Renhan Isetan is a new shopping museum in Tianjin, one of the largest cities in China, which is experiencing rapid economic growth. It consists of three commercial buildings (Building A: 7 levels / Building B: 2 levels / Building C: 7 levels), residences (on the upper floors of Building A and B) and offices (on the upper floors of Building C,). It is a large-scale complex of commercial, residential, and business facilities.The three buildings can be accessed via connecting passageways, and each building is equipped with a parking lot in the basement, making it a commercial facility with a structure that is highly convenient and easy for customers to move around.
It is also conveniently located directly connected to the Southeast Corner Station of Metro Line 2 and is expected to attract even more customers after the completion of Metro Line 4 (scheduled to open at the end of 2021). It is expected to become a new landmark in Tianjin, as it is surrounded by some of the most prestigious residential areas in Tianjin, office buildings of leading Chinese companies, and tourist spots such as the Old Culture Street in the north and the Italian Street in the east.
Building A, which held its grand opening on Thursday, September 30, covers a wide range of categories from food to lifestyle, and offers a wide variety of Japanese content and products that are popular in China. Based on the concept of “Shopping Museum – Value Up Your Moment”, it is a space that provides a valuable time for all customers, a space that helps to enrich their lives, and a new shopping experience that will remain in their memories.
In response to the mall concept of “providing a place that hints at new lifestyles for customers,” GARDE planned and designed the floor concept of “Shopping Museum,” a space that crosses over between the elements of a high-quality and sophisticated department store and those of a shopping center that responds to diverse needs.
The store design concept was “Live Experience Museum”, and each floor was designed with a themed zone to promote the world view and reinforce specialization. For example, the cosmetics floor on the first floor features a futuristic beauty experience through the introduction of a digital experience-type store. At the same time, the curved shape of the entire floor expresses “feminine gentleness and warmth” and “a sense of the near future,” while also creating a sense of fun as one moves around the floor. The result is a space where you can always find something new, and where simply visiting here is a pleasure.
■Scope of work
Floor design for B2F, 1F, and 3F: basic planning, basic design, implementation design, supervision, construction coordination, and other FFE proposals.
B2F supermarket / B1F independent shops / 2F independent select stores / 3F independent shops (toys, shoes) / 4F VIP lounge: basic planning, basic design, implementation design, supervision, construction coordination Other FFE proposals. ■Property Information
Name: Renhan Isetan
Official opening: September 30, 2021 *only Building A
Location: No. 137 and No. 139 Dongma Road, Nankai District, Tianjin, China
Store area: approx. 58,000㎡ (Building A: 2 basement floors, 5 aboveground floors)
In recent months, we have been receiving more and more opportunities related to schools, including webinars with the Hanoi University of Construction and the Ho Chi Minh University of Architecture, and a webinar on the utilization of closed schools.
It can be said that schools play a very important role in forming a city where people gather and breathe.
Schools are institutions that play a central role in the education system, but when we look at them from the aspect of architecture, we find that they coexist and live in harmony with the local culture, history, and customs, and that they are highly functional and artistic buildings.
In this article, we would like to introduce some of the many schools in the world that have coexisted with culture and history.
#1.M. V. Lomonosov Moscow State University, (Russia)
Founded in 1755 at the initiative of world-renowned scientist Mikhail Moronosov, the university is Russia’s oldest and largest, and one of the world’s leading scientific and academic centers. (Moronosov was a world-famous scientist who was often quoted as being a “Leonardo da Vinci” for his glass-making skills, theoretical work in physics and chemistry, astronomy, geography research, writing grammars, historical papers, ode poems, translating poetry, and developing mosaic panels.)
The main building uses an architectural style known as “Stalin architecture”. It is commonly called the “Seven Sisters” because there are seven buildings of this architectural style in Russia. (As the name implies, Joseph Stalin had them built as a symbol of his dictatorship.)The most magnificent of the Seven Sisters is the main building of Moscow State University. It is 240 meters high, has 32 floors, 40,000 rooms, and can accommodate about 6,000 people. Currently, it is mainly used as a student dormitory. The vast 230-hectare site houses 27 major buildings, including school buildings, student dormitories, parks, botanical gardens, and an observatory.
#2. Universidad Nacional Autónoma de México (Mexico)
Founded in 1551, the university was completed in 1552 after more than 60 architects and artists designed and built the campus in 1949. It is the second oldest university in the Americas and the oldest in Mexico. The main campus was registered as a UNESCO World Heritage Site in 2007. The campus, a fusion of traditional Mexican culture and modern architecture, houses not only various faculties and research institutes, but also museums, the Olympic Stadium, supermarkets, theaters, and cinemas, forming a university city. One of the most eye-catching features is the mural painting in the Biblioteca Central (Central Library). It is said to be one of the largest murals in the world, and on all four walls (north, south, east, and west) There are mosaics on the themes of “Aztec Civilization,” “Spanish Colonial Tyranny,” “Sun and Moon, Space, Science, and Politics,” and “National Autonomous University of Mexico. Paintings by Mexican architect Juan O’Gorman, who is also a muralist. If you look at this mural after knowing the background of the mural painting movement that took place in the 1920s (aimed at conveying the significance of the revolution and the Mexican identity to the people), you will be able to feel the unique Mexican artistry and the new fascination of Mexican modern architecture. A powerful three-dimensional mural entitled “From the People to the University, from the University to the People” is also painted on the wall of the Rector’s Building. (By David Alfaro Siqueiros, one of Mexico’s most famous muralists.)
Within the huge campus, there are still many facilities and spaces of high historical and cultural value, unique architecture, and other places where you can have a rich and valuable experience.
Schools play a very important role and meaning in shaping cities. By looking at schools from the aspect of “architecture,” we were able to learn that the passion of so many people, including educators, architects, and designers, has been concentrated in schools, which are still carving out a new history.
The utilization, revitalization, and symbiosis of closed schools, as I mentioned at the beginning of this report, is also about carefully protecting and inheriting the history and various thoughts that have been built up over the years, while creating ways to further utilize them in the future. In other words, to create something new is to protect the history that already exists.
One of the best things about traveling around the world is not only getting the opportunity to enjoy the beautiful scenery, culture, customs, food, and people, but also the magnificent buildings with high historical value.
Of these, Italy’s buildings are said to be the best in the world both in terms of quantity and historical value
In this article, we will introduce some of Italy’s representative buildings and interview Italian designer Francesco Ristori to discuss architecture and design in Japan and abroad from a global perspective.
■＃1.The Pantheon (Rome, Italy)
Michelangelo, a man of many talents in art and architecture, praised The Pantheon as an “angelic design”. Built in 25 B.C. by Agrippa, trusted by Augustus, the first emperor of the Roman Empire, it was destroyed by fire in 80 B.C., but was rebuilt by the emperors Domitian and Trajan. From 118 to 125, Hadrian transformed the Pantheon into a classical building that pursued space, order, arrangement, and light. It is no coincidence that the height of the dome and the diameter of the rotunda correspond exactly to the diameter of a perfect sphere.
The circular structure of the Pantheon was inspired by the heavens and the sun, and unlike the square-shaped spaces that were the mainstay of Greek and Roman temple architecture until that time, the domes were made smaller as they were raised, and the walls were made progressively thinner to reduce the downward pressure of the weight of the dome and to release the physical stress to the foundation.
The only source of light in the Pantheon is the dome’s “great eye”, a circular window at the top of the dome, and when the sun shines in around noon, the magnificent space made of polished marble and finished with geometric patterns shines beautifully.
The Pantheon, which continues to transmit the image of Rome’s glory to the present day, is truly an architecture with a sense of history.
■ Francesco’s Addition: Knowing this makes” The Pantheon”100 times more interesting!
Italian monuments have myths that are based on truth. In the case of The Pantheon, it remains a myth that glorifies Roman architecture.
One of the things that makes The Pantheon an amazing piece of architecture is that it does not have a keystone on the dome, which would normally be present, to avoid structural overload. As a result, there is a large hole that allows you to see the sky. Many people may think, “Won’t it flood when it rains?”.
In fact, when it rains, the chimney effect causes the rain to be sprayed by the warm wind, and it is said that the inside has never been flooded.
Of course, this is due to the superior design techniques of Roman architecture and the chimney effect, this was due in part to the myth that Roman building technology was so great that it would not flood even when it rained.
■#2. Church of San Miniato al Monte (Florence, Italy)
Construction began in the year 1018. This is the first church in Florence dedicated to Christian martyrs. It is said that when the martyrs were decapitated, they carried their heads under their arms and climbed the hill with wobbly steps to come to this place where they were buried.
The façade is made of Carrara marble with white color, which complements the green serpentine stone and adds to the beauty of the building. The first floor, there is a design reminiscent of a classical temple, a 13th-century mosaic at the top of the edicula (stone or wooden altar) window, depicting Christ on the throne with a saint by his side, and at the top of the façade, a mosaic of a man on the throne, and bronze falcon symbolizing the woolen guild. Inside, the main altar is decorated with mosaics from the 13th century, and between the steps leading to the main altar is the Chapel of the Cross by Michelozzo, added during the Renaissance.
It is one of the best examples of Romanesque architecture in Tuscany and is a valuable historical building that had a great influence on later Renaissance architecture, both inside and out.
■Francesco’s AdditionKnowing this, the “Church of San Miniato al Monte” becomes 100 times more interesting!
If you were to ask, “What is the most beautiful bridge in Florence? Most people would probably answer “Ponte Vecchio”. Personally, however, I would say that the adjacent Holy Trinity Bridge is the most beautiful bridge in Florence.
The reason for this is quite simple: from Ponte Vecchio, you can’t see the whole beautiful Ponte Vecchio, but when you stand on the Santa Trinita Bridge, you will see the Ponte Vecchio in all its magnificent beauty. Therefore, the Santa Trinita Bridge is the most beautiful bridge in Florence.
Similarly, the Church of San Miniato al Monte is not considered the most beautiful church in Florence. But from the top of the hill where the facade stands, you can see all the churches in Florence. That’s why we can say that “San Miniato al Monte” is the most beautiful church in Florence!
Ponte Vecchio Santa Trinita Bridge Foreground: Ponte Santa Trinita Back: Ponte Vecchi
■Francesco, a designer, talks about architecture and design in Italy and Japan.
1)Influence from Italy, and conversely, the influence of Japan on other countries
Trade between Italy and Japan began in 1866, but it took several decades before there was any visible impact. In 1904, “Madame Butterfly” was premiered at La Scala in Milan. The fact that the story is set in Nagasaki is considered evidence of the deep interest Italy and Japan had in each other. It is said that the relationship was strengthened from there and influenced the streets of Nagasaki.On the other hand, in Italy, in the 19th century, the poet Gabriele D’Annunzio admired the charm of Japanese haiku and created an Italian version of it. It can be said that Italy and Japan have strong cultural and historical ties.
2) About the design scene and production in Italy and Japan
First, I feel that the production process is completely different. In Italy, the skilled craftsman become the architect client while in Japan, the craftsman follows the architect client. This is just my way of thinking, but basically, in Italy, there is a lot of thinking and creating on site, but in Japan, preparation and detailed verification are prioritized.In Italy and Japan, “traditional craftsmanship and manufacturing methods that have been handed down from generation to generation remain strong” can be said to be a commonality in site and production.
3) Design in Italy and Japan
Both Italy and Japan participated in the 26th Conference of the Parties to the United Nations Framework Convention on Climate Change (COP26). It is expected that we will aim for a cleaner and greener future.I believe that zero carbon and energy autonomy will be set and introduced as major objectives in architecture as well.In northern Italy, energy-autonomous buildings are already on the rise due to the influence of northern European building technology. On the other hand, it has been suggested that the development of energy-autonomous buildings in Japan may be delayed due to the cost of land and earthquake resistance standards. Nevertheless, I hope that we will make steady progress step by step.
■Francesco Ristori
International Design Division, Office Department, Architect, Designer
After achieving a master’s degree in architecture at the University of Florence, he specialized in Italy in housing and retail projects, as well as heritage buildings restoration. Since 2014 he has been involved as designer at GARDE, operating in Japan and Korea, China, and south-east Asia, involved in several project scales, such as corporate offices, hospitality, residential, commercial facilities, and department stores.
Otani joined GARDE in 2016, and after working as a PM and local architect, he has been working as a designer since 2021, participating in many projects for apparel, large-scale commercial facilities, and hospitality. In addition to his skills and sense of style, he is also a possesses a deep sense of humanity. We took an in-depth look at the young designer from a variety of perspectives.
■How did you become interested in design and architecture?
The large commercial facilities and mass merchandisers along the national highway, such as toy stores and fishing tackle shops, were at the origin of my consumer behavior and my first perception of commercial space.
I had an interest in design, objects, and shapes from an early age, but my interest in space was secondary to my experiences there. The origins of my own creation began in my childhood, when I spent all my time collecting insects, looking at actual objects and illustrated books, copying them, and making models.From there, my interest shifted to airplanes, tanks, and plastic models, and I developed an interest in industrial objects that led to my current occupation. Ever since then, I have been interested in guitars and furniture design.
I also spent a period in Beijing in the 1990s and often went to department stores with my family and siblings. We would spend half a day in the facilities, from the game center to pottery classes, to dining. We were also a cultured family, so we had all kinds of subcultural materials scattered around the house.
From a very young age, I was exposed to the films of seen Verhoeven, Cronenberg, David Lynch. For manga, I was introduced to Osamu Tezuka, Shigeru Mizuki, Yoshiharu Tsuge, Shotaro Ishinomori and so on. In the midst of all this, my piano teacher gave me the best Beatles album. I fell in love with the subculture of the 60’s and beyond.
I became obsessed with Dylan and Kerouac, and as a result became a bit of an “edgelord”…
●His passion for building plastic models as a child eventually led to an interest in product design…
●He was accepted to Musashino Art University.
■What influences your design and what you are actively incorporating into it?
I think that the way items are combined with each other is an ability that is common to the way materials are combined in space.
For clothing, I am quite conscious of dressing in a way that is “appropriate for the occasion, very normal and ordinary”. Personally, I think it has something in common with my attitude towards spatial design. I feel that there is a slight difference in the sense of distance between clothing and interior/architectural design, as they both focus on the human body.
The process of sewing clothes, starting from the selection of materials, and building from the pattern (flat) to the human body (three-dimensional), is very interesting from an architectural point of view. The way you finish it will affect the completion of the project. More than the technical interest, what I am conscious of is the semantic rationality, whether the combination of items is in line with a certain context or not. Starting from who, where, and how the item was made, to why I chose it now, I am conscious of making sure that each combination makes sense. I want to apply this attitude to each aspect of food, clothing, and shelter whenever possible.
■Who are some creators you admire?
I’m glued to the frightening yet fascinating scenes and characters of David Lynch.
David Lynch’s work may be considered difficult and lofty, but if you take a closer look at his works, you will find that each motif is mundane and trite in a good way. I think he is an interesting person who has succeeded commercially while making films that are personal and self-indulgent.
■To Mr. Otani, who states “I have no preconceived notions about materials, good or bad.” We propose the final question: What are some of your future challenges?
I feel that experienced people are limited in the space they associate with materials. For example, the unit price of a material is set based on various factors such as scarcity, time and effort of production, transportation, etc. However, I believe that it never determines whether the material is good or bad (luxurious or cheap).
This may also be true for other elements that make up a space, such as spacing, where it makes sense to say, “If it’s bigger, it’s no good” or “If it’s smaller, it’s no good.” However, there are many of these virtues that have no basis in fact. I would like to question this while keeping them as a foundation. There must be much that is strangely missing or curiously in excess that we find attractive. I will continue to learn and utilize as much as possible.
■Makoto Otani
Designer, Large-Scale Design Section, Design Business Division
After joining the company in 2016, Makoto Otani worked in the PM Section of the Brand Business Division, where he managed the interior design work for imported brands opening stores in Japan. In 2019, he joined the Design Section of the Brand Business Division, where he worked as a local architect for imported brands ranging from apparel to cosmetics. In 2021, he joined the International Design Division, where he works as a designer on a variety of projects in Japan and abroad, focusing on apparel stores, large-scale commercial facilities, and hospitality design.
Following the opening of Beijing Daxing JOY BREEZE in December last year, Suzhou JOY BREEZE opened on September 25, 2021.
Suzhou JOY BREEZE is a large-scale residential and commercial complex located in the rapidly developing north Suzhou area, offering a high quality and sophisticated lifestyle to rich and new generation of families in their 20’s and 30’s. It offers a variety of tenants, including domestic and foreign luxury brands, leisure, entertainment, and restaurants. The basement floor is directly connected to the subway and has a parking lot with a capacity of over 4,000 cars. As a shopping mall that plays a role in the revitalization of the area, it blends in with the rich nature of the surrounding area to form a town.
GARDE, as with Beijing Daxing, was involved in the basic planning, basic design, implementation design, supervision, and construction coordination of the interior design, and incorporated a lot of FFE furniture and green plants.
The design concept is “Connected”. Based on the “aesthetics of transcending space” found in Japanese architecture, the outside and inside are not strictly separated. Rather, by creating a space with a harmony of richness, comfort, and pleasant atmosphere, a commercial space that feels like and coexists with nature is achieved.
The sense of fluidity and dynamism in nature is expressed in the motifs of “Flowing,” “Natural,” and “Organic,” which can be considered the DNA of JOY BREEZE. The three large atriums catch the eye in the building and create a beautiful and dynamic space with delicate details based on the design theme of “flowing water”, “flowing wind”, and “pulsating earth”. By creating three different scenes, visitors will never get bored and can enjoy walking around the building.
Scope of work
Interior design: basic planning, basic design, implementation design, supervision, construction coordination
Other FFE proposals
Property Information
Name: Suzhou JOY BREEZE
Official opening: September 25, 2021
Location: Xiangcheng District, Suzhou, Jiangsu, China
Management floors: 6 above ground, 1 basement floor
Building area: approx. 180,000m2 (approx. 30,000m2 for indoor common areas)
