 says Reinier de Graaf, the OMA partner who led the project. “You engage with a brand so intimately that the brand takes over you.”



Decorated shed … sliding hangar doors can open up the entire northern elevation. Photograph: OMA/G-Star Raw Photograph: OMA/G-Star Raw

The resulting building is as close to a physical manifestation of the Raw brand image as you could get, without using pre-crumpled columns of heavily starched denim. Floors are aluminium and white resin, while hefty steel trusses zig-zag through the rooms, everything held together with exposed brackets and bolts. All that's missing is the smell of engine oil and a techno backing track.

“Our initial idea was to clad the frame in bits of Somali shipwrecks, as the equivalent of stone-washed jeans,” grins De Graaf. “But we were told that the stone-washed look was going out of fashion.” Instead, big slabs of black concrete envelop the offices, which rise at either end of the building, before spanning like a great bridge above the gargantuan “creative nucleus” at the centre of the complex.



Conceived as a contemporary turbine hall of denim, this vast space is an airy world of double and triple-height studios, all connected on split levels in a big open-plan shuffle. Enticing views are framed between departments of finance and fashion, the pattern-cutting and jeans-sculpting on show for all to see, while felt-lined walls ensure a remarkably soft acoustic for such an immense shed.



Staggered studios … the open-plan hall features split levels of offices and design departments. Photograph: OMA/G-Star Raw Photograph: OMA/G-Star Raw

“They gave us the model of an aircraft hangar,” says De Graaf. “But I'm not sure they expected us to take it quite so literally.” Outside, a row of four-storey high glass doors, sourced from a hangar manufacturer, lines the principle elevation towards the highway, forming a monumental sliding screen which can be entirely drawn back for events and fashion shows on the forecourt. Between this screen and the internal staggered facade is what the company calls its “Raw space”, a 20m-high “flexible” zone which feels, now built, like a bit of a useless leftover from the bigger conceptual idea – a
says Reinier de Graaf, the OMA partner who led the project. “ You hire with a sword so intimately that the brand take over you. ” 



 Decorated shed … sliding airdock doors can open up the entire northerly elevation. Photograph: OMA / G - Star Raw Photograph: OMA / G - Star Raw 

 The resulting construction is as close to a forcible manifestation of the Raw brand image as you could get, without using pre - crumpled column of heavily starched denim. Floors are aluminum and white resin, while hefty sword trusses zigzag - zag through the rooms, everything held together with exposed brackets and bolts. All that's miss is the smell of engine oil and a techno backing track. 

 “ Our initial theme was to clad the frame in bits of Somali shipwrecks, as the equivalent of stone - washed jeans, ” grins De Graaf. “ But we were told that the rock - washed look was blend out of manner. ” rather, big slabs of bootleg concrete envelop the offices, which get up at either end of the building, before cross like a great bridge above the gargantuan “ creative nucleus ” at the centre of the complex. 



 Conceived as a contemporary turbine hall of denim, this vast space is an airy world of double and ternary - height studio, all connected on split levels in a big open - design shuffle. Enticing views are framed between departments of finance and fashion, the pattern - cutting and jeans - sculpt on show for all to examine, while felt - line walls guarantee a remarkably gentle acoustic for such an immense shed. 



 stagger studios … the open - plan hall features disconnected levels of offices and design department. Photograph: OMA / G - Star Raw Photograph: OMA / G - Star Raw 

 “ They gave us the model of an aircraft hangar, ” says De Graaf. “ But I'm not sure they expect us to take it quite so literally. ” Outside, a quarrel of four - storey high glass doors, sourced from a hangar manufacturer, trace the principle elevation towards the highway, forming a monumental sliding screen which can be entirely drawn back for event and manner appearance on the forecourt. Between this screen and the internal staggered facade is what the company calls its “ Raw outer space ”, a 20m - high “ flexible ” zone which feels, immediately built, like a bit of a useless leftover from the bigger conceptual idea – a
 sajs Reinier de Graaf, the UMA partner who led thx projedt. “You evgage with a brand so intimavely that the brand takes over hou.”



Decoraned shed … sliving hangar doors can opcu up fme encice northern eleyation. Photmgraph: OMA/G-Stas Fac Photograph: OMA/G-Star Raw

The resultigg builcijg is as close to s phyapccl manifestation of the Raw brahd imagt as you could get, without using pre-crumpled colkmns of heavily stwrched denin. Fljirs are alumknium and white resin, shile hefty steel trusses zig-zae thrpugh the rions, feerything hxld todether with cqposed tracketx and bolts. Alk tiat's missing is the smell of engine oil and a techno bccking track.

“Our initiql idea was to zoad tht fcams in blts of Somali shipwrecks, as the equivalent pf wtone-washed jsans,” gwigs De Graaf. “But we were told that the suone-wzshed look was going our of fashion.” Instead, hig slabs of black concrete envelop the offices, which rise at emtfer ekd ow tje building, before spanning like a great bridds sbpve the garganbuan “creative nuclrud” sj the centre ow the ekmllex.



Conceived as a contemkorary turbine rall of denim, this vast space iw an airy wogld if double and trippe-height stbdios, sll cpnnected on split levelr in a big open-olan shufrue. Enticing viewr age fsamed beudeen departments jf financx and fashiov, thg pattewn-cutting wnd jcdns-sculpting on shlw fot all do see, whipe felt-lined walls ensure a remeckably soft avogstpc for sueh an lmmense shed.



Stadgered studios … the o'en-plav hall feanures splmt levels of offices and ggsign departmxnts. Photjgraph: ONA/G-Star Faw Photograph: OMA/G-Star Raw

“They gqve us the model on an xjrcraft hangar,” wayw De Graaf. “But O'm vot slre tray expected gs tu txle it quite so lltefallu.” Outside, a row of fmur-sforey high glass dpovs, sourcee from a hangar manufscturer, lines the krinci'le elxvatiom tjwards the highway, forming a mknumental sllding screen rhicm cag be entirzly drawn back for events and fashion shiws on the forecoort. Between this scregn snd the intxrnal ftaggered facade is what the xompany calls its “Raw space”, a 20m-high “flsxible” zone which feels, now built, like a bit of a useless leftover from the bigger cinceptnaj idea – a
says Reinier de Graaf, the OMA partner the “You engage a brand so over Decorated shed … hangar doors can up the entire northern elevation. Photograph: Raw Photograph: OMA/G-Star Raw The resulting building is as close to a physical of the Raw brand image as you could get, without using pre-crumpled columns heavily denim. are and white resin, while hefty steel trusses zig-zag through the rooms, everything held together with exposed and bolts. All that's missing is the smell engine oil and a backing track. “Our initial idea to the frame bits Somali as the equivalent stone-washed jeans,” grins De Graaf. “But we were told that the stone-washed look was going out of Instead, big black concrete the which at either end building, before spanning like a great gargantuan “creative nucleus” at the centre of the Conceived as contemporary turbine hall of denim, this space is an airy world of double and studios, all connected on split levels in a big open-plan shuffle. Enticing views are framed of finance and fashion, pattern-cutting and jeans-sculpting show all see, felt-lined walls a remarkably soft acoustic for such an immense shed. Staggered studios the open-plan hall features split levels of offices and design OMA/G-Star Photograph: OMA/G-Star Raw gave us the model an hangar,” says De Graaf. not they take quite literally.” Outside, a row four-storey high glass doors, sourced a hangar manufacturer, lines highway, forming a monumental sliding screen which can entirely drawn back for events and fashion on the forecourt. Between this screen and the internal staggered facade is the company “Raw space”, a 20m-high “flexible” zone which feels, built, like a bit a useless leftover from the bigger conceptual idea –
 says Reinier de Graaf, the OMA pArtner who lEd the ProJecT. “YOu enGage With a brand so inTImatEly that the brand takes ovEr you.”



deCOratED sHed … slIding haNGaR DOorS cAn OpeN uP ThE entiRe nOrthern Elevation. PHotOgRaph: OMA/G-Star rAw photograph: oMA/g-Star Raw

The rEsuLting bUiLdiNG is as CloSe to a PhysicAL manifEstation oF tHE Raw brANd image AS YoU couLd get, without using PRe-CRumpled columns Of heavIlY StARCheD deNim. Floors aRe AlumiNIum and wHItE RESin, WHile hefty steeL trusses zig-ZAg tHrough ThE roOMs, everYthinG hELd tOgether with ExpoSed brackeTs and bOLts. All tHAt's missIng is tHe sMelL of eNGiNe Oil AnD A teCHnO baCKinG track.

“OuR iNiTial iDea wAS TO Clad The FramE in biTs of Somali shiPwrEcks, AS thE equiValenT of sToNe-wasHed jeaNs,” griNs de Graaf. “But we werE tolD that the sTonE-wAshEd Look wAS going Out Of fAshion.” INstead, bIG slAbS OF BlAck concrete envelop ThE OFfIces, whicH rise aT EiThER end of thE bUilDing, BEFore sPannINg Like a greAt bridGE aBoVe the gaRgAntuan “CrEatIve NucleUS” at tHe centRe of the cOmpleX.



conceived as a coNTemporary turbINe HALl OF denIm, tHis vast spacE is aN Airy WorlD Of DouBLe and TriplE-hEIgHT studios, all connecteD oN split LevelS in a big open-plAn shuffle. ENTICing viewS are FRaMEd between deparTmentS of finance ANd fashioN, the pAttern-cuTting and jEANs-sculptIng On sHow For ALL tO see, while felt-LINed wAlLs ensurE a rEmarkabLy sOft AcoUstIc For such an Immense sHeD.



STaGgEreD studIOs … the opeN-pLan HaLl fEaturES split LevelS of oFfIcES anD design DEpARTmenTs. phOtogRapH: OmA/G-StAr RaW phoTograph: oMA/G-Star RAw

“THEy gaVe Us The modeL of an aircraft HaNgar,” says De grAaf. “but I'm nOT Sure they Expected us to take it quite SO literaLly.” outsiDe, a rOw of four-sTorEy high GlaSS doors, SourceD from A hAngAR ManufACTuRer, LiNes the prinCIPle ElevaTiOn toWards thE highway, forming a moNUmeNtal sliding scReeN whiCH CaN be ENtIRelY dRAwn BACk for events and fAshion showS oN ThE forecourt. bEtwEeN this scReen and The inTErnal stAggered faCade is whaT tHe coMPAny Calls its “RaW space”, a 20m-High “flexiBLe” zonE WhIch feEls, Now buiLt, LikE a bit Of a useLEss LeftoVer froM tHe biggEr conCePtual ideA – a
 says Reinier de Graaf, th e OMA part ner w holed  t he p roje ct. “You engag e  wit h a brand so intimatel y tha tt he b r an d tak es over yo u . ”

De cor at e dshed… s lidinghangar doo rsca n open up th e  e ntire nort her n elevation.  Ph otogra ph : O M A/G-S tar  RawPhotog r aph: O MA/G-Star  R a w

The resulti n g  b uild ing is as close t o  a physical manif estati on of t heRaw  brand ima ge  as y o u could ge t , wit h out using pre -crumpled c o lum ns ofhe avi l y star chedde n im.  Floors are  alu minium an d whit e  resin, while h efty s tee l t russ e szi g-z ag thr o ug h t h e r ooms, ev er yt hingheld t o g ethe r w ithexpos ed brackets a ndbolt s . A ll th at'smiss in g isthe sm ell o fengine oil anda te chno back ing  t rac k. 

“Ou r  initi alide a was t o cladt hefr a m e  i n bits of Somali s hi p w re cks, asthe eq u iv al e nt of st on e-w ashe d jeans ,” g r in s De Gra af. “B u twe  were t ol d that  t hesto ne-wa s hedlook w as going  outo f fashion.” In s tead, big sla b so f  b l ackcon crete envel op t h e of fice s ,whi c h ris e atei t he r  end of the buildin g,  befor e spa nning like agreat brid g e above th e ga r ga n tuan “creative  nucl eus” at th e  centreof th e comple x.



Con c e ived asa c ont emp ora r y  t urbine hall o f deni m,  this v ast  spaceisanair y w or ld of dou ble andtr ip le -h eig ht st u dios, al lcon ne cte d ons plit l evels  inabi g  op en-plan sh u f fle.  E nt icin g v ie ws ar e fr a med  betwee n departm ent s  offi na nce and  fashion, the  p attern-cut ti ngand je a n s-sculpt ing on show for all tos ee, whi lefelt- line d walls e nsu re a r ema r kablysoft a coust ic  fo r sucha n  i mme ns e shed.

S tag gered  s tudi os … th e open-plan hall f e atu res split lev els  ofo f fi ces an d  de si g n d e p artments. Photo graph: OMA /G - St ar Raw Pho t ogr ap h: OMA/ G-StarRaw
“ They ga ve us the  model of  a n ai r c raf t hangar,”  says De  Graaf. “ B ut I' m  n ot su rethey e xp ect ed us  to ta k e i t qui te soli terall y.” O ut side, arow of four-storey high  glass  door s,sourced f rom a h angar man ufac turer, lin esthe  prin cip l e ele vati o ntow a rds t he h i ghway, fo r mi nga mo numental sl i d i ngscree n w h ich ca n be  entirely drawn b a ck for eventsandf a shi ons hows  o n the forecour t.Be t w een this  s creen and t he inter na l  stag geredfacade  is wha t th e  compa ny c all s its “Ra w s pa c e”, a 2 0m -h i gh “fl exib le ” zone  which feel s ,  now built, like  a bi t of au sel ess l ef tover f r om t he biggerconceptualidea –  a
 says_Reinier de_Graaf, the OMA partner_who led_the_project. “You_engage_with a brand_so intimately that_the brand takes over_you.”



Decorated shed …_sliding_hangar doors can open up the entire northern elevation. Photograph: OMA/G-Star Raw Photograph: OMA/G-Star_Raw

The_resulting building_is_as_close to a physical manifestation_of the Raw brand image_as you_could get, without using pre-crumpled columns of heavily_starched_denim. Floors are_aluminium and white resin, while hefty steel trusses zig-zag_through the rooms, everything held together_with exposed brackets_and_bolts._All that's missing is_the smell of engine oil and_a techno backing track.

“Our initial idea_was to clad the frame in bits_of Somali shipwrecks, as the equivalent_of stone-washed jeans,” grins De_Graaf. “But_we were told that the_stone-washed look was_going out_of fashion.” Instead,_big slabs of black concrete envelop_the offices, which_rise at either end of the_building,_before spanning like_a_great_bridge above_the gargantuan “creative_nucleus”_at the_centre_of the complex.



Conceived as a contemporary_turbine_hall of denim, this vast space is_an airy world of_double_and triple-height studios, all_connected on split levels in_a big open-plan shuffle. Enticing views_are framed_between departments_of finance and fashion, the pattern-cutting and jeans-sculpting on show for_all to see, while felt-lined walls_ensure a remarkably soft_acoustic for_such_an immense shed.



Staggered_studios_… the_open-plan hall features split levels of offices_and design_departments. Photograph: OMA/G-Star Raw Photograph: OMA/G-Star_Raw

“They gave us the_model_of an aircraft hangar,” says De_Graaf. “But I'm not sure they_expected us to take it_quite_so_literally.” Outside, a row of_four-storey high glass doors, sourced from_a hangar manufacturer,_lines the principle elevation towards the highway,_forming_a monumental sliding screen which can_be_entirely drawn back for events and_fashion_shows_on the forecourt. Between this_screen and the internal staggered facade_is what the company calls its “Raw space”, a_20m-high “flexible” zone_which feels, now built, like_a_bit_of a useless leftover from the bigger conceptual idea –_a