史黛拉麥卡尼（左）榮獲英國時尚獎最佳年度設計師獎，與榮獲「傑出成就獎」的薇薇安薇絲伍德一同展示獎座。
拉脫維亞Vincents餐廳，內部裝璜既不豪華，服務水準更稱不上一流，但光靠主廚芮廷斯的招牌，就成為首都里加最著名的觀光景點。（彭博資訊）
圖／小丑默劇團
Wallpaper* Design Awards 2006: Louis Vuitton, Pari Louis Vuitton and US architects Peter Marino and Eric Carlson have created a string of sparkling Louis Vuitton stores around the world. But the shiniest star in the Louis Vuitton universe is the newly reopened flagship on the Champs-Elysées.
The original store, which opened on this site in 1998, has been expanded and reconfigured. Now seven storeys tall and encompassing 15,000 sq m, it is arranged over a series of art deco terraces with a 20m-high atrium hung with stainless steel rods.
The store also features a light sculpture by US artist James Turrell and a sensory deprivation lift by Danish artist Olafur Eliasson. Occupants of the lift, which travels from the ground floor to the top floor (a space used for ‘artistic and cultural expression’), are kept in total darkness — not even the up and down buttons are illuminated. The lift is also lined with black ‘sound-negating’ material and, to further ensure total aural blackout, a sound system uses a carefully engineered sonic swipe to wipe out any additional noise. Eliasson considers this to be a kind of consumer decompression chamber, cleansing the experiential palate and allowing the customer to better appreciate the goodies around them when they exit the lift. We consider our shopping palettes to be clean and refined enough, thank you, but it’s a nice thought.
Indeed, the architects have thought long and hard to make navigating this huge emporium as uplifting and enlightening as possible. Our favourite passage is via a 20m-long ‘travelling staircase’, which runs alongside a fibre optic wall showing a cutting-edge video installation by US artist Tim White-Sobieski.
Information: Louis Vuitton
101 Avenue des Champs-Elysées
Paris 8e
tel: 33.1 53 57 24 00
Karl Lagerfeld and Zaha Hadid Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Karl Lagerfeld: We need houses as we need clothes, but even more so and they have to last longer. That is why the cycles of architecture’s evolutions are so much longer. In the 18th century, fashion and architecture went hand in hand. This perfect marriage will never be repeated. We live in another world now where people are into ‘preserving’ houses and other older buildings. Nobody wanted a medieval house in the 18th century. The 17th and the 18th century were the best periods ever in the history of French architecture.
Wallpaper*: How can architecture help sell fashion?
KL: Architecture stimulates fashion. The systematic relations of both can last in time and space for quite a long period.
W*: What were your reasons for selecting Zaha Hadid?
KL: She is the first architect to find a way to part with the all-dominating post-Bauhaus aesthetic. The value of her designs is similar to that of great poetry. The potential of her imagination is enormous and people are only just beginning to realise how important her designs are.
W*: Are you working on a project together for the future?
KL: Yes, for Chanel, but it’s too early to talk about it. It is an idea she’d had when she was a student but nobody had approached her with a need for it. I would love her to build a house or a library for me, but where?
W*: Do you have a favorite building, any building and why? The Villa Malaparte is one of my favourite houses in the world as are the Palais Wittgenstein in Vienna and the Villa Savoy near Paris.
W*: What is your favorite city and why?
KL: New York for the moment, because the mix of people and architecture.
W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Zaha Hadid: Of course it can be difficult, but also very exciting. It's important to remain true to your own vision, but also open and receptive to new ideas. I think when you have two people with strong ideas collaborating on a project, amazing things can come out of that relationship.
W*: Are you surprised Karl Lagerfeld selected you as his architect of choice?
ZH: Karl and I have a long-standing respect for each other’s work, so no, I am not entirely surprised.
W*: How do you begin to help turn the display of fashion into a memorable event?
ZH: As in fashion, architects are now able to use the very latest 3D digital design and enhanced manufacturing processes to realize extremely complex geometries and merge unrelated forms and textures. This architecture translates the intellectual into the sensual by experimenting with completely unexpected immersive environments.
W*: Have many fashion ‘innovators’ helped advance public perception of architecture?
ZH: There is a long tradition of fashion's innovators commissioning architecture that is a revolutionary experimentation of what is possible.
@http://www.wallpaper.com/fashion/power-couples-day-10/1092
Patrick Thomas, Hermès CEO, and Rena Dumas Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Patrick Thomas: Fashion is the cloth of the body. Architecture is the cloth of the spirit, of the soul. Both express a person’s personality, body or soul. A person’s spirit, or attitude, is reflected in their home’s architecture. A company’s spirit is reflected in the architecture of its offices, stores, factories. In a way, a piece of fashion is an architectural creation. Doesn’t one speak of the ‘architecture’ of a cloth?
W*: What sort of architecture do you think reflects the Hermès aesthetic?
PT: Very diverse architecture that is respectful of the site, discreetly elegant, highly qualitative in materials, in constant evolution and full of sensuality.
W*: How can architecture help sell fashion?
PT: Successful architecture enhances fashion and gives it life.
W*: What is it about Rena Dumas’ work that appeals to you?
PT: Rena Dumas has gradually developed the Hermès architectural style jointly with Hermès. Once she has understood the brief, she delivers it in total harmony with her customers. She has an extraordinary sense of what Hermès wants to do to put its objects on stage.
W*: Which projects have you worked on together and do you intend to do more?
PT: We’ve worked together on our Hermès workshops in Pantin (suburb of Paris), on a massive extension project that is underway in Pantin and on a very daring Hermès House in Dosan Park in Seoul.
W*: Do you have a favourite building and why?
PT: The House of Lords in London, because its harmony is so great and the proportions so well balanced that it looks like a cottage.
W*: What is your favorite city and why?
PT: The Italian cities – they mix so well with the nature surrounding them. When you visit Florence or Tuscany, you hardly know if you are in a city or in its surroundings. My favourite cities are those that are discreetly integrated in the nature surrounding them.
W*: Which location or city do you think could most do with a makeover?
PT: Lake of Annecy, because the nature is so beautiful and the architecture almost destroys it.
W*: How difficult is it to combine your vision with that of someone else whose vision may be equally strong? Rena Dumas: I appreciate having a client with a strong vision. The rest is a matter of equal respect and complicity.
W*: How does an architect begin to turn the task of shopping into a memorable event?
RD: At Hermès there is a real preoccupation with innovation, which for RDAI means leaning upon the roots of tradition, to constantly rebound to a modern vocabulary. Our architecture plays constantly with natural light and sculpts, as a staircase does, being sometimes rectilinear, or sometimes opening out into the space like a huge shell. Each store conveys the genuine atmosphere and timelessness of Hermès. The Hermès product, in its perfection, finds its place naturally enhanced in this architecture. However, the product is always the king of the festivity: the goal is that the act of selling, the act of exchange, becomes a festive moment and the realisation of a dream for the person who acquires the product.
W*: In your opinion, have many fashion 'innovators' helped advance public perception of architecture?
RD: We could say that, today, architecture ‘innovators’ help advance the perception of some fashion brands. In the more and more visible marriage of architecture and fashion, architecture is providing a strong support to the visual identity of these brands. In the case of Hermès, the architectural codes were rooted from the very beginning in the culture of the House and were founded in the first shop at 24 Faubourg Saint Honoré, Paris in 1925. Since that date, every Hermès shop is linked to that store by a golden thread. In a wider reflection on innovation in architecture, I believe that public perception of architecture is advanced by all quality architectural projects conceived by quality architects. But I believe strongly that we are entering into an era where architects and builders in general should reconsider what a privilege and responsibility towards the mankind it is to build on earth.
W*: What is your favourite city and why?
RD: Undoubtedly Paris! It is a personal choice since I was 14 years old. There is a wonderful balance and harmony between the built parts of the city and the spaces between them.
@Source:http://www.wallpaper.com/fashion/power-couples-day-9/1091
Donna Karan and Dominic Kozerski Wallpaper*: What is the relationship between architecture and fashion, for you?
Donna Karan: I love architecture – I feel so at home on building sites – so it was an incredibly important influence on me when I started both Donna Karan and DKNY. I wanted the stores to be industrial and raw-looking – like an undressed stage, or like a Robert Wilson blacked-out set. I wanted people to feel that they were outside even when they were inside. And, of course, architecture can work like fashion. Take Zaha Hadid, for example; her work has a real flow to it, as if it was a building cut on the bias.
W*: Do you have a favourite building?
DK: To be honest, I am not always very keen on the very modern. That is why I love buildings such as Dia:Beacon (by OpenOffice), with its mix of old and new.
W*: What sort of architecture do you think reflects your aesthetic?
DK: I love work that is organic and sensual. That is why I adore the stone sculptor Izumi Masatoshi. For similar reasons, an architect I am very impressed with at the moment is Shigeru-Ban. I adore his natural aesthetic.
W*: What were your reasons for selecting Dominic Kozerski?
DK: I met Dominic when he was working with Peter Merino, and our professional relationship rapidly became a partnership. When he was working with me on my apartment, he first built a full-scale model on site as a mock-up. It was so beautiful I wanted to move in and live in the model.
W*: Have you done any other projects together?
DK: He is currently working on the mini-compound I am building in Parrot Cay in the Turks and Caicos.
W*: What is your favourite city?
DK: Paris. It has such a feminine energy. I love the light, and light is so important to me. But then, of course, I will always love New York.
W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Dominic Kozerski: In our view, the architects’ vision is essential to any project, but the client’s primary insight is a fundamental basis for that vision. If that insight is strong, that usually develops the project into one that is intensely personal to and customized around the client. This is true also when we are collaborating with a designer from another field such as fashion; the starting point of view can differ so greatly but if the goal is the same, the results can be very inspiring and ultimately unique.
W*: Does fashion interest you?
Dominic Kozerski: Being ‘fashionable’ does not. However fashion and the fashion industry can be a fascinating blend of art and business that finds inspiration in many, sometimes unlikely, fields that in turn influence other design disciplines, including architecture.
W*: Have many fashion ‘innovators’ helped advance public perception of architecture?
Dominic Kozerski: Architecture has become part of the elements that significant fashion brands need to have to be validated. It can be used to promote and market a brand in terms of ‘buzz’ and image. However at the same time there can often be a struggle between the dominance of the design qualities of a space and the product that will be sold in the space. Some fashion innovators have allowed architects to develop concepts and ideas that would not be considered commercially viable or even possible for other types of public spaces. Perhaps ultimately stores will sell architecture?
Paul Smith and John Pawson Wallpaper*: What sort of architecture do you think reflects your aesthetic?
Paul Smith: This question is not easy for me to answer because I am dedicated to individuality, which means I try to make each new shop different and fit in with the character of the location and the spirit of the country. For instance, my Los Angeles shop is a simple, bright pink concrete rectangular building which works well in a city where everybody is driving not walking and looks amazing against the LA blue sky, whereas my Milan shop is in part of an old palace and its walls are in dusty pink reminiscent of the interior of a Italian church.
W*: How can architecture help sell fashion?
PS: Shop architecture of course can help present your image and help customers distinguish your aesthetic. My main concern with a lot of shops or public spaces designed by architects is that they are often too self- indulgent and the practical aspects required are not thought about.
W*: What are your reasons for selecting John Pawson?
PS: I admire John Pawson's work for its purity of scale and proportion, simplicity and quality. The bridge at Kew Gardens is so elegant and made with such quality that it will look good for many years.
W*: You have not worked on any projects together but would you/ do you intend to? PS: At the moment there is no opportunity to do so, but who knows what the future holds?
W*: Do you have a favourite building?
PS: I can never answers any questions about favourite buildings, music, designers etc. because I am so open to all aspects of life. Some buildings which really impress me are also inspirational to John: Le Thoronet Abbey, east of Provence, and the Tempietto of San Pietro in Montorio.
W*: What is your favorite city and why? PS: As I said earlier, favourite anything is difficult for me. I love the layout and scale of Paris, the energy of New York, the confusion of the skyline in Tokyo, but most of all I love London because it's my home.
W*: Which location or city do you think could most do with a makeover? PS: British provinces that were ruined in the 1960s and 1970s.
W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
John Pawson: At its best collaboration, whether with architects, artists or designers of one sort or another, can be a very stimulating experience. At the Hotel Puerta America in Madrid, I was one of three architects working on the ground floor. My lobby was bookended by Marc Newson’s bar and Christian Liagre’s restaurant. We all had very strong visions and each was different, but I loved the finished sequence of spaces.
Last year, I finished a house for Fabien Baron in Sweden. He is another individual with a clear vision of how things should be, but he is also happy to trust, which made for a creative relationship.
I have tremendous respect for Paul and his work - which is always a good basis for working with someone. There is also the fact that we are both from the north of England - northern equals straightforward - and we have each experienced the passion of cycling.
W*: Are you surprised Paul Smith selected you as his architect of choice?
JP: Paul has come to see a number of projects over the last few years: he was at the consecration of the new Cistercian monastery in Bohemia a couple of years back, the opening of an exhibition at Le Thoronet Abbey in May of this year, and a few weeks later at the Sackler Crossing in Kew. I think that the work makes sense for him, but his approach is to look and listen rather than say very much, so his response always retains a little healthy mystery.
W*: How does an architect begin to turn the task of shopping into a memorable event?
JP: The whole point is to create an environment where the people, the clothes and the place look good.
W*: Does fashion interest you?
JP: I'm always interested in good design, whatever the field. My first job was working for my father who owned a textile company in Halifax. I even spent a short and not very successful spell there designing a line of women's clothes. In terms of being interested as a consumer, the answer is that I prefer to keep things simple. I have an unvarying uniform of white shirts worn with chinos in summer and dark grey wool trousers in winter. I do, however, have a made-to-measure Paul Smith suit which I enjoy every time I put it on.
W*: Have many fashion "innovators" helped advance public perception of architecture?
JP: There has always been a link between architecture and fashion ‘innovators’. I have worked extensively with Calvin Klein over the years and I think that he has had a tremendous impact in this respect. He was never interested in the impermanence of conventional store interiors. From the beginning he wanted to make authentic architecture – places with a real quality of space which people would feel as soon as they walked in. The flagship store in Manhattan has stayed pretty much as designed, more than a decade after it was finished and it is still having an impact on the way people commission and design stores.
Alexander McQueen and Sir Norman Foster In this month’s issue of Wallpaper*, our favourite fashion icons choose an architect that inspires them or their work. To accompany this portfolio, over the next 10 days Wallpaper.com will feature 10 exclusive interviews with the designers and their architects of choice. Today: Alexander McQueen and Sir Norman Foster.
Wallpaper*: How do you value the relationship between fashion and architecture?
Alexander McQueen: Architecture is paramount in inspiring fashion.
Wallpaper*: What sort of architecture do you think reflects your aesthetic?
AM: The work of Le Corbusier – my favourite building is the Chapelle Notre-Dame-du-Haut at Ronchamp. I am drawn to its asymmetry and mysterious energy and aura.
W*: How can architecture help sell fashion?
AM: Just by being there.
W*: What are your reasons for selecting Lord Foster?
AM: His impressive body of work – I am particularly inspired by the Gherkin.
W*: Have you worked on any projects together or do you intend to?
AM: No, no plans at present.
W*: What is your favourite city and why?
AM: London, for its diversity.
W*: Which location or city do you think could most do with a makeover?
AM: Belfast.
W*: You and Alexander McQueen have not collaborated on a project, but generally speaking, how difficult is it, as an architect, to combine your vision with someone else whose vision can be equally strong?
Sir Norman Foster: I have never had difficulties working with artists who have strong personalities or convictions, quite the reverse!
W*: Are you surprised Alexander McQueen selected you as his architect of choice?
SNF: As one of his admirers from afar, I am absolutely delighted.
W*: You have worked on store design (Hamnett). How does an architect begin to turn the task of shopping into a memorable event?
SNF: In making places which are good places to be - destinations in their own right.
W*: Does fashion interest you?
SNF: Yes.
W*: Have many fashion ‘innovators’ helped advance public perception of architecture?
SNF: Not many numerically but the few that have done so have been positively influential.
Giorgio Armani and Tadao Ando Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Giorgio Armani: Architecture certainly does inspire fashion and vice versa. Fashion needs to be presented within an environment that emphasizes its qualities and reinforces the inspiration behind it.
W*: What sort of architecture do you think reflects your aesthetic?
GA: Architecture that is in tune with humanity, that isn’t merely created to shock but is able to embrace the lives of human beings.
W*: How can architecture help sell fashion?
GA: When the design of a shop reflects the principle that its primary function is to provide a backdrop to the garment itself, contributing to its enhancement, then it has achieved its objective.
W*: What were your reasons for your initial collaboration with Tadao Ando?
GA: People talk about my style as being precise and austere, focused on the intrinsic simplicity of form, but also possessing strong impact and a forceful personality. I consider these values in harmony with the creative vision of Tadao Ando.
W*: Are you working on a project together for the future?
GA: Yes, we are refurbishing the interior of Via Bergognone 46, the new space I acquired last year across from the Teatro in Milan. It will be a creative continuation of the previous work completed in Via Bergognone 59, in which I also collaborated with Tadao Ando.
W*: Do you have a favorite building, any building and why?
GA: I am very impressed by the architecture of Pei. In his work there is a pursuit of the sensational, for instance through a wall that terminates in a very sharply angled edge, rather than a projection of a kind of gratuitous futurism that can often seem a little unjustified.
W*: What is your favorite city and why?
GA: I believe that every city has its own soul that should be respected and preserved.
W*: Which location or city do you think could most do with a makeover?
GA: In Italy, for example, the proliferation of buildings, particularly around the provincial towns, should be entirely eliminated rather than made over. More generally, a sense of genuine continuity needs to be re-established, in line with the indigenous traditions of whatever part of the world they relate to.
W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Tadao Ando: I don't think it’s difficult to collaborate with such an innovative person as Giorgio Armani. He is a smart man with a firm intent and strong will. He is always demanding but his direction is very clear and strong in vision, and mine is equally so. We discussed the concept of design thoroughly together without any compromise. Such a deep encounter and intense relationship has achieved a successful result.
W*: How do you begin to help turn the display of fashion into a memorable event?
TA: I think creativity is common to both architecture and fashion. Fashion has always provided me with lots of ideas and energy for creation, and, in turn, I would like my architecture to provide something new for creation in fashion.
W*: In your opinion, have many fashion "innovators" or designers helped advance public perception of architecture?
TA: I think the collaborations between the architect and the fashion "innovators" help to develop the new audiences who become to be interested in architecture.
@Source:http://www.wallpaper.com/fashion/power-couples-day-5/107
Tomas Maier and Toshiko Mori Wallpaper*: How do you value the relationship between fashion and architecture and do you think architecture can reflect or inspire fashion?
Tomas Maier: I believe that fashion can draw inspiration from architecture. There is a creative sensibility shared between the two.
W*: What sort of architecture do you think reflects your aesthetic?
TM: I like architecture that combines functionality and design with interesting materials.
W*: How can architecture help sell fashion?
TM: A well thought out and designed interior always lends itself to a better shopping experience.
W*: What are your reasons for selecting Toshiko Mori?
TM: I admire her aesthetic and innovative use of materials related to the surrounding geography.
W*: Have you worked on any projects together or do you intend to?
TM: We hope to work together in the future.
W*: Do you have a favourite building?
TM: I have many favorites, including the Seagram Building by Ludwig Mies van der Rohe, Le Corbusier’s Villa Savoye, Craig Ellwood’s Art Center College of Design in Pasadena, and Renzo Piano’s Menil Collection in Houston.
W*: What is your favorite city and why?
TM: For architecture lovers, Chicago and its surrounding area are a treat.
W*: Which location or city do you think could most do with a makeover?
TM: There are so many, it’s hard to name just one.
W*: How difficult is it, as an architect, to combine your vision with that of someone whose vision may be equally strong?
Toshiko Mori: As an architect we regularly test our vision against that of our client. It is challenging yet exciting to have a counterpart with a strong vision. I run a school of architecture where multiple visions are combined to form a vision for a future of architecture; it is an exhilarating process in which strong ideas are interwoven to create a kaleidoscopic complexity and richness. In short, it is not easy but there is no other way around it in any creative process.
W*: How do you begin to turn the task of shopping into a memorable event?
Toshiko Mori: If one can extract the more cultural aspect of shopping from the mundane task of simple buying, activities like walking through the bazaar can be observed as an exotic cultural event. Shopping is full of cultural codes, symbols and meaning that are a reflection of latent desire in our society.
Viktor & Rolf and Siebe Tettero Wallpaper*: How do you value the relationship between fashion and architecture and doyou think architecture can reflect or inspire fashion?
Viktor & Rolf : The reason that we have become fashion designers is because it allows us to escape from reality. Fashion is like a dream for us, and that is what we want to express in everything we do. A lot of material has been written about the interaction between fashion and the arts. However, our work is deeply personal and autobiographical. It reflects our thoughts and experiences. Architecture is never a direct source of inspiration.
W*: What sort of architecture do you think reflects your aesthetic?
V & R: We believe that beauty elevates humanity, it makes us aspire to believe in good. We admire architecture that reflects this sentiment, whether it is a gothic cathedral or the work of Corbusier.
W*: How can architecture help sell fashion?
V & R: By helping create the magical world around it.
W*: What are your reasons for selecting Siebbe Tettero for this coupling?
V & R: He has been part of our creative team for projects such as our first boutique in Milan and our office in Amsterdam. He understands and can translate our language into something real.
W*: What is your favorite city and why?
V & R: Our favorite city doesn't exist, but would have different elements of all the places we have visited and love.
W*: Which location or city do you think could most do with a makeover?
V & R: If we were architects, we would be able to answer that question in a second...
W*: How difficult is it, as an architect, to combine your vision with that of someone whose vision may be equally strong?
Siebbe Tettero: It is not really difficult, we think alike. The fun part of working together with Viktor & Rolf is that we immediately have the same idea and vision. Then it is easy to proceed with the project and makes sure the end project looks amazing.
W*: How do you begin to turn the task of shopping into a memorable event?
ST: By turning everything upside down.
@Source:http://www.wallpaper.com/fashion/power-couples-day-3/1073
Tom Ford and Ron Radziner Wallpaper*: How can architecture help sell fashion?
Tom Ford: I think of my stores as being stage sets, so it is important that the architecture doesn’t overshadow the fashion. So the feel of the space is more important than the actual lines. In a store you should only notice the volume of the space. Although, personally, I like to live with challenging architecture, the same approach isn’t necessarily right for my stores. To be honest, great architects aren’t necessarily great decorators.
W*: Do you have a favourite building?
TF: My absolute favourite architect is Mies van der Rohe. Although I have never been there, I love the Tugendhat House in Brno in the Czech Republic and I have pored over pictures of it so many times. And, of course, I love the Farnsworth House, too.
W*: What sort of architecture do you think reflects your aesthetic?
TF: Again, Mies van der Rohe. With Mies, God was in the detail. I find the idea of chromed I-beams in the Tugendhat House so simple but so luxe. Refined minimalism – this is what excites me as a designer.
W*: What were your reasons for selecting Ron Radziner?
TF: I first got in contact with Ron after having visited the Kaufmann House in Palm Springs. I was so impressed by the refurbishment that I called him up and subsequently met up with him in LA to discuss working on my Richard Neutra house together. We worked on the theme of refined minimalism. Obviously the standards of construction in the 1950s were not exactly great, so we bumped up the quality of the materials used and the finishes. So, for example, where Neutra had specified pale blond wood in the original drawings, we replicated it in walnut.
W*: Have you done any other projects together?
TF: We are now working on our fourth house – though we have never worked on a store together. We make a good team. I always think the best results come from a strong architect working with a strong client. And I am a strong client!
W*: What is your favorite city and why?
TF: I have so many favourites, but I have to say I think the residential architecture in Los Angeles is wonderful. There is nowhere else quite like it, with the work of architects as diverse as Greene & Greene, Rudolf Schindler and Frank Gehry. People had the money and they built their fantasies. Another city I adore is Santa Fe, New Mexico, where I am in the process of building a house. The city has this amazing architectural unity thanks to its pueblo adobe style of construction.
W*: How difficult is it to combine your vision with that of someone whose vision may be equally strong?
Ron Radziner: In theory, it could be difficult if you worked with someone with a particularly different view of design, but Tom and I work well together because we see space in a similar way. It’s wonderful when you’re working with someone with a very strong visual sense. They can easily and quickly understand the design concept, so we can have an open, honest conversation about various aspects of the design. If someone doesn’t have that visual sensibility, you end up spending a lot of time explaining.
W*: Has this house build been a memorable event?
RR: We have worked on five residences for Tom, and each has been memorable. It has been wonderful to work with a client that shares a deep interest in the total design. We’ve been able to develop a strong architectural vision and see it through, down to the last detail of a door knob. There’s a huge challenge in taking a design vision down to that level of detail, but in the end it has a tremendous effect on the experience of the space.
Ralph Lauren and Charles Gwathmey the designers and their architects of choice.
Takashi Murakami, Flower ball (3D) (2002), looking through to Takashi Murakami, Tan Tan Bo (2001)
Takashi Murakami, Flower ball (3D) (2002)
Takashi Murakami, installation view of Summon monsters? Open the door? Heal? Or die?, Kaikai & Kiki, (2000), Time Bokan – pink, (2001) and Jellyfish Eyes (2001)
Takashi Murakami, installation view of Summon monsters? Open the door? Heal? Or die?, Kaikai & Kiki, (2000), Time Bokan – pink, (2001) and Jellyfish Eyes (2001)
Takashi Murakami, DOB in the Strange Forest (1999) 
Installation view of © MURAKAMI, And Then, And Then And Then And Then And Then (Red), (1996) and And Then, And Then And Then And Then (Blue), (1996)
Installation view of © MURAKAMI, 727-727, (2006) and Hypha will cover the world, little by little. “We should be able to get our hands on that door to the alien world soon. Wait till we get there!”, (2007)
Hypha will cover the world, little by little. “We should be able to get our hands on that door to the alien world soon. Wait till we get there!” (2007)
Hiropon, 1997 and My Lonesome Cowboy (1998)
Installation view of © MURAKAMI, Oval Buddha (2007)
Murakami's commercial products
Murakami Agendas, designed in collaboration with Louis Vuitton, 2007
Neverful bag with a special LV Hands print, designed in collaboration with Louis Vuitton, 2007
'Latitude 48.914/Longitude 02.286' by Christopher Lawson and Marcos Villalba
電影「色，戒」國內票房直奔台幣三億大關，導演李安忙著從紐約、倫敦、首爾再到上海做全球宣傳，所到之處國際媒體包圍著他，希望從他口中聽到兩三句關於新作的評論。
MANGO蜜拉喬薇琪系列。圖／MANGO提供
HERMES皮件部門特別為直昇機量身打造機內設備，這兩款駕駛員座艙座椅都採用手工牛皮縫製。圖片／HERMES提供
