Environments

HOURGLASS

FROM BRAND CODE TO PERSONAL TOUCH

A complete rethinking of how a beauty brand tells its story. TM/R developed the global concept and designed the New York flagship in Nolita. Subsequently introduced in Asia.

As a visitor moves through a store, they move through a series of decisions about form, pattern, material, and light. When those decisions are sequenced with intention, the space tells a story.

The brand reveals itself progressively, building recognition and memory at every step.

ISSEY MIYAKE

FROM GEOMETRY TO SPATIAL EXPERIENCE

TM/R developed the full concept for the New York SFA store: visual codes translated into materials, surfaces, and an architecture of movement.

MOROSO

TABLES & SEATING

A furniture collection manufactured by Moroso and shown at Salone del Mobile in Milan. Each support a three-dimensional contour formed from a single sheet of metal — no welding or fastening.

SHISEIDO

SPACE AS A SOCIAL RITUAL

US store concept for Shiseido, built around the Japanese principle of Omotenashi — hospitality without expectation. A central communal table replaces the typical beauty counter. Product becomes the shared focus; the space becomes the host.

KNOLL

THE CURVE AS DISPLAY SYSTEM

A textile display concept built from a single principle: one continuous tube-steel curve, CNC-bent from a single 20-foot length, forming each semi-enclosed pavilion. Visitors move through the sequence of pavilions — each presenting a collection of Knoll Textiles.

LOUIS VUITTON

TROMPE-L’ŒIL

Island Maison, Marina Bay, Singapore. A trompe-l’œil film pattern developed to shade a glass pavilion one degree north of the equator. Functional at noon. After dark, the building glows against the water like a lantern. From fixed points along the promenade, the faceted volumes collapse into a flat plane — move past them, and the geometry stretches into reverse perspective. The building changes with the viewer’s position.

LOUIS VUITTON

INFINITY STAIR

A staircase that feels like drinking a glass of champagne. The walls shift with every step — an apparently infinite recession of reflections, achieved in 8 centimeters of depth. The central feature of the Louis Vuitton store at Matsuya Ginza, Tokyo.

LOUIS VUITTON

INTERIOR FAÇADES

Visual Codes developed for LV interiors — the monogram geometry extended into three-dimensional wall systems.

CARTIER

ONE LOGIC AT EVERY SCALE

TM/R developed a visual codes system for Cartier rooted in the brand’s vocabulary — the Diamant, the Double C, the Serti Clos, the verticality. Each code transforms across scale, from a detail on Cartier recent and historic pieces to architecture of the boutique. The codes were then translated into a series of patterns for individual store locations and into metal screens for interiors and facades, adapting to the cultural context of each city while remaining unmistakably Cartier.

DIOR

ARCHITECTURE DRAWN ON GLASS

The boiserie — the carved wood paneling of the grand French room — redrawn as a graphic on glass. The glass edges are finished in polished stainless steel to seem weightless. The proportions and rhythms were derived from 18th-century drawings by Ange-Jacques Gabriel. The architecture of Dior, made immaterial.

LUFTHANSA

A SYSTEM FOR EVERY AIRPORT IN THE WORLD

Lufthansa operates at hundreds of airports across six continents. We codified Lufthansa’s existing spatial identity into web-based guidelines that allow local teams to order components and specifications for Lufthansa counters at any international airport. The system defines everything: counter types, signage hierarchy, typography, color application, lighting, and the placement of alliance partner logos.

H&M

WHO OWNS WHITE?

The brief was to reinvent the white wall — the most ubiquitous surface in retail. TM/R developed a spatial concept built on near-invisibility: double-layered patterned walls that read as white from a distance and reveal their geometry only as you approach. The pattern draws you in before you know it is there.