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Taipei EROS Hair Salon

Materiality Design

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Bronze

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Comments
Innovation
Functionality
Creativity
Eco-Social Impact
Total
JURY VOTES
Single-Brand Store
5.00
5.08
5.33
4.00
4.85
Shannon Pringle
Shannon Pringle Interior Designer at Bernardon
7
5
7
3
5.5
Jelle Sapulete
Jelle Sapulete Design Director at Adidas
4
5
4
4
4.25
Tetsuya Matsumoto
Tetsuya Matsumoto Head Architect at KTX archiLAB
7
5
7
5
6
Judith Haase
Judith Haase Architect at Gonzalez Haase AAS
3
5
4
3
3.75
Simona Franci
Simona Franci Principal and Design Director at Fortebis
4
4
4
4
4
Florian Seidl
Florian Seidl Design Manager at Lavazza
I think this is an interesting spac...
6
7
7
3
5.75
Julie Payette
Julie Payette Cofounder and Partner at v2com newswire
4
4
4
4
4
Matteo Renna
Matteo Renna Founder at matteorenna | studio
6
5
6
4
5.25
P.C.Ee
P.C.Ee Editor & Creative Director at industry+
5
6
6
5
5.5
Royce Epstein
Royce Epstein Design Director at Mohawk Group
The design language of project alig...
6
6
6
4
5.5
alberto caiola
alberto caiola Design Director at Alberto Caiola Studio
5
5
5
5
5
Justin Bridgland
Justin Bridgland Founding Partner at More Design Office
The forms feel at odds with the spa...
3
4
4
4
3.75
Client
EROS HAIR STYLING
Floor area
198.34 ㎡
Completion
2018

The whitewashed background refers to the pure motivation of the brand. The gestures of hair-cutting are translated into the massing of the sculptural entities. The triangular motif shapes the functional cubes and planes from ceiling to floors through the actions of piling, cutting, and sewing. The workflow of the upper and lower floors engulfs the counter, display shelves, ceiling, and division walls. In contrast with the stability of the seating area, the layered and displaced vision integrates and enriches the space. The juxtaposition of the movement and stillness defines the singular dynamics of the hair salon. Hair design requires even lighting in space. The large paneling of ceiling lighting provides rooms for basic lighting needed on different floors. The light bars embedded in the dividing lines contributes to numerous lighting belts, serving as supplemental lighting while solving the condition of the lowered ceiling in the VIP room. They also extend and meander with the reflection of the large mirror surface, shuttling freely between the planes and the three-dimensionality. Here, light defines the threshold between the tangible and the intangible realms and therefore becomes the index for circulation and division in the space.