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Ruba Ahmed
You walk into Osaka’s Nakanoshima Museum of Art and encounter eight towering lanterns suspended from the ceiling, each one a vertical stack of Louis Vuitton trunks wrapped in monogram washi paper, casting an ethereal glow through the five-story atrium. This isn’t just exhibition design—it’s architectural storytelling at its finest.
Shohei Shigematsu and his OMA team approached the exhibition as “a spatial translation of Louis Vuitton’s legacy, a journey not just through objects but through ideas.” The “Visionary Journeys” exhibition represents something remarkable in the intersection of fashion curation and architectural intervention.
The Architecture of Experience
What strikes me most about Shigematsu’s approach here is how he’s rejected the typical white-cube mentality. Each gallery presents a distinct spatial experience, with scenographic elements conceived as immersive environments rather than passive displays. The entrance sequence alone demonstrates sophisticated spatial choreography. A second Trunkscape installation, located at the entrance to the galleries, takes the form of a hemispherical dome assembled from 138 vintage trunks. Reflected in the black glass floor, the structure forms a complete globe, evoking themes of travel central to the House’s identity.
Material Conversations
The Origins gallery showcases what happens when an architect truly understands cultural dialogue. The Origins gallery introduces the House’s creative evolution through six historical eras, arranged within a hand-woven bamboo structure that emphasizes craft traditions shared by Louis Vuitton and Japanese culture. This isn’t cultural appropriation—it’s architectural translation. Shigematsu’s Japanese heritage allows him to navigate these materials authentically while creating something entirely new.
But the real genius emerges in how he handles the brand’s iconic monogram. In Monogram Canvas, two connected rooms explore the development of the brand’s iconic pattern, from its initial influences to contemporary reinterpretations, through a rotating, planetary-inspired display of over 100 Monogram bags.
Programmatic Innovation
The Workshop and Testing galleries reveal Shigematsu’s understanding that contemporary museum-going demands active engagement. In the former, a reconstruction of the Asnières atelier hosts live demonstrations by Louis Vuitton artisans, visible through mirrored skylights. The latter replicates the Maison’s lab environment, where robotic arms and mechanical devices perform real-time strength and durability tests on bags.
The OMA Method in Practice
This project exemplifies what OMA does best: taking a seemingly straightforward brief and revealing its hidden complexities through architectural intervention. Shigematsu hasn’t just designed gallery spaces—he’s created a spatial brand experience that functions on multiple scales simultaneously. The macro-level circulation through different thematic galleries, the mid-level environmental variety within each space, and the micro-level details like the washi paper wrapping all reinforce Louis Vuitton’s core messages about craft, travel, and cultural exchange.
What’s particularly sophisticated is how the architecture avoids competing with the exhibited objects while still maintaining its own presence. The bamboo structure, the inflatable balloon, the mirrored environments—each creates strong spatial character without overwhelming the fashion pieces they contain.
The “Visionary Journeys” exhibition demonstrates that when architecture and fashion collaborate thoughtfully, both disciplines benefit. Shigematsu’s spatial translation creates an environment where Louis Vuitton’s objects can speak louder than they would in neutral gallery spaces, while the architectural interventions gain meaning through their relationship to fashion’s cultural significance. It’s museum design that understands its commercial context without compromising its cultural ambitions.
For those of us working in spatial design, this project offers valuable lessons about creating immersive experiences that respect both brand identity and architectural integrity. Sometimes the most effective design moves are the ones that amplify what’s already there rather than imposing entirely foreign concepts.
Tags: bamboo structureGlassOMAOsakaShohei ShigematsuskylightsVisionary Journeys
Ruba Ahmed
Ruba Ahmed, a senior project editor at Arch2O and an Alexandria University graduate, has reviewed hundreds of architectural projects with precision and insight. Specializing in architecture and urban design, she excels in project curation, topic selection, and interdepartmental collaboration. Her dedication and expertise make her a pivotal asset to Arch2O.
