John Galliano Rue Des Archives Paris [75]

JOHN GALLIANO RUE DES ARCHIVES PARIS [75]

FRANKLIN AZZI PRESS KIT CONTENTS

FOREWORD 5

FACADE DESIGN 8

A BOUTIQUE WITH AN APARTMENT ATMOSPHERE 10

RICHNESS OF MATERIALS AND SHADES 12

DOMESTICATING THE PREMISES’ HISTORY 16

TECHNICAL SHEET 21

PRESS KIT 23 FRANKLIN AZZI PORTRAIT ICONOGRAPHY AVAILABLE TO THE PRESS

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FOREWORD

This fall, the Maison John Galliano opened its new luxury boutique located at the intersection of rue des Archives and rue Sainte-Croix de la Bretonnerie, and designed by Franklin Azzi in collaboration with the Atelier Franck Durand.

The project addressed a twofold challenge for the architect: to make the best use of the emblematic urban context of the Marais, and to renew the luxury brand. Franklin Azzi is anything but a beginner, since fashion designers such as Christophe Lemaire, Isabel Marant, Jérôme Dreyfuss, Bali Barret, and Lacoste have already entrusted him with the conception of their stores. But here, the way he revisits the use of noble materials to meet the high standards of fashion luxury, differs from earlier projects.

FRANKLIN AZZI

FACADE DESIGN

A hair salon previously occupied the premises. The existing facade design was far too absent. Franklin Azzi clads it with a black-lacquered wood mantle piece which is inspired in large part by neo-Victorian molding fashions: an idea both in accordance with Galliano’s identity, and in agreement with the requests of ABF (Architectes des Bâtiments de France) authorities. The wooden joints, edges and corners of the facade elements are decorated with moldings. Brass-inlay signs generously adorn the upper frieze and lower window-frames, while the fabric blinds are elegantly embroidered with the brand’s signature. Strongly announcing a traditional London-style architecture, this new store appears as a salient feature within the more typical Haussmann-style buildings of the surroundings, evoking the mystery it preserves precisely because of that contrast.

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A BOUTIQUE WITH AN APARTMENT ATMOSPHERE

The boutique was envisioned as an apartment, thus given an intimate atmosphere. Spaces are motley, designed with eclectic influences. According to Franklin Azzi: « This project is very representative of how architects and designers of my generation have to cope with a heritage of hybrid cultures and inspirations. It is like a ‘cadavre exquis’ of insights: the neo-Victorian facade, the sixties-style interiors with carpeted floors and vintage chairs, Gio Ponti’s accordion wall direct citation, contemporary poured concrete floor, and pastiche classical plaster cornices... »

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RICHNESS OF MATERIALS AND SHADES

Notwithstanding this imbrication of periods and styles, this project is also characterized by the richness and abundance of the materials used. The interior ‘shell’ is treated with a minimalism touch, adopting a color-chart of smooth whites and vibrant tones of grey that are to be found in: the wall coating, the concrete floors, the plaster cornices and the linen cloth of the sliding partition walls. The edges and corners are crimped with brass, an alloy of copper and zinc also to be find in the 1960’s lamps hunted at the Paul Bert flea-market. The bespoke furniture is in stained oak: the choice of plain and bare wood surfaces, simply shaped, enables to assert the sole function of the furniture which is to display the garments and accessories.

The fitting rooms are lined with glimmering carpeting, rose quartz and amber for women, blue gravel for men. Enameled lava stone decorates one of the walls and some shelves, discreetly indicating the celadon green shades space, also present in the leather covering the counter. This richness and handling of materials embodies the extent of the summoned craftsmen’s skills and expertise. For the first time, Franklin Azzi, customarily loyal to minimalism, uses an extended range of colors, tempered with the matter they imbue in a refined way.

FRANKLIN AZZI

DOMESTICATING THE PREMISES’ HISTORY

The existing space needed to be revisited: lack of a decent facade, of brightness, and of proper distribution. During the demolition works, the architect discovers three typically Parisian cast-iron poles which capitals he uncovers, and disposes of existing partitions to provide more light and better visibility. Where a rear window was sealed off, it is reopened and equipped with wired glass, just to let the light through. The new distribution is clear: accessories, jewelry and leatherwork range at the entrance, and then women’s wear on the left, men’s wear on the right, children’s wear at the center along with the counter. Racks made of thin steel tubes are anchored to the ground, defining the customer’s movements. Great linen cloth sliding partition walls, referring to Gio Ponti’s accordion wall, allows defining the spaces differently when needed, varying under the circumstances. For instance, the evening dresses salon can be totally isolated from both the rest of the boutique and from the view of the passersby, for more intimacy and comfort. These biases seek to provide a domestic setting for the project, symbolizing the renewal of the Maison John Galliano, but also the premises’ history.

Franklin Azzi is once again showing his determination to anchor a part of modernity into cultural heritage. This contrast between the interior and the facade design enables him to update the high standards of luxury. The latter is less to be found in ostentation, but more in the materials richness and conception of the architecture project.

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PRESS RELEASE

TECHNICAL SHEET CLIENT SURFACE AREA LVMH 130 m2 + 110 m2 of storage

PROJECT MANAGEMENT CALENDAR Architect: Franklin Azzi Design studies : 2016 Artistic direction: Franck Durand Completion : 2016

PROGRAMME LOCATION Boutique 30, rue des Archives, 75004 Paris, France

COMMAND CREDITS Privée Franklin Azzi Alexandre Tabaste

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PRESS KIT

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PORTRAIT

From Tokyo to Los Angeles, via Beijing and Paris, Franklin Azzi breaks down In 2016, Franklin Azzi signs in the Marais the new John Galliano shop the boundaries between architecture, interior design and design. for LVMH, a project representing the hybrid heritage of architects and designers of his generation. He also inaugurated the Holiday Café, with From his stint at the Glasgow School of Art, Franklin Azzi retains that there and for the Atelier Franck Durand, in tribute to the eponymous magazine is no hierarchy between disciplines, learns to draw in the department of dedicated to travel and the art of living. industrial design of cars as that of fashion and design but he learns also the importance of craftsmanship. Revisiting for Vitra the Eames Wire Chair or Pierre Jeanneret kangaroo chair with ropes, designing an industrial handle for PBA ... Beyond the The collaboration within the agency is constantly renewed, according furniture specific to each space, Franklin Azzi also has fun creating unique to the projects and the meetings, on a common partition: to be located pieces and sustainable. resolutely out of the tendencies, to have a documentary approach of the references and inspirations, to privilege the experiment and the anchoring In this desire to decompartmentalize disciplines, the agency actively in the concrete to the theoretical formalism. Be efficient, functional and participates in the dissemination of contemporary art. One exhibition sensual at the same time. His influences: military functionalism, industrial per year is organized within the agency, at 13 rue d’Uzès. The latest, design, the domestic universe, natural variations offered by one of his the Decadence exhibition (September 2018) for which Franklin Azzi, as favorite materials, wood. Without a priori and without preconceived formal a patron, accompanied the proposal of the curator Thomas Havet (Double writing, Franklin Azzi makes the dialogues the disciplines in a spontaneous Stay) and the 16 invited artists. The agency also provides artists with its and free way to create spaces and unique objects, specific to each project production tools and know-how. In 2014, the artist Tatiana Trouvé uses and each customer. Franklin Azzi and her parametric design laboratory to develop the work «Desire Lines» in the heart of Central Park in New York. Founding works include the Red Bunker for Bali Barret in Tokyo’s Shibuya district. For facade: raw concrete painted in Pantone 032C, Ferrari red. The constant search for materials and forms makes his approach a For showcase: a murderer. The manifesto is bright and continues today, meeting point between industrial production and craftsmanship, always we must get rid of codes. with the desire to enhance the know-how.

Since 2010, the agency has been developing the architectural world In the continuity of schools such as Bauhaus or Arts & Crafts, the agency of Isabel Marant stylist all over the world. In Los Angeles, the store is works for the realization of projects in their entirety. Architecture designed as a single-storey house, with a garden, large oak cabinets nourishes interior architecture, and vice versa. In all projects, at all and specific furniture that pays tribute to the «Case Study Houses» scales, their rhythms merge. of the 1950s. Here as elsewhere, we are sensitive crafting objects, in collaboration with cabinetmakers and other crafts.

In London and Tokyo, the agency designs for Jérôme Dreyfuss original shops, sophisticated in structure as in details, whose technical constraints are managed thanks to the expertise acquired in architecture.

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ICONOGRAPHY AVAILABLE TO THE PRESS

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NOTES

PRESS RELATIONS

FRANKLIN AZZI

[email protected] +33 (0)1 40 26 68 21

30 FRANKLIN AZZI 13, rue d’Uzès 75002 Paris