OBG eu.

Interior design for a shop selling interior goods in a quiet residential area on the border between the mountains and the city.

Originally a ballet school, the tenant has two entrances, one of which is a brick tiled approach dedicated to the tenant. A brick arched niche next to the entrance gave the shop a glamorous feel. There were also a number of indoor areas that still retained the multi-ethnic character of Kobe, such as the ornate lantern-shaped tiles in the washrooms and toilets.
Furthermore, when the existing simple wallpapered walls and ceilings were dismantled, brick walls, an elastomeric paint with the attractive textured finish that appear to be several generations old, and the remains of tiles that had been removed were revealed. How to make these traces coexist, how to layer the next additions, how to place the objects in such a way that the existing finishes are neither too forward nor too backward, but that they colour the space and give it a sense of the richness of the layers.

The following textures were identified as characteristic of the existing interior
Brick wall: the back side of the brick niche in the approach, which is not attached to the wall but stands alone as a masonry structure.
an elastomeric paint with the attractive textured finish: The pint were spray-painted onto the concrete frame, after the removal of the brickwork at the corners.
Chisel markings: a few generations ago, probably tiles were roughly removed sometime later.
Lantern-shaped tiles: pop and flamboyant shapes reminiscent of diamonds and spades, and decorative tiles with a different pattern on each one, as if they were made of pottery (Kobe exported many tiles to Asia).
The arched wooden door: a door with mouldings, which was originally installed in the washroom but has been relocated and reused.
Wallpaper removed from the backing paper: cream-coloured backing paper left haphazardly after the wallpaper was removed from the mortar base of the building.
Rolled PVC sheeting: ballet linoleum, which has been optimised for ballet gliding and has a subdued, glossy grey, slightly modern feel.

These finishes, which have been used for generations, have been rethought, modified and made to coexist. The surface of these finishes is fragmented, masked by the white fixtures and the bent walls, and depending on the intensity of the texture, it is applied to the plan. Since most of the products are small and the paintings for the exhibition are not so large, we have planned four distinctive areas, taking into account the quality of the space created by the existing fragmented textures, as well as the fragmentation of the long and narrow space.

The fixtures are made of OSB plywood painted glossy white, and when looking at the products carefully, the slightly abstract and rough texture of the background fixtures is perceived, giving a frontality to the delicacy of the products and their "patterns". The "pattern" is a symbol of the artist's way of looking at the world, and I aimed to create an interior with such a resolution that it can only become a background when the symbol is placed.
I used brass for the glass tops of the counter tables to match the brass lighting that I brought with me from the old shop when I moved here, to create a slightly different atmosphere.






OBG eu.