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PARADISO room
PARADISO room
Madrid, Spain
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Other Projects by gon
PARADISO room
Madrid, Spain
Firm
Type
STATUS
Built
YEAR
2020
SIZE
0 sqft - 1000 sqft
Halfway between an art installation and a work of architecture, “Paradiso Room” belongs to the set of ephemeral projects where, unlike other architectural productions that are made in the office and for the first time, time, both design and production, is overtakes space and accelerates, bringing the result closer to the deadlines of other disciplines such as cooking or certain aspects of fashion.
The commission by the international cosmetics company 3INA, which seeks an inclusive approach in its specialty, consists of the design and realization of a set / scenography, in a record time of two weeks, at the Nueva Carolina Space in Tetuán (Madrid). The aim of the brand is to photograph and film the launch of its new advertising campaign ‘Generation Skin’, destined for young people from all over the planet, thus celebrating diversity and embrace differences, so far not present enough in the industry. This project allows us to reflect, in just 20 m2, on topics so debated and at the same time as current and complex as the ephemeral, the image, post-production, architecture as a medium and the domestic space and its limits.
The initial approach of the proposal is based on the consideration that the place by excellence, within the house, where the maintenance and care of the body takes place, is the bathroom (if it can still be called that). Taking into account that the collective imagination around this domestic space has changed due to magazines, television advertisements, and cinema, but also thanks to technology and ideology, and in a few decades, it has gone from being a dedicated place from the strictest hygiene to being a space for enjoyment, the project is committed to creating a playful atmosphere where hedonism is the protagonist.
As in the 1985 short-film 'Inside rooms: 26 bathrooms', by British filmmaker Peter Greenaway, the scenery for 3INA revolves around the use and customs around the bathroom, but also on the design and structure of this space in the most advanced contemporary societies, where the bathtub and the sink stand as pieces of absolute pleasure and sensuality.
Two sets are built around these two elements, connected to each other, which provide the necessary flexibility and spatial variety that a shooting of this type requires, both when a single person appears in the scene and when a larger group is present. Each scene is “atmospherized” with material objects of pleasure such as plants, rugs, chairs, stools, mirrors, but also immaterial, such as water vapor or reflections, fundamental elements in a hedonistic bathroom.
The image resulting from the session, similar to the dense and sensitive atmosphere of the first and only novel by Cuban José Lezama Lima, Paradiso, is the construction of a space where the boundaries between architecture and the means to document it and make it possible are blurred; a time where what remains within the frame is just as important as what is not photographed or filmed; a work where, from the beginning, the process and everything that surrounds the scenography acquires significant interest, as well as the result itself.
On June 29, 2020 at 7:00 p.m., after thirteen hours of work, we disassembled the scenography that we planned for two weeks and that disappeared forever, making clear the ephemeral nature of the architecture (as well as that of ourselves)
CREDITS
Photography: Asier Rúa
The commission by the international cosmetics company 3INA, which seeks an inclusive approach in its specialty, consists of the design and realization of a set / scenography, in a record time of two weeks, at the Nueva Carolina Space in Tetuán (Madrid). The aim of the brand is to photograph and film the launch of its new advertising campaign ‘Generation Skin’, destined for young people from all over the planet, thus celebrating diversity and embrace differences, so far not present enough in the industry. This project allows us to reflect, in just 20 m2, on topics so debated and at the same time as current and complex as the ephemeral, the image, post-production, architecture as a medium and the domestic space and its limits.
The initial approach of the proposal is based on the consideration that the place by excellence, within the house, where the maintenance and care of the body takes place, is the bathroom (if it can still be called that). Taking into account that the collective imagination around this domestic space has changed due to magazines, television advertisements, and cinema, but also thanks to technology and ideology, and in a few decades, it has gone from being a dedicated place from the strictest hygiene to being a space for enjoyment, the project is committed to creating a playful atmosphere where hedonism is the protagonist.
As in the 1985 short-film 'Inside rooms: 26 bathrooms', by British filmmaker Peter Greenaway, the scenery for 3INA revolves around the use and customs around the bathroom, but also on the design and structure of this space in the most advanced contemporary societies, where the bathtub and the sink stand as pieces of absolute pleasure and sensuality.
Two sets are built around these two elements, connected to each other, which provide the necessary flexibility and spatial variety that a shooting of this type requires, both when a single person appears in the scene and when a larger group is present. Each scene is “atmospherized” with material objects of pleasure such as plants, rugs, chairs, stools, mirrors, but also immaterial, such as water vapor or reflections, fundamental elements in a hedonistic bathroom.
The image resulting from the session, similar to the dense and sensitive atmosphere of the first and only novel by Cuban José Lezama Lima, Paradiso, is the construction of a space where the boundaries between architecture and the means to document it and make it possible are blurred; a time where what remains within the frame is just as important as what is not photographed or filmed; a work where, from the beginning, the process and everything that surrounds the scenography acquires significant interest, as well as the result itself.
On June 29, 2020 at 7:00 p.m., after thirteen hours of work, we disassembled the scenography that we planned for two weeks and that disappeared forever, making clear the ephemeral nature of the architecture (as well as that of ourselves)
CREDITS
Photography: Asier Rúa
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