 6. Spacious and bright exhibition space 4 5 6
  83. 83. 162 - 163 100-square-metre housing presenting a fusion of reality and experimentation, incorporating a number of products on the market that meet the principles of sustainability, recycling and reuse. The proposal seeks to dilute the border between the experimental and commercial, in order to achieve the goals of respect for the environment. Within ATIPIC House, innovation:: designers also presents the prototype of a modular kitchen, Kube (Future Modular Kitchen) produced by M S Cuines. This company is the sponsor of the overall project, along with UME Electrical and Lighting Montajes LO + Distribution. The ultra-sustainable housing will be in Hall 4. A ceramic work by the energy of an electric battery connected to a generator is driven by a stationary bike, so that by exercising it, we transform the calories burned during exercise and convert the energy that we consume to cook the food that our body needs to recover from stress eating. Thus the circle is closed energy. Other housing facilities operate through the same principle as closed loop power. A domestic installation of water recycling: the housing cover is inspired by a forest vegetation. The plants, through the foliage, collect and carry water from rain to dispose of it, besides helping to regulate the temperature of the place they inhabit. In this ultra-sustainable housing a drop of water is discarded after being used directly as a system for greywater reuse, purified and renewed for further use according to its degree of purification: flushing toilets, showers, laundry, etc.. This operation, of course, thanks to solar energy. Some home furnishings are made from disposable items such as clothes, bath sponges, car wheels, cartons and / or wood, metal or plastic containers, etc.. Project name: Atipic House Location: Spain Completion date: 2008 Designer: INNOVA::DESIGNERS Photographer: INNOVA::DESIGNERS Area: 100m2 ATIPIC HOUSE
  84. 84. 164 - 165 1. Corner view 2. Seen from aside 3. Cooking range works by electricity transformed from solar energy 1. Rest area 2. Stove 3. Bedroom 4. Ultra-sustainable housing 5. Display area 1 2 3 4 5 1 2 3
  85. 85. 166 - 167 A first prize in the competition for the development of a modular exhibition system for BMW AG in 1997 is the starting point for an intensive process of in-depth deliberation on the subjects of corporate design and corporate communication. The exhibition system enables the creation of individually designed exhibition stands for diverse brands with minimal resource consumption. This sustainable ecological concept is exemplary on an international level. Auto Shanghai took place from 20th to 28th of April, 2009 in Shanghai. BMW Efficient Dynamics constitutes a superordinate framework for communicating sustainable and innovative technologies and products. A BMW production space opens itself towards the visitors, sets focus on the most important product messages, and provides space for events during the course of the exhibition. MINI launched three premieres at the Auto Shanghai: The China Motor Show Premiere of the new MINI Cabrio, the Asian Premiere of the MINI Crossover Concept and the Asian Premiere of the MINI E. Alongside these highlights, “MINI 50 Years” was celebrated on the stand featuring the MINI DJ to create the typical MINI atmosphere. The challenge of presenting the big range of highlights outlined above on less than 400 square metres was met with a very condensed and functional but coherent architectural concept. The Rolls-Royce brand was represented in the luxury hall of the Auto Shanghai. The main focus of the Rolls-Royce presentation was the Asian Premiere of the new “Rolls-Royce Ghost”. The architectural concept incorporated a private customer lounge separated from the presentation platform of the Rolls-Royce product family. Project name: Auto Shanghai BMW, MINI and Rolls-Royce Location: Shanghai, China Completion date: 2009 Designer: KSV Photographer: KSV Area: 400m² AUTO SHANGHAI BMW, MINI AND ROLLS-ROYCE
  86. 86. 168 - 169 1. Meeting area 2. Reception and service area 3. Front centre area 4. BMW 3 series Asian premiere area 5. BMW X series world premiere area 6. Special area 7. Show ground 8. Special show ground 1. Fluid design of the ceiling 2. Main exhibition area 3. Corner view 1 2 3 45 6 7 8 7 1 2 3
  87. 87. 170 - 171 4. Bright exhibition area 5. Eye-catching screen 6. Distinctive stand giving prominence to cars on show 4 5 6
  88. 88. 172 - 173 The international movement ECR (Efficient Consumer Response) takes inspiration from four innovative principles of collaborative management between large-scale retail trade and manufacturers. Based on the ECR-Italy project dealing with the Corporate Social Responsibility, since 2004 Coop, the leading Italian supermarket chain has offered all of its suppliers the possibility to take some concrete actions in a few specific domains such as environmental protection, the defence of human rights and nutritional safety. In view of its participation in the yearly appointment of the forum, Coop has trusted the design of its stand with the Milan-based vc a, who had already designed the new in-store image and communication of the company’s hypermarkets. The institutional vocation was the theme to be communicated alongside values such as membership, solidarity and sustainability, which have always distinguished the work of Coop and stand for its number-one communication tool. The project has been keyed to outstanding set design simplicity. The institutional colours – white and red – have been matched in a rational mix of volumes and surfaces. Against this composition, two recurrent metaphors have been staged, namely bond and embrace which immediately remind the visitor of the company’s value-focused approach. Reproduced on the floor as a blown-up decorative pattern, the logo is the hallmark of the four exhibit areas respectively dedicated to “fair” products, research in product design, handling of fresh products and Coop- branded products. The large bottom wall evokes and magnifies the theme of bonding values and relations. A crowded reception and sampling area, livened up by the presence of people, completes the space layout. Project name: COOP ECR Location: Milan, Italy Completion date: 2007 Designers: VC A , VANNINI+CESARETTI Photos: Saverio Lombardi Vallauri Area: 300m² COOP ECR
  89. 89. 174 - 175 1. Circular-shaped exhibition area and logo sign on the floor complimenting each other 2. Exhibition products 3. Innovative partition wall 1. Logo 2. Exhibit area 3. Screen on the wall 4. Desk 1 2 3 4 1 2 3
  90. 90. 176 - 177 Electrolux surprised visitors at the IFA 2010 with a completely redesigned brand appearance – also tridimensionally. The manufacturer of domestic appliances engaged the D’art Design Group in the tridimensional design of the AEG relaunch at the 50th IFA in Berlin. The redesigned brand appearance underlines the premium positioning of AEG and mirrors the desires of the target group, which prefers brands with clear and focused design combined with emotionality. The brand space’s concept translates that approach at the IFA by architectonically concentrating on comfort and design innovation. The spatial shell of the hall supports the self-contained brand world on more than 3,100 sqm. Isolated from the hustle and bustle of the fair the visitor discovers a spacious entrée – the centrepiece of the brand space. The media displays on the ceiling and walls accompany the visitor into the inside of the brand world. Soft shapes float over the illuminated ceiling in the rhythm of the stream of visitors. LED-backlit walls covered with fabric enhance the multimedia displays. The play of lights mirrors in the high-gloss black floor and thus suffuses the whole entrance hall. An avenue of chestnut trees, cherry trees and linden leads into the single product areas. Here, the emotional brand orientation in combination with the innovations is highlighted through material diversity and pictographic examples: Be it a waterfall that depicts the performance of the “Pro-Clean” dishwasher or the “Öko_Line” that is covered with moss. The whole brand world invites to touch, understand and pause: warm woods and soft materials in dialogue with walls with media displays visualise the makeover with inspiring elements and the respective dynamics. An overdimensional shelf full of wonderfully smelling herbs whets your appetite for the experience kitchen. Electrolux offers more space to the Live Cooking 2010: Professional chefs and patisseurs fill the brand space with freshly prepared culinary delights that smell delicious. Project name: Electrolux | IFA Location: Berlin, Germany Completion date: 2010 Designer: D’art Design Group Photographer: Joerg Hempel Photodesign Area: 3,100m² Electrolux | IFA
  91. 91. 178 - 179 1. Exhibition area designed with simple style and a cosy feeling 2. Rational colour combination 3. Green plants highlighting the sustainable concept 1. Ovens 2. Small appliances 3. Laundry 4. Dishwasher 5. Electrolux 6. Performance 7. Statement 8. Novelty 5 1 2 3 4 6 7 8 1 2 3
  92. 92. 180 - 181 4. Reception desk 5. Lounge area 6. Entrance 4 5 6
  93. 93. 182 - 183 The stand designed by Plajer Franz Studio and the central platform for investment, business and projects in Europe are used to set a course for a positive perception of the economic area of Augsburg and to show the advantages of the location – especially compared to the apparently almighty city of Munich. They are arranged as dynamic staggered coloured stripes: green represents business, blue innovation, red service, pink lifestyle. These stripes merge from the floor across the walls to the ceiling or unfold to displays in the form of info terminals and desks. The functional areas are related to the individual colours and therefore thematically assigned to the core areas. PlajerFranz studio integrated the meeting area in the green environment, which reflects the business potential. The blue sector is affected by the presentation of models of new innovative planned construction (Impuls Arena and Sheridan Centre). The red zone is defined by the counter picking up the service topic, and the lifestyle aspect in the pink area is characterised by a lounge. Project name: Exhibition Stand Expo Real Location: Munich, Germany Completion date: 2007 Designer: Plajer, Franz Studio photographer: Ken Schluchtmann Area: 75m² EXHIBITION STAND EXPO REAL
  94. 94. 184 - 185 1. Exhibition stands in bright colours 2. Negotiation area 3. Eye-catching colourful decorations standing out from the white background 1. Info terminal 2. Counter with bar stools 3. Table 4. Prospect stand 5. Lounge 5 1 2 3 4 1 2 3
  95. 95. 186 - 187 FutureCare is located at CeBIT’s Telehealth–Area and spreads over 350 square metres. It’s all about digital Patient- Information in Healthcare, which was shown with the help of guided tours. These tours demonstrated two scenarios of main diseases such as diabetes and heart-insufficiency with the help of a moderator and an actor. The stand had to be designed in a closed form because of the guided tours. On the other hand, it had to offer “teaser” insights from the outside. The overall impression is futuristic as the topic itself. The design doesn’t focus one single firm but brings into focus the entire message “get connected” in healthcare. Firms show their products and what they can do for patients. Single firms are present at the entrance area and each single brand from platinum to bronze partners is present and is noticed by everyone entering or leaving the site. Medical clean white symbolises healthcare. Soft grey lines, symbolising diffuse data, cross each other and connect the different areas – “get connected”. Flooring is done with plain white PVC plus adhesive foil stretching from floors to surrounding walls. Changing data is also visualised by white lines of LED-Lights, pulsating in waves around the area. The layout orientates on a molecule–structure and shows in clusters the different areas. It is inspired by molecules, because IT itself, already today, is working with minimised structures to fulfil its demands. So these molecular structures are blown up and now integrate IT. Because of this, a flexible structure is resulted in designing spaces, which was very convenient for the design process, as provided spaces changed constantly in. Single icons such as stethoscope, doctor’s white clothes, nostalgic brown pharmacy bottles associate doctor’s practice, hospital, pharmacy, etc. Projecting standing lights, acrylic–vase and plain white old-fashioned fauteuils symbolise “at home”. A deer antler became mascot, used in a pink flocked finish at FutureCare 2009 this year that was – what else – plain white. Project name: FutureCare Location: Hannover, Germany Completion date: 2010 Designer: 100% interior Photographer: Karin Hessmann Area: 350m² FUTURECARE
  96. 96. 188 - 189 1. White colour stressing the theme of exhibition 2. Exhibition area equipped with technological elements 3. Soft grey lines symbolising diffuse data “get connected” 1. Home 2. Surgery 3. Pharmacy 4. Rescue helicopter 5. Hospital 5 4 1 2 3 1 2 3
  97. 97. 190 - 191 4. The layout orientating on a molecule- structure 5. Helicopter symbolising “combination of technology and healthcare” 6. Exhibition area with a futuristic style 4 5 6
  98. 98. 192 - 193 It is pretty simple to design a booth for a tour operator. A wooden deck, a jungle and 1800 Flip Flops standing for leisure holidays and in contrast to that you take a straight and urban looking cube and reduced furniture which stands for city trips. Especially the curtain made out of the flip flops was very succesful, because it was the topic of conversation during the fair. Inside the cube they installed a photostudio where the visitors get a make up from a professional stylist and dressed in a kuoni shirt. After the short shooting they could take their photo with them. Project name: Kuoni Booth Location: Montreux, Swiss Completion date: 2008 Designer: DREIMETA, Armin Fischer Photopgrapher: Brechenmacher Baumann Area: 272m² KUONI BOOTH
  99. 99. 194 - 195 1. A jungle background echoing the concept of “tourism” 2. Tourist car enriching the leisure aspect of the design 3. 1800 Flip Flops 1. Main stand 2. Sofa and jungle 3. Table and chair 4. Curtain made of flip flops 5. Sport utility vehicle 1 2 3 4 5 1 2 3
  100. 100. 196 - 197 Magis Stand at the Furniture Milan Fair is a fitted space of 400 square metres (20x20). The project started from the concept of creating an architectonic space with an internal yard where the perimetral walls are sectioned and from the inside are visible the rooms of the building with their furniture. The company products are presented in these rooms: on the ground floor the new proposals and upstairs the historical ones. The sectioned walls are marked with white colours in contrast with the black on the outside and on the floor. Each room is decorated with its own colourful covering which is often decorated with motives that give context to the displayed objects. The central zone includes the reception located in front of the principal entrance and the elevated meeting room, with a privileged point of view, from which looking away it is possible to see the whole scenography. Each room is dedicated to a designer who collaborated with the company. In addition to the rooms that present Stefano Giovannoni products, you can find those of Jasper Morrison, Naoto Fukasawa, Konstantin Grcic, Pierre Paulin, Bourullec brothers and Javier Mariscal. Project name: MAGIS Stand, Milano Furniture Fair Location: Milan, Italy Completion date: 2009 Designer: Stefano Giovannoni, Elisa Gargan Photographer: Pietro Savorelli Area: 400m² MAGIS STAND, MILANO FURNITURE FAIR
  101. 101. 198 - 199 1. Exhibition area for children’s products 2. Room decorated with its own colourful covering to give context to the displayed objects 3. Distinctive chandeliers 1. Entrance 2. Reception 3. Bar 4. Meeting room 1 1 2 3 4 1 1 1 2 3
  102. 102. 200 - 201 A radically new definition of the exhibition architecture that is executed with this fair presentation of DaimlerChrysler brands, Mercedes and Maybach is the solution to these brands search for a sovereign serenity. Large flowing shapes replace the small-piece dissection that is common in fair construction. One element that is well visible from all angles and has a great visibility effect from distance is a sky which is floating above the presentation stage. Its design suggests great airiness with a wave-like swinging soffit. This image of the sky linking the two areas of Mercedes and Maybach presentation creates vastness and generosity–a feeling of respiring. Line management and creative form vocabulary are derived from brand- characteristic outlines of various Mercedes cars. Drawings and graphics of the cars serve as an inspiration for the shape of the ceiling landscape and the stage setting. Therewith one can experience the cars outlines and brand- specific design principles through the floor plan as well as in the perspective of the ceiling-and- stage architecture. All serving areas are integrated in the backside stage setting. Shop, conference room and office all orientate towards the exhibition stage with a different view angle and are separated by the stage. The apertures outlines thereby transfer the line management of the booth into a view that is framing the cars. For the production of this exhibition booth approaches of the automotive engineering were accessed–as far as it is possible in an exhibition project. A serial production and development of module measurements made the fair-atypical form vocabulary actually possible and cost-effective. Project name: Trade Fair Booth Mercedes Benz Maybach, AMI Location: Leipzig, Germany Completion date: 2006 Designer: Graft Gesellschaft von Architekten mbH Photographer: Marcus Schwier Area: 1,546m² TRADE FAIR BOOTH MERCEDES BENZ MAYBACH, AMI
  103. 103. 202 - 203 1. Cars on show 2. Lounge area 3. Ceiling resembling cars outlines 4. Silver-colour car in the red background 1. Entrance 2. Private lounge 3. Reception room 4. Meeting room 5. Storage 6. Private changing room 7. Exhibiton hall 1 2 34 5 6 7 1 2 3
  104. 104. 4. Cars on show 5. Lounge area 6. Ceiling resembling cars outlines 7. Silver-colour car in the red background 204 - 205 4 6 75
  105. 105. 206 - 207 The Munich specialists for corporate architecture, Schmidhuber + Partner, continue the Audi Vorsprung concept and develop an endless flowing space that dissolves the partition between the classic disciplines of floor/wall/ ceiling or architecture/communication/marketing. In its diversity, it accommodates a growing product variety and the growing importance of issue communication. Visitors experience the extensive, 2,540 square-metre brand space as a narrator: Geometric elements with alternating straight and curved lines are followed by curved lines and free forms with doubly-curved surfaces. A softly rising curve leads visitors like on a boulevard through changing perspectives and topics, from its highest point granting a view over the whole fair booth. Three highlight stages emerge from the interior architecture and swirl around the highlights of the show. Space and vehicles form one entity and set the stage for the Audi e-tron Spyder that has just now been revealed, a model of an open sports car with plug-in hybrid drive. New technologies, materials and surfaces as well as the integration of aluminum as the brand material provide the Audi appearance with a poignant brand identity of great long-distance effect and translate the technological edge into a spatial brand experience of hitherto unreached diversity. When seen from below, the horizontal surfaces with an aluminum-like coating form a new silver-coloured brand sky. Where colours meet, the edges feature crystal-like grindings, which reinforce the diversity of the brand space with their dramatic curves and free forms. Each use of colour and material takes on a specific function. The white, jointless architecture develops its strongest effect from a distance, conveying calmness and power, while the silver colour communicates technological market leadership and detailed depth. The use of wood as well as the graphic design adds a third element by emphasising the atmosphere and humanity. AUDI AUTOSALON PARIS Project name: Audi Autosalon Paris Location: Paris, France Completion date: 2010 Designer: Schmidhuber + Partner Photographer: Andreas Keller Area: 2,540m²
  106. 106. 208 - 209 1. General view of the whole space 2. The display space in the red light 3. Corner view 1.The open entrance 2.Highlight stage 3.The streamlined shape structure 2 3 1
  107. 107. 210 - 211 4. The streamlined design of the exhibition hall 5. The exhibition hall is exquisitely designed 6. The highlight ring stage 4 6 5
  108. 108. 212 - 213 Soap Stars is the name of the Bisazza stand at the Salone del Mobile 2005, and the entire range of products were shown there. The stand was created by the famous designer Marcel Wanders, whose design style is famous for floweriness and positiveness. The stand uses black as its main background colour, so that the colourful products can stand out well. The space of the stand was divided in several areas. Every area has its own style. The bathtubs with different forms look just like the art works, which tell their own beautiful stories quietly. With various patterns and different colours the stand seems a fairy tale world. The mysterious atmosphere increases the elegance of the products. The purpose is to tell the visitors the comfortable feeling of the brand products. The products will take the visitors and inspire them during the grand free tour of the symbiosis of creative excitement. They will quench their visual thirst and infuse their grey cells with little pink flowers and crispy silver stars. Project name: Bisazza Soap Stars Location: Milan, Italy Completion date: 2005 Designer: Marcel Wanders Photographer: Ottavio Tomasini BISAZZA SOAP STARS
  109. 109. 214 - 215 1. Exhibition area in lively style 2. Independent exhibition area 3. Floral patterns on the wall 3 2 1 6 4 5 7 1. Central platform 2. Shower platform 3. Green platform 4. Front platform 5. Sauna platform 6. Blue platform with big-heart pattern 7. Storage for folders 21 3
  110. 110. 216 - 217 4. Green floor adding freshness to the whole space 5. Main exhibition area with steps 6. Playful bathroom 6 4 5
  111. 111. 218 - 219 For three consecutive years, the company Comex Lafarge has entrusted JORGE HERNANDEZ DE LA GARZA with designing their pavilion of Plaka Comex for Expo CIHAC 2008 which is the most important fair of construction held in Mexico City. The principal requirement of the client was to accomplish an architectural space with a high sense of plasticity, in order to demonstrate the qualities and benefits of its material (Plaka Comex ).The whole pavilion was built only in seven days, with five hundred and fifty plaster boards and forty five workers. Time constituted a special challenge as well; there was only five weeks between the commission and the opening of the trade fair. In order to accomplish such objective the design chosen was based on the art of the origami that means in Japanese folding paper. This idea was the starting point and it´s composed by figures in its majority geometric like squares, rectangles and triangles helping to create a very particular form with movements and subtle lines that go along a sense of intuition and not by a strict architectonic rationalism. The circulations of the fair were considered in the design proposal, and four big openings allow people to access to the interior exhibition. The architectural elements filter the light while visitors get surprised by the different movements of shadows. Depending on the perspective people can see a very massive or light structure. The relaxed atmosphere inside the object was an important element throughout the interior, encouraging visitors to explore, to learn and to probe the qualities of the materials Plaka Comex so that the Pavilion became a kind of umbrella that strongly supported the corporate identity of Comex Lafarge company. Inside the white structure were placed two sound cabins to demonstrate the acoustic boundaries of the Plaster Board called Acustika which is one of the most innovative products of the brand. Project name: Origami Pavillion Location: Mexico City, Mexico Completion date: 2008 Designer: JORGE HERNANDEZ DE LA GARZA Photographer: Paul Czitrom Area: 108m² ORIGAMI PAVILLION
  112. 112. 1. Design based on the art of the origami 2. Bright interior 3. White exhibition area 1 1. Main pavilion 2. Plaster board wall 3. Table 2 3 220 - 221 1 2 3
  113. 113. 222 - 223 Under the motto Living in High Definition Panasonic presented itself at the Internationale Funkausstellung (IFA) from the 31st August to the 5th September 2007, in Berlin. Concept and creation of the exhibition stand came from the Atelier Brückner, who translated together with the Berlin media artist Marc Tamschick the motto into a three-dimensional, moving product stage. The exhibition stand becomes a mysterious Blue Box in which the digital world of Panasonic is presented. As a basic unit the dimension relation is 16:9–the format of contemporary high-definition flat screens. It forms the basis of the whole stand in his proportion and internal structure; it functions as raster for the graphic design, developed with the communication designer attractive grautöne, and finally is the formative basic element of the media scenery. Uniformly the floor, presentation walls and the grid that connects the different product exhibit areas are coloured in Panasonic’s trademark blue. This network stands for the Panasonic claim Networking for life which describes the simply manageable, technical linking possibility of different Panasonic products. A projection screen–about 145 metres long and 5 metres high–surrounds the whole public area. The projection is mainly abstract and provides different moods in rhythmical order. In the centre of the public area–opposite to the stage–is the heart of the media scenography: The ten-metre- wide and five-metre-high display from 23 Viera screens (each 103 inches 2) is becoming the giver of pulse to the whole exhibition stand. From this, the largest ever full high-definition mass display realised ever, visual impulses are spread out to the surrounding walls, recorded with 21 projectors. The exhibition stand looks enlarged in its dimensions and shows at the same time the potential of the Panasonic products. The media scenery, which runs on a total of 38 synchronised channels, makes instinctively learnable the quality, which is connected with the brand Panasonic. At the booth a sportily engaged, dynamic impression originates. The visitor can glide like a swimmer through the product worlds. Project name: Panasonic Stand Location: Berlin, Germany Completion date: 2007 Designer: Atelier Brueckner GmbH Photographer: Markus Mahle Area: 3,100m² PANASONIC STAND
  114. 114. 224 - 225 1. Colourful background 2. Deep blue as the key tone 3. Screens playing different information 1. Info 2. Stage 3. Mass display 4. Blu-ray theatre 5. Shooting 1 2 3 4 5 1 2 3
  115. 115. 226 - 227 The German D'art Design Group designed the brand architecture of the Public Area of Panasonic at the 50th IFA. The brand space underlined Panasonic's 3D specialisation on more than 4,500 square metres. At the largest fair for electronics by worldwide, Panasonic presented the whole world of the third dimension. Bright streams float over the product presentation and discreetly shape the hall’s outline. Compactly staggered one behind the other they highlight the spatial depth and therefore the Panasonic theme “3D your world”. The stream’ s light colours that change from white to deep blue are controllable, support the dynamics of the architectonic streamlines and constantly suffuse the fair stand in new atmospheres. Towards the centre of the hall the parallel staggered light streams divide thus forming a spacious plaza that puts the spotlight onto the huge mass display. Here, the fair visitors can get immerged in the third dimension. 3D TV is one of the central topics in the electronics industry this year, explains Dr Rainer Hecker, Chairman of the Supervisory Board of the IFA’s organiser gfu. With the all- over product chain from the recording to the imaging, Panasonic demonstrates its role as precursor in the third dimension. Diverse premieres are waiting for the visitor of the stand: the first 3D camcorder for the private use or the largest 3D full HD plasma TV in the world with a 3.86-metre screen diagonal. The stand’s architecture structures all product contents thanks to the well-arranged ramified streams into the other product areas like ECO and Digital Imaging. With a complete portfolio of 3D products Panasonic shows its customers the whole 3D world and proves that the topic is already a natural part of consumer electronics today. This design was highly spoken by both the client and the visitors as there are several new and elegant elements in the process of design. Project name: Panasonic | IFA Location: Berlin, Germany Completion date: 2010 Designer: D’art Design Group Photographer: Joerg Hempel Photodesign Area: 4,500m² PANASONIC | IFA
  116. 116. 228 - 229 1. Curving ceiling 2. Circular-arranged screens highlighting the theme of “3D world” 3. Spacious plaza 1. Restaurant Meeting area 2. Professional area 3. Eco corner 4. 3D shooting 5. 3D theatre 6. Home AV 7. 3D mass display 8. Stage 1 2 3 4 5 6 7 8 1 2 3
  117. 117. 230 - 231 4. Versatile decorative elements 5. Compactly staggered screens adding a dynamic feeling 6. Elegant and soft colour 4 5 6
  118. 118. 232 - 233 This year, the fair “Heimtextil” offered a more finely differentiated range of high-end home and household textiles. There were two showcases designed by JOI-Design visualising the wide range of applications for textiles. Water, light and crystal – high-quality fittings, opulent and dreamy mosaics create, glittering bathroom worlds. Like a screenplay for “luxury bathroom meets textiles” the “Crystal Waves” showcase combined bathroom textiles with luxurious details. To provide an optimum backdrop for all the materials on show, the special area has been laid out along a precise grid, with the principal materials used being glass, quarry stone, crystals and premium-quality fabrics. The core theme was the element water. A “stream” ran through the showcase area, filled with polished mosaic tiles by Bisazza and glittering crystals by Swarovski. Project name: Showcase Crystal Waves Location: Frankfurt , Germany Completion date: 2008 Designer: JOI-Design GmbH Photographer: JOI-Design GmbH Area: 250m² Showcase Crystal Waves
  119. 119. 1. A “stream” running through the showcase area 2. Bathroom in elegant and noble style 1. Table and stool 2. Crystal wave 3. Tub 4. Wash basin 5. Bath 1 2 3 4 5 234 - 235 1 2
  120. 120. 236 - 237 In 2008, there were two showcases designed by JOI-Design visualising the wide range of applications for textiles. The fair “Heimtextil” offered a more finely differentiated range of high-end home and household textiles. Outdoor and indoor merge as interior design makes space concepts transparent. “Outside In” plays with levels, materials and styles. This showcase transformed the ground plan of an urban villa with adjacent garden into a walk- on stage set with three cubes showing the situations “sleeping”, “living” and “dining” and a fourth cube, featuring a bar for catering purposes. These days, the conventional way of dividing up living space is frequently ignored by architects, with an open-plan kitchen area becoming, for example the communication node within the living area. A mini boulevard allowed visitors to roam around the area, with small wooden walkways linking the cubes with one another and offered with its generously sized garden a quite special meeting place. Project name: Showcase Outside In Location: Frankfurt, Germany Completion date: 2008 Designer: JOI-Design GmbH Photographer: JOI-Design GmbH Area: 500m² SHOWCASE OUTSIDE IN
  121. 121. 238 - 239 1. Aerial view 2. Lounge area with green as the key tone 3. Corner view of the exhibition area 1. Living 2. Sleeping 3. Table and bank 4. Stairs 5. Dining 6. Bar1 2 3 4 5 6 1 2 3