Flowers do not grow by design. They blossom in their own time and color. Despite human activities building environments over the natural landscape, nature is not thwarted. She does not directly or immediately resist human activity. Her resilience and strength is conveyed through this project. Yet, nature’s absolute force is the life source which is often taken for granted. It is human nature in modern environments to disregard things that do not stand in the way, but the honesty and brutality of Mother Nature will always justify her behavior when her essential beauty and generosity is betrayed.
The spatial concept has elements of Lucio Fontana’s slashed canvas that coincides with sculpture and therefore architecture. Gap between those medias is an interior of the flower shop where actual red and white rose species give a character to the whole space and tell the story with elements of fantasy from literature and with passion from gothic romance movies. The sharp and edgy spatial geometry of the space that is represented through the 1 inch scale model contradicts organic lines of nature, of the roses. Size of the model easily let the camera through, so it was possible catch the real experience of the space.
Implied presence of the cutting line fractures the flower shop in two very different pieces of design. Thus, it distinguishes the existing conditions of the Anel French Cleaners from the renovated space. Only one side is completely redesigned, while another almost maintained the form of the Upper West Side dry cleaners space. This idea is embodied in the model that is made out of two different materials, museum board and chipboard. Existing conditions of the space are made out of chipboard, while museum board represents the part where the main renovation happened. Fusion of the two styles is final interior design for the Red and White flower shop. The address of this premises is 219 Columbus Ave, New York.
The concrete wall exposes the flowers. Its incline separates a cut flower from its water source. One can see the flower poking through the wall while the water source stays hidden. Naturally, cut flowers cannot grow, therefore the idea of a blossom which breaks through a wall is a paradox—absurdity of the project and the message itself. This space serves to communicate the relationship between the built and natural environments to customers in a flower shop. A blossom breaks through concrete wall and manipulates the wall’s very shape. The wall structure is composed of vertical metal bars with z-clips that suit the concrete panels assembled onto the metal construction. The assembly is dynamic. The panels can be repositioned on a grid system, each panel having its own position. This pattern is represented in the drawings where the flowers can be seen through holes in the wall. The blossom alters the concrete shape, and in a broader sense nature manipulates the built environment, making it absolute, integrated and liberated.
This project emerged from Interior Design Studio 1, and it was selected for Parsons School of Design Fall 2016 Archive Collection.