Ruohan Runway AW24
Paris, France
The AW24 runway marks the final chapter of RUOHAN’s three-part collection series: FORMS, LINES, POINTS. This finale is held at the Lafayette Anticipations, an art gallery in Paris.
SITE
In contrast to runway shows that are held in long corridors, this site contains a prominent vertical atrium that adds another dimension to the runway. The atrium is part of a renovation project, by the architecture office OMA. It was conceived as a flexible art tower embedded in a 19th century European building. The new addition of metal structures adds a contemporary touch which contrasts with the traditional masonry pillars. Inspired by this palimpsest of structures, Studio Profile envisioned how RUOHAN’s intervention could be an additional layer, establishing a temporal relationship between the past, present, and future structures of space.
CIRCULATION
The gallery occupies the entire width of the block with a front and back entrance that allows people to access the gallery from either street. A linear path was designed for models to walk from one end of the gallery to the other. The horizontal passage intersects with the vertical atrium, creating a point of intersection in the center of the gallery, which is also where most of the audience was positioned. Bringing attention to this central area forms coherence for the runway that is set in an unusual gallery environment.
POINTS
The subtle play on gravity has been a recurring element in the making of RUOHAN’s sets. In the “FORMS” runway, we draped a frame across the corridor, forming subtle divisions between inside and outside. In the “LINES” runway, we hung arrays of fabric to frame different moment of the body. For this “POINTS” set, a grid of concrete blocks were suspended mid-air in the atrium. Thin metal wires were pulled from the ceiling, attached to the blocks below. Albeit small, the blocks activate the atrium with this tension it creates with the ceiling. When the models brush pass, the blocks gently moves in response and the wire visually splits the clothes. The “weightless” mass adds an intimate scale to the set, connects and orders the models within the architecture.
AW24的RUOHAN秀场是其点，线，面三部曲系列的最终篇章。有关“点”的倒叙终章在巴黎Lafayette Anticipations呈现，在这间由Lafayette家族运营的当代艺术画廊中，Studio Profile留存了一个关于时间和空间的片段。
场地
这座始建于19世纪的历史建筑连接玛黑区街道的两端，由建筑务所OMA改造成为一间当代艺术画廊。建筑中贯通街道的长廊自然成为主舞台，而与其产生鲜明对比的垂直中庭则为秀场增添了另一个维度。金属构建的垂直中庭作为OMA的翻新的主体宛如嵌入的新生命，与历史建筑中被保留的部分形成对比，也为建筑带来更多现代元素。受到这些结构的堆砌的启发，我们思考着RUOHAN的秀场如何成为另一个维度，在过去，现在和未来的空间结构之间建立属于我们的时间关系。
动线
画廊尺度与整个街区同宽，设有前后入口，人们可从街道两端进入画廊。与长廊垂直交叉的中庭，成为画廊的中心交点，也是大多数秀场观众的所在地。在此我们为模特规划了单一的动线，经过垂直交点的纵向动线，起于画廊的一端终于另一端。这个垂直体量的交点也成为我们设计的主体，成为画廊中不寻常的存在，引人好奇。
点
重力的微妙运用一直是我们为RUOHAN设计秀场时的一个重要元素。在 “面”秀场中，我们横跨东京宫南翼长廊悬挂出一个巨型“框架”，在空间中微妙的分隔出内与外。在“线”秀场中，我们通过垂直悬挂一系列不同尺度的超长面料，框出了身体的不同瞬间。在此， “点”化为一个个混凝土体块矩阵悬挂在Lafayette Anticipations中庭中央。细金属线从天花板上垂直落下，连接于块状混凝土上。尽管很小，点般的体块与天花板所产生的张力却激活了中庭。当模特经过时，体块或轻轻移动，金属线则在视觉上分割了衣服。这种“无重量”的质量为空间增添了亲密感，将模特与建筑有序连接，成为空间和时间的片段。
SPATIAL DIAGRAM
CIRCULATION PLAN
Client: Ruohan
Location: Paris, France
Completion: 2024.3
Design Scope: Set design
Interior Team: Josh Ren, Baoer Wang
Model Photos: Shoji Fujii
Production: Devi Sok