This particular project involved reconstructing a bridal dress salon in
a rectangular-shaped space that was 20 m long, 6 m wide and 4.5 metres in height.
To us, design is a catalyst that gives space complex meanings, combining historical references and innovative spatial experiences,
and adhering to spatial requirements while exploring new possibilities for interaction.
For this reason, fluidity is the concept that best described this one-room space and allowed us to find a balance between functionality (such as the display and dressmaking areas) and experimentation
of space circulation, which we achieved in the sinuous form of poetic wooden walls that became spaces for display and attention.
The power of this design is manifest in its ability to blur the line between the static and the mobile using the components of the space. For this reason, the walls form a low body that never touch the roof and allow for abundant space to host artistic installations. The sinuosity of the walls also demarcates the flow and the scale of the premises.
The ceiling of Love Szalon Budapest is a black plane resembling a stellar mantle that gives greater depth to the available space and allowed the mounting of an artistic installation 14 m in length x 2 m in height. The ceiling complements and highlights the sinuosity of the walls, demarcating the flow and scale within the space.
One of the most important elements of this space is an artistic installation on the ceiling, called Aurora Tropical, consisting of several layers of twisting curtains and hundreds of metal rods of gradient gold to form a staggered waterfall. This stunning work of art pays homage to the kinetic work of Venezuelan artist Jesús Rafael Soto, known for immersing his audience in living experiments with his pénétrables installations, and is named after the polar Aurora phenomenon, representing the illuminating effect on the night sky. Every component merges into a luminous and ethereal surface, immediately mesmerising anyone who enters
Another important inspiration for the design team was the Finnish pavilion in New York designed by architect Alvar Aalto in 1927, who proposed a construction similar to the organic concept of curved walls: domed and suspended from the outer shell to create a relationship with the landscape. The venue became a dynamic setting full of meaning for those who experienced it and created an opportunity to re-imagine the fluidity of space and art as inexhaustible sources of inspiration.