Er­win Sat­tler

VM&RD - - CONTENTS - Mansi Lavsi

Er­win Sat­tler, a world renowned clock-maker known for its artistry and crafts­man­ship has a long his­tory of so­phis­ti­cated de­signs which last till the end of time. For their new store, a lo­ca­tion which can ap­pre­ci­ate the legacy of Er­win Sat­tler was on the look­out for. The Bund in Shang­hai which is also known as the ‘Paris of the East’ is home to ar­chi­tec­ture from the colo­nial pe­ri­ods and served just about right for Er­win Sat­tler.

The neo-clas­si­cal style of the ar­chi­tec­ture at the Bund is a spec­ta­cle to the eye and speaks of a rich his­tory. The century old Yifeng Man­sion trans­formed into the Yifeng Gal­le­ria and joined hands with Er­win Sat­tler to take the Chi­nese cus­tomers into the world of clock­works with the essence of time­less­ness. To come to a con­cept, the store de­sign was to be a flaw­less blend of brand ar­chi­tec­ture and in­cor­po­rate the marks of time of the build­ing which shel­ters it. Speak­ing on the con­cept, Ag­ness Peng of Shang­hai J & Co. De­sign Stu­dio, says, “It al­lows the people within it to see and hear ev­ery inch steps of time, like Er­win Sat­tler’s own pre­cise clock­work tech­niques which clev­erly trans­form the shape­less time into a fig­ure that rep­re­sents the tracks of life, per­fectly pre­sented be­fore our eyes through the turn­ing of gears and axles. From the de­sign con­cept, we view this bou­tique store as an ex­quis­ite time­piece lo­cated at the Bund, and through the turn­ing gears in the room, continues to record the tracks of the cen­turies to come.” The all ex­posed brick build­ing pro­vides for an arched en­trance to the store. The black en­try door is branded with the name Er­win Sat­tler which emits a bright yel­low light. The lux­ury def­i­ni­tion is in the sim­plic­ity of the sig­nage. To nur­ture the brand ethos in an in­te­rior space,

the ma­te­rial pal­ette is in­spired from the time piece it­self. Er­win Sat­tler owes its fame to the crafts­man­ship which goes in the mak­ing of each piece. So, the in­side story of a time piece with its con­struc­tion of gears casts its spell on the in­te­ri­ors of the Er­win Sat­tler store. A high cop­per ceil­ing and car­bon fi­bre plate on the bot­tom wall are drawn from this con­cept. Ma­te­ri­als like cop­per ox­ide and black wal­nut wood are in­spired from the ma­te­ri­als which cre­ate the time piece. Use of the car­bon fi­bre plate was an ex­per­i­men­tal at­tempt which ren­dered depth to the space with its highly re­flec­tive na­ture. At the en­trance it­self, the cus­tomer is greeted with a huge time piece very dear to the house of Er­win Sat­tler. Her­ring­bone par­quet floor­ing car­pets the floor through­out. Walk­ing the depth of the store, the wall on the right is like a trib­u­tary to the hang­ing clocks collection hav­ing fine artistry cre­ated through the century.

The space un­folds as a bal­ance be­tween func­tion­al­ity, brand com­mu­ni­ca­tion and aes­thet­ics. The di­vi­sions de­fine the move­ment route and cre­ate a sense of ex­plo­ration through the space. The way the prod­ucts are dis­played gives it a feel of an ex­hi­bi­tion space. The cre­ation of glass houses cre­ated pock­ets of in­ter­est which urge the cus­tomer to ex­plore. As for the func­tion­al­ity, they helped or­gan­ise the

dif­fer­ent col­lec­tions. “The two glass houses are a con­cept that rep­re­sents the whole move­ment boxes of the time cap­sule. In­side this box the ma­chine continues to record the tracks of time. It is for this rea­son that we retro­fit­ted the com­po­nents and gears of the brand it­self into a vis­ual de­sign in the space, through the four lay­ers of the two glass win­dows and the eight dif­fer­ent depths of carv­ing, ground­ing, and a

layer of dig­i­tally printed. The aim is to clearly present the per­spec­tive of the pol­ished parts of the time­piece with­out ob­scur­ing it vis­ually, and watch through the rich lay­ers pat­terns of the gears on the glasses. Each pre­cise clock pass­ing through this cross-di­men­sional dis­play also en­riches the depth of field and fur­ther acts as a side view with its in­ter­lac­ing of dis­lo­ca­tion and a cross be­tween re­al­ity and an­other di­men­sion for the en­trances on the two sides,” says Ag­ness

Peng. The gears’ pat­tern on glass boxes gives away the con­cept of the store de­sign. At a metaphor­i­cal level, the store de­sign adopts an ap­proach drawn from the brand’s ap­proach to­wards the cre­ation of the time pieces. The flow of time and per­sonal feel of the gears gets trans­lated into the store de­sign with the space flow and de­pic­tion of the gears. The ap­proach ori­ented con­cept of the store in­vites cus­tomers into the store who can ex­pe­ri­ence the qual­ity stan­dards of the brand at the store level as well


Er­win Sat­tler


J&Co: R.L, Jada Zhang, Howard Wu, Ag­ness Peng, Anzo Huang


Glas & Tongue

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