The stunning scenery of the towers of the Kremlin has expressed the need of giving to the new Moscow’s Fashion Tower the role of sounding board perceived at a great distance that can modify and amplify the modulation of the other buildings around.
A wide range of iconographic references has produced continuous hybridizations to the initial concept(s), so as to construct a system of complex shapes and figures.It’s a skyscraper with skin and bones destined to become a new Totem in the city, reflecting the magic colors of Muscovite light. New architecture is intended really like sartorial: strategies and terms derived from fashion as exploring, cutting, folding, wrapping, make us work with surfaces and materials. The Moscow Fashion Palace is generated from twisting a two-dimensional cloth.
CONCEPT(S)Project was inspired from:
SPATIAL“Russian Doll” exhibition at Groningen Museum by Victor & Rolf (2000). Matrioska’s spatial device has been revisited, inverted, digitally drained in a way that the whole energy is gathered in the amniotic interstices, in between. Architecture and Fashion are conceived as a bodywork.
METAPHORIC“ The Most erotic part of the body is not that where the suit is unfolding?”As Roland Barthes said in “Le plaisir du texte” (1973) we saw the new Fashion Palace as an object of pleasure so that the real skin will shine between the two edges (the shirt and pants, the glove, the sleeve) This twinkle is seductive and stages an appearance-disappearance.
STRUCTURESInterior floors cantilevered are supported by a central steel space grid, when exterior shell is encased in a skin of stainless-steel and structural glass strips to create expressive curved forms branching off the Fashion Square. Standard orthogonal relationships have been reconsidered and computed on the lights and shadows of the drapery with a rich play of bright reflections and transparencies.