This was crucial in order to achieve the plasticity for the fins’ shapes, could maintain structural integrity for the cantilevers designer, and be installed with “seamless” joinery. Considering die cast aluminum and 3D-printed carbon fiber, the design team decided that a thermoformed solid surface would best suit the design. The final material choices were the result of an extensive process in which the design team sought to identify emerging material solutions that could best fit the technical requirements of the approved designs. Bonifaz noted that the joints contain a “spring-loaded mortise and tenon connection to absorb any movement.” The rigidity of the artificial stone is broken by curved geometries and layered lighting design. On the interior layers, expansion joints in the panels were installed to be disguised within the finned facade, serving to minimize deflection and visual noise. On the exterior, a coating was applied to the glazing to limit heat gain. Overlapping layers, inspired by layering in sheer fabrics, make for “an ever-changing moire of light and shadow,” the design team said.īoth the interior and exterior facades were significantly shaped by environmental factors, largely due to the temperature variance in the desert climate. A deep shadow box takes advantaged of etchings in the glazing. (Gerry O ’Leary)Īranda\Lasch designed the third, exterior facade to take advantage of Qatar’s harsh sun conditions. The rhythm of the facade shifts as the interior of the store appears to open and close to pedestrians as the pass by the facade. The interlayers of the glass were designed to create shadows and highlights, making for a diffused surface when the glass is backlit. The secondary facade layer, positioned behind the HI-MACS was designed as a series of translucent patters manufactured on triple-laminated glass, which complemented the HI-MACS’ representation of material movement. HI-MACS was ultimately specified for its ability to span the facade while providing transparency for the desired lighting conditions. This dimension also enhanced the “motion” that the design team sought in conceiving the facade as a pleat. The pleated fins stem up the facade from the floor-connected to a steel base with aluminum insert parts-as if they formed a curtained-partition to the store’s entrance.Īs Aranda\Lasch senior project architect Joaquin Bonifaz told AN, the fins were designed with three alternating depths that “reveal and occlude the interior,” shifting as shoppers move past the facade. The rigidity of the solid material was broken by variations in depth and texture as each fin was fabricated with a grooved pattern that diffuses light and breaks the otherwise firm materiality. The main facade, inspired by “the pleats in a Dior dress swaying with the movement of the body,” seeks to “to capture a fleeting moment with an architecture of unexpected lightness.” To achieve this, the design team iterated a series of fins that would eventually be manufactured as a solid surface of the artificial stone HI-MACS. The facade pleats are anchored together at the base, flaying outward to form the pleated pattern up the facade. The final facade pattern specifically draws visual connection to Dior’s Fall 2018 Couture show under creative director Maria Grazia Chiuri. Seeking to represent the brand’s “dynamic, etherial” qualities “crafted with precision,” the facade was designed in three components: a main interior facade a secondary, layered-glass interior facade and the exterior facade. Place Vendôme was designed by the Arab Engineering Bureau to emulate classical French interiors across 148,000 square meters (1.6 million square feet) of luxury retail space.ĭior’s storefront rises 22 meters (72 feet), and was inspired by “the brands legendary couture,” as the architects described.
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