Upon entering Repossi’s steely Parisian jewellery box, what is immediately clear is that this is a retail store like no other. Donald Judd furniture is placed in-situ.

Linear display cases are cut from reflective slats that rotate like high-tech vertical blinds, while the salt and pepper terrazzo floors are a mix of foaming aluminium and resin.

The industrial metal also covers the store’s walls, while overhead lighting takes the form of grid-like LEDs that feel slightly minical in their intersections.
An aluminium foam staircase doglegs up the centre of Italian jewellery brand Repossi's flagship store, designed by Dutch architecture firm OMA on Paris' exclusive Place Vendôme.

Repossi's new 90-square-metre shop sits beside fellow jewellers Cartier, Jaubalet and Boucheron on the historic Parisian square, which has one of the most expensive retail rental rates in Europe.
 

Description of project by OMA

The proposal for the 90 square meter Repossi flagship on Place Vendome divides the store into three distinct spaces – contextually referred to as street, gallery and salon. Based on the idea that the collection of jewelry will be experienced and purchased at three different speeds – fast, slow, very slow - each floor responds to the different paces of shopping.

The ground floor is the most public space. It works as an extension of the street providing a quick experience of the store. The first floor is a gallery, the level where the entire Repossi collection is exhibited. The basement is a salon. The most intimate space of the boutique, it allows customized service for clients and patient exploration of special pieces.

The underlying idea for the design was to synthesis architecture and display, using the whole space as a stage for Repossi’s production. Unconventional materials were used, emphasizing this relationship and pulling away from the typical jewelry store. Special colored mirrors developed in collaboration with Dutch designer Sabine Marcelis introduces diverse degrees of reflections and color refractions. Aluminum cladding – both plain and foam - fold over the volume of the staircase and expand onto each floor.

Movement is an integral component of the project. The wall on the ground floor is conceived as a gigantic rotating billboard with three alternating sides: a bronze colored mirror, a traditional mirror, and a display system. Developed in collaboration with Italian-based manufacture, Goppion, the kinetic installation is both display and architecture, transforming the space while adapting to alternating functions. When the jewelry is not displayed, the ground floor is transformed into a pure void, leaving the space free for

unlimited occupancies. In the overcrowded retail context of Place Vendome, a “void” is the ultimate form of luxury.

The staircase, an imposing presence in the 90 square meter store, is designed by overlapping two vertical systems: a solid excavated mass that extends between the ground floor and the basement, and a light suspended tread floating between the ground floor and the first level.

Liberated from the traditional requirements of jewelry display, the new flagship store creates an immersive setting, where jewelry is subtly embedded into an architectural void.

Ante fact - The Small Universe by Ippolito Pestellini Laparelli:

Architecture and jewelry are not as far apart as one might imagine. They are distant relatives, operating at different resolutions. They both investigate the human body, whether it is about housing it or vesting it. The exchange between the two disciplines is surprisingly natural and it is not coincidental that jewelry design has been pursued by several masters of our practice.

The collaboration with Repossi has lead OMA into a new micro-landscape – one made of small fragments, microscopic observations, ancient traditions, patient rhythms, bodily intimacies - a whole ecosystem of knowledge now confronted with the impact of technology.

Starting in 2014 as an open ended investigation on the family owned brand and its recent global development, the work of OMA for Repossi has generated a series of projects, from temporary installations to display design, and ultimately the new flagship store on Place Vendome. Each has been an experimentation on microscale design and the staging of jewelry.

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Architect
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OMA. Partner.- Ippolito Pestellini Laparelli.
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Team
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Antonio Barone, Paul Cournet, Leonardos Katsaros, Francesca Lantieri, Kate Lee, Francesco Moncada, Silvia Sandor.
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Collaborators
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Local Architects.- DATA Architectes.
Structure Engineer.- Batiserf.
MEP Engineer.- BET Louis Choulet.
Wall Displays and Mechanical Displays.- Goppion.
Standing Displays.- Sice-Previt.
Mirrors.- Sabine Marcelis Studio.
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Client
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Repossi.
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Dates
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2014 • COMMISSION• SCHEMATIC DESIGN.
2015 • CONSTRUCTION DOCUMENTATION.
2016 • RENOVATIONCOMPLETION.
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Area
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90.0 sqm.
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Photography
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Frans Parthesius.
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Office for Metropolitan Architecture (OMA) is an international practice operating within the traditional boundaries of architecture and urbanism. AMO, a research and design studio, applies architectural thinking to domains beyond. OMA is led by eight partners – Rem Koolhaas, Reinier de Graaf, Ellen van Loon, Shohei Shigematsu, Iyad Alsaka, Chris van Duijn, Jason Long, and Managing Partner-Architect David Gianotten – and maintains offices in Rotterdam, New York, Hong Kong, Doha, and Australia. OMA-designed buildings currently under construction are the renovation of Kaufhaus des Westens (KaDeWe) in Berlin, The Factory in Manchester, Hangzhou Prism, the CMG Times Center in Shenzhen and the Simone Veil Bridge in Bordeaux.

OMA’s completed projects include Taipei Performing Arts Centre (2022), Audrey Irmas Pavilion in Los Angeles (2020), Norra Tornen in Stockholm (2020), Axel Springer Campus in Berlin (2020), MEETT Toulouse Exhibition and Convention Centre (2020), Galleria in Gwanggyo (2020), WA Museum Boola Bardip (2020), nhow RAI Hotel in Amsterdam (2020), a new building for Brighton College (2020), and Potato Head Studios in Bali (2020). Earlier buildings include Fondazione Prada in Milan (2018), Garage Museum of Contemporary Art in Moscow (2015), De Rotterdam (2013), CCTV Headquarters in Beijing (2012), Casa da Música in Porto (2005), and the Seattle Central Library (2004).

AMO often works in parallel with OMA's clients to fertilize architecture with intelligence from this array of disciplines. This is the case with Prada: AMO's research into identity, in-store technology, and new possibilities of content-production in fashion helped generate OMA's architectural designs for new Prada epicenter stores in New York and Los Angeles. In 2004, AMO was commissioned by the European Union to study its visual communication, and designed a colored "barcode" flag, combining the flags of all member states, which was used during the Austrian presidency of the EU. AMO has worked with Universal Studios, Amsterdam's Schiphol airport, Heineken, Ikea, Condé Nast, Harvard University and the Hermitage. It has produced Countryside: The Future, a research exhibited at Solomon R. Guggenheim Museum in New York; exhibitions at the Venice Architecture Biennale, including Public Works (2012), Cronocaos (2010), and The Gulf (2006); and for Fondazione Prada, including When Attitudes Become Form (2012) and Serial and Portable Classics (2015). AMO, with Harvard University, was responsible for the research and curation of the 14th Venice Architecture Biennale and its publication Elements. Other notable projects are Roadmap 2050, a plan for a Europe-wide renewable energy grid; Project Japan, a 720-page book on the Metabolism architecture movement (Taschen, 2010); and the educational program of Strelka Institute in Moscow.

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Rem Koolhaas was born in Rotterdam in 1944. He began his career as a journalist, working for the Haagse Post, and as a set-designer in the Netherlands and Hollywood. He beganHe frequented the Architectural Association School in London and studied with Oswald Mathias Ungers at Cornell University. In 1978, he wrote Delirious New York: a retroactive manifesto for Manhattan, which has become a classic of contemporary architectural theory. In 1975 – together with Elia and Zoe Zenghelis and Madelon Vriesendorp – he founded OMA (Office for Metropolitan Architecture).

The most important works by Koolhaas and OMA, from its foundation until the mid-1990s, include the Netherlands Dance Theatre at The Hague, the Nexus Housing at Fukuoka in Japan, the Kunsthal in Rotterdam, the Grand Palais of Euralille and Lille, the Villa dall’Ava, the Très Grande Bibliothèque, the Jussieu library in Paris, the ZKM in Karlsruhe and the Seattle Public Library.

Together with Koolhaas’s reflections on contemporary society, these buildings appear in his second book, S,M,L,XL (1995), a volume of 1376 pages written as though it were a “novel about architecture”. Published in collaboration with the Canadian graphic designer, Bruce Mau, the book contains essays, manifestos, cartoons and travel diaries.

In 2005, with Mark Wigley and Ole Bouman, he was the founder to the prestigious Volume magazine, the result of a collaboration with Archis (Amsterdam), AMO and C-lab (Columbia University NY).

His built work includes the Qatar National Library and the Qatar Foundation Headquarters (2018), Fondation Galeries Lafayette in Paris (2018), Fondazione Prada in Milan (2015/2018), Garage Museum of Contemporary Art in Moscow (2015), the headquarters for China Central Television (CCTV) in Beijing (2012), Casa da Musica in Porto (2005), Seattle Central Library (2004), and the Netherlands Embassy in Berlin (2003). Current projects include the Taipei Performing Arts Centre, a new building for Axel Springer in Berlin, and the Factory in Manchester.

Koolhaas directed the 2014 Venice Architecture Biennale and is a professor at Harvard University, where he directs The Project on the City, a research programme on changes in urban conditions around the world. This programme has conducted research on the delta of the Pearl River in China (entitled Great Leap Forward) and on consumer society (The Harvard Design School Guide to Shopping). Taschen Verlag has published the results. Now is preparing a major exhibition for the Guggenheim museum to open in 2019 entitled Countryside: Future of the World.

Among the awards he has won in recent years, we mention here the prestigious Pritzker Architecture Prize (2000), the Praemium Imperiale (2003), the Royal Gold Medal (2004) and the Mies Van Der Rohe prize (2005). In 2008, Time mentioned him among the 100 most influential people of the planet.

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