Location:  Bucharest, Romania

Authors: Alex ADAM, Roger POP

Project team: Alex ADAM, Roger POP, Alina BOGHEANU –  a.a. studio

Project: 2009

Execution: 2009

Fittings/Construction: Gruppo M Trading – arh. Marius Bîrlan

Total floor area: 340 sqm

Fotographer: Cornel Lazia

When the A(R)TELIER showroom was launched in 2004, Friedrich Schmidt, its designer, tried and managed to put together a nonconformist, «revolutionary» exhibition space. Over time, the client’s take on design altered and the motto turned from «revolution» to «evolution»; this change had to be reflected in the showroom’s configuration.

The main goal, when redesigning the interior, was to «refresh» its appearance by creating a repepped and attractive new environment – a necessity in the somewhat hectic present.

The starting point was the display of objects in accordance with news coming from the most prestigious specialized fairs. Certain classes of objects require dedicated spaces, but overall, the interior had to remain dynamic and versatile. The «pièce de resistance» was a an Emmemobili chest-of-drawers –  Evolution Evolution design (Ferruccio Laviani). As it was the closest to the “evolution” concept, this piece of furniture was the symbol of the showroom’s re-opening.

Conveying a light, but intriguing atmosphere and an invitation to explore and settle in by means of the objects on display was another early input for the designer.

The showroom was thought of as a «design» gallery which would stir all the visitor’s senses: touch, smell, and hearing.

The exhibited items have a strong «personality», as they are the highlights of the manufacturers represented by Artelier in Romania. These are objects which can be easily adapted in any environment, or standalones which impress by means of their «poise» or sculptural qualities. The list of famous manufacturers and designers represented in the showroom includes: bathroomware: Antonio Lupi (Nevio Tellatin, Carlo Colombo, Prospero Rasulo, Domenico De Palo), Agape (Patricia Urqiola, Gianpaolo Benedini, Nicolas Gwenael), Gessi, Dorbracht ,Tubes, Caleido; furniture design: Ceccotti Colezioni (Yuni Ahn, Gabriele si Oscar Buratti, Massimo Costagna, Vincenzo de Cotiis, Roberto Lazzeroni), Emmebi (Laraja, Carlo Cumini, Duccio Grassi, Terri Pecora, Stephan Velt), Palucco, SpHaus; and lighting: Foscarini, Prandina, Viabizzuno.

As far as the new layout permitted, the exposed concrete surfaces were kept uncovered. Epoxy resins and acrylic and epoxy paint were used on the walls, glass and mirrors were used as finishings or to outline certain areas and ecological glass aggregates made from recycled glass, as well as glass herringbone (TREND) were also employed.

The textures, as they are found in different zones and on the objects there, are as follows: glossy (the resin from upstairs) vs. rugged (the exposed concrete) vs. plain (the Sunday Morning office made from American walnut wood or the Evolution chest-of-drawers, made from oak).

Indulging, unisex colours were chosen. Neutral – white, black, grey – was used to emphasize the object and to provide flexibility in placing new exhibits. Vivid colours – red, green, orange – gave a sense of movement or of focus. Their role, as a projection screen or a background, is to highlight the objects on display and to amplify their features. As a standalone, its task is to attract attention, so as to imprint the object in the viewer’s mind, by association.

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