© Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

这是一家一楼的商店，街道上有一个三米窄的立面。还有一个地下室和一个阁楼。客户要求明确区分太阳镜和视力眼镜，以及年轻和更成熟年龄的眼镜。客户对这些问题的坚持，在年龄和产品之间，使我自己在这个问题上的“痴迷”浮出水面，就像“杂技在一个球上”(Picasso，1905年)，它象征着青春和成熟、轻量级和具体化。

It is a ground floor store with a narrow, three meter façade on the street. There is also a basement and a mezzanine. The client asked for a clear separation between sunglasses and vision glasses, as well as between glasses for young and more mature ages. The insistence of the client on these matters, between ages and product, brought to surface “obsessions” of my own on this matter, like the “Acrobat on a ball” painting (Picasso,1905) which is a metaphor of youth and maturity, of the light weight and the concrete.

 © Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

从这个角度来看，这个建筑姿态可以被描述为一个简单的隐喻，一个空间的实验，建立在这两种元素共存的基础上：高耸的和地面的。

Seen in that light, this architectural gesture could be characterized as a simple metaphor, an experiment of space that is founded on the coexistence between these two elements: the soaring and the grounded.

考虑到这一点，年轻人的产品被放置在自由站立的表面上，似乎悬浮在地面上，而为更成熟的客户的产品是坐在一个坚实的长方形卷。本卷还作为各种产品的存储空间。

Having that in mind, the youth products are placed on free standing surfaces that seem to hover above ground, whereas the products for more mature clients are sitting over a solid rectangular volume. This volume also stands as a storage space for all kinds of products.

 © Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

通过显示表面的物质性实现视觉和太阳镜的分离：视觉眼镜放置在黑色铁表面，太阳镜嵌套在胶合板表面。

The separation between vision and sun glasses in achieved through the materiality of the display surfaces: the vision glasses are placed in surfaces of black iron and the sunglasses are nested on surfaces of plywood.

 © Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

另一个通常出现在这种姿态上的问题是两极之间的平衡：(青春-成熟)和(铁-木)，就像毕加索的合成一样。两极明显可见，但并不是固定在不同的角落；它们在空间内创造了一种动态的对话，相互覆盖，相互折叠，彼此平行运行。铁表面一直延伸到夹层，在那里隐形眼镜是嵌套的。

Another issue that usually rises in such gestures is the equilibrium between the two poles:(youth-maturity) and (iron - wood), like the synthesis of Picasso. The two poles are clearly discernible but not entrenched in different corners; they create a dynamic dialogue among them within space, covering, folding and running parallel to each other. The iron surface extends all the way to the mezzanine, where the contact lenses are nested.

 © Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

在规划领域，如收银台、储藏室、展示台、桌子和表面，也采用了创造不同元素的调和合成(青年成熟和木铁)的努力。

The effort to create a harmonic synthesis of different elements, (youth-maturity and wood-iron), was also adopted in the organization of the programmatic areas, like the cashier, the storage, the display benches, tables and surfaces.

 © Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

在这方面，这些区域不是表示为不同的元素，而是作为一个更广泛的整体连续和交叉面的一部分。这些表面发展到不同的位置和空间尺寸，从地板到墙壁。这样，他们成为收银员，仓库，展示长凳，桌子和表面，甚至地板，通过一个统一的形式。

In that aspect, these areas are not expressed as different elements, but as parts of a wider whole of continuous and cross-meeting surfaces. These surfaces evolve to different positions and dimensions in space, from floors to walls. This way they become the cashier, the storage, the display benches, tables and surfaces, or even the floor, through a unified form.

这种“有机”的连续性不仅可以在视觉上体验，而且可以用我们自己的身体和触觉来体验，而这些形式在空间中引导和引导游客。人们最终会靠在收银台上，放在展示台上，踩在铁地板上。

This “organic” continuity can be experienced not only visually, but also with our own body and touch while these forms, guide and funnel the visitor within the space. People will eventually lean against the cashier bench, over the display table and step on the iron floor.

3.制造工艺

3. Fabrication process

 © Ioanna Roufopoulou and Simos Vamvakidis

Ioanna Roufopoulou和Simos Vamvakidis

这一过程的基础是包覆策略，采用的是具有非正交几何形状的大型项目，如洛杉矶的沃尔特·迪斯尼音乐厅(WaltDisney)。对较小的三角形或梯形曲面的侧壁形状进行了复杂的形貌分析。这些形式分为两个基本要素：结构和“皮肤”。该结构是激光切割铁构件，焊接和安装在侧壁，形成一个“骨架”，将携带“皮肤”；胶合板表面。所有表面都由2.50X1.20m胶合板绘制、编号和切割“SUR MESURE”。

The process was based on cladding strategies used on larger scale projects with non orthogonal geometries, like the Walt Disney concert Hall in Los Angeles. The complex topography of the side wall forms was analyzed to smaller triangular or trapezoid surfaces. The forms are separated into two basic elements: structure and “skin”. The structure was laser cut iron members that were welded and mounted on the side walls, forming a “skeleton” that would carry the “skin”; the plywood surfaces. All surfaces are mapped out, numbered and cut “sur mesure” from 2.50X1.20m plywood sheets.