2013年，國家主席習近平提出共建 “絲綢之路經濟帶”和 “21世紀海上絲綢之路”，將中國傳統絲路精神進一步延續，形成了現代新時期背景下的“一帶一路”。

In 2013, President Xi Jinping proposed to jointly build the “Silk Road Economic Belt” and the “21st-Century Maritime Silk Road”, which further continued the traditional Chinese Silk Road spirit and formed the “Belt and Road” under the background of the new modern era.

“一帶一路”倡議框架中，以中國西南為起點，中國與老撾、泰國、緬甸等國家建立雙邊合作機製，通過增設中老鐵路、中泰鐵路等基礎設施建設實現區域內互聯互通，形成中國-中南半島經濟走廊。作為該經濟走廊通道中的重要工程，中老鐵路曆時5年建設，已成功於2021年12月3日正式通車。

In the framework of the “Belt and Road” initiative, with Southwest China as a starting point, China has established bilateral cooperation mechanisms with Laos, Thailand, Myanmar and other countries, and realized intra-regional interconnection through infrastructure construction such as the China-Laos railway and China-Thailand railway, forming China- Indochina Economic Corridor. As an important project in the economic corridor, the China-Laos Railway has been under construction for 5 years and has been officially opened to traffic on December 3, 2021.

中老鐵路通車儀式宣傳片©《人民鐵道》公眾號

Promotional video for the opening ceremony of the China-Laos Railway ©《人民鐵道》

https://mp.weixin.qq.com/s/9WOjKESU6Bmc4t7rRiv1bw

01 大 國 製 造 The Design background

中老鐵路是首條以中方為主投資建設、全程采用中國標準並與中國鐵路網直接連通的跨國鐵路，也是中國“一帶一路”倡議與老撾“變陸鎖國為陸聯國”的戰略對接項目。線路自中國昆明始發，連接至老撾萬象，全程由昆明-玉溪段、玉溪-磨憨段、磨憨-萬象段三部分組成。

The China-Laos Railway is the first transnational railway to be invested and constructed by China, adopting Chinese standards throughout the entire process and directly connecting with the Chinese railway network. It is also a strategic docking project in China’s “One Belt One Road” initiative to “turn a land-locked country into a land-linked country”. The line starts from Kunming, China, and connects to Vientiane, Laos. The whole journey consists of three parts: Kunming-Yuxi Railway, Yuxi-Mohan Railway, and Mohan-Vientiane Railway.

∇ 中老鐵路線路圖及玉磨段沿線站點 Route map of China-Laos railway and stations along the Yumo section

西雙版納站，為玉溪-磨憨段鐵路的中間站，站房建築及室內設計由CCDI悉地國際全專業傾力合作完成。站房規劃總規模為5台12線，整體形式屬於側線下式大型站。

Xishuangbanna Station is the intermediate station of the Yuxi-Mohan railway. The architectural and interior design of the station building are completed by the full-professional team of CCDI. The planned total scale of the station building is 5 stations and 12 lines, and the overall form is a large-scale station under sideline.

∇ 站房分類示意圖 Schematic diagram of station building classification

∇ 側線下（下進下出）型

∇ 線側平（下進下出）型

∇ 線上式（上進下出）型

中老鐵路的建成，意味著以中國標準成型的高鐵線路製造體係形成了一套完整的海外輸出。作為沿線站房建築和室內設計，設計者也應秉持大國戰略與地域特色兼具的視角，做到二者相融且互相尊重。

The completion of the China-Laos Railway means that a high-speed rail line manufacturing system shaped according to Chinese standards has formed a complete set of overseas exports. As the construction and interior design of station buildings along the line, designers should also adhere to the perspective of both the strategy of a major country and regional characteristics, so that the two blend and respect each other.

02 靈 動 版 納 architectural design

雲南省境內西雙版納傣族自治州，地處熱帶北部邊緣、氣候暖濕，獨特的熱帶雨林風光滋養出茂密的原始森林、亞洲野象、多彩孔雀，還有擁有著千年曆史的傣族特色村寨與寺廟佛塔，使其天生帶有一層神秘的地域印象麵紗。

Xishuangbanna Dai Autonomous Prefecture in Yunnan Province is located on the northern edge of the tropics with a warm and humid climate. The unique tropical rainforest scenery nourishes dense virgin forests, Asian wild elephants, colorful peacocks, as well as a thousand-year-old Dai villages and temple pagodas , So that it is born with a layer of mysterious regional impression veil.

∇ 西雙版納風情/圖源來自網絡 Scenery of Xishuangbanna/ The pictures come from the Internet

西雙版納站房作為側線下式大型站，整體按照主體1層、兩側2層和地下局部1層規劃，建築空間結構劃分為候車廳、售票廳、進出站通道、出站廳、貴賓室等公共交通功能空間。

Xishuangbanna Station, as a large-scale sideline station, is planned as a whole based on the first floor of the main body, 2 floors on both sides and 1 floor underground. The building space structure is divided into waiting halls, ticket halls, entry and exit passages, exit halls, VIP rooms and other public transportation Functional space.

∇ 站房空間結構-軸測圖 Axonometric drawing of station space structure

作為我國為數不多熱帶雨林氣候地域的高鐵站房，西雙版納站總建築麵積1萬㎡，設計以“孔雀”代表元素為靈感，衍生出“雀舞彩雲、靈動版納”理念。

The Xishuangbanna Station has a total construction area of 10,000 square meters. The design is inspired by the representative elements of “peacock”, which derives the concept of ” peacocks dancing with colorful clouds”.

∇ 車站全貌/航拍視角 Aerial view of the station

∇ 車站全貌/正麵視角 Overall view of the station

站房建築設計萃取當地少數民族建築特色，形成對稱中軸，其屋簷由中部向兩側舒展外挑，端部簷口起翹向上形成大開大合的入口空間，即彰顯了地方文化符號，又保持了高鐵站房作為地方門戶的視覺獨特性。

The architectural design of the station building extracts the architectural features of local ethnic minorities and forms a symmetrical central axis. The eaves are stretched out from the middle to the sides, and the end cornices are upturned to form a large opening and closing entrance space, which not only highlights the local cultural symbols, but also maintains the visual uniqueness of the high-speed rail station building as a local gateway.

∇ 車站大廳正立麵近景 Close view of the station hall

∇ 車站全貌/側麵視角 Side view of the station

沿著入口八字造型，可以看到建築表皮簷口底板及柱式，均采用白色金屬板材料，形成極富現代語言的色彩與材質搭配，賦予作為高鐵站房意義的時代氣息。

Along the eight-character shape of the entrance, you can see that the building’s cornice bottom plate and column style are all made of white metal plate materials, which is full of modern flavor.

∇ 八字造型簷口底板及柱式 Entrance to the station hall

03 室 內 印 象 Interior design

西雙版納站室內設計，秉持打造：尺度親和、視覺觀感整潔、出行體驗舒適的設計三原則，從工藝、材料、配色、細節功能等維度，積極創新，突破了常規國內高鐵站固有的標準化室內設計模式。

The interior design of Xishuangbanna Station adheres to the three principles of friendly scale, clean visual perception, and comfortable travel experience. It actively innovates from the dimensions of craftsmanship, materials, color matching, and details and functions, breaking through the inherent standardized interior design mode of conventional domestic high-speed railway stations.

在空間設計方法上，拋卻裝飾邏輯窠臼，采用室內外空間一體化導向，以空間形態功能反推形式，構築曲線架構滿足建築&室內空間融合。

In terms of space design method, the design abandons the logic of decoration, adopts the integrated orientation of indoor and outdoor space, and constructs a curved structure to meet the integration of architecture and indoor space.

∇ 車站大廳-室內天花推導分析圖 Analysis diagram of indoor ceiling design

∇ 車站大廳-空間推導模型 Derivative model of interior design

候車大廳頂部天花，以八字鋼肋順應建築結構桁架體係，整體采用平行布置，使用簡潔的梭形造型語言與建築屋頂造型相協調，序列層次感十足。天花肋骨細部借鑒地方文化代表色係，以“版納金”點綴其中，與建築主色調形成內外呼應，並有打破通體白色的視覺乏味感，與照明、暖通等設備功能相契合。

The ceiling on the top of the waiting hall uses eight-shaped steel ribs to conform to the truss system of the building structure. The overall arrangement is parallel to coordinate with the shape of the building roof, and the sequence is full of hierarchy. The details of the ceiling ribs draw on the representative color system of local culture and embellish them with “banna gold”, which echoes the main color of the building internally and externally, breaking the visual boring feeling of white, and matching the functions of lighting, HVAC and other equipment.

∇ 車站大廳 Waiting hall

進站大廳采光部分直接引入了自然光線，但局部為了滿足照明需求，人造光源采用LED照明，並沿著屋頂桁架線性分布。色相溫暖的“版納金”，在人造光源的映襯下、遇到了明媚溫暖的自然天光，形成流線視覺。

The entrance hall directly introduces natural light. In addition, in order to meet the lighting needs, the artificial light source adopts LED lighting and is linearly distributed along the roof truss. The warm hue of “Banna Gold” meets the bright and warm natural daylight against the artificial light source, forming a streamlined vision.

∇ 車站大廳天花軸線 The ceiling axis of the waiting hall

中軸對稱的天花軸線，在視覺盡頭形成了“孔雀開屏”的放射弧線聯想，凸顯西雙版納地域“靈動”元素，體現出高鐵站房室內空間現代性與地方民族性的平衡。

The axially symmetric ceiling axis forms a radial arc association of “peacock spreads its tail feathers” at the end of the vision, highlighting the “smart” elements of Xishuangbanna, and reflecting the balance between the modernity of the interior space of the high-speed railway station and the local ethnicity.

∇ 車站大廳細部配色設計 Detailed color design of the station hall

在室內用材上，為了減輕交通功能空間中人群聚集產生的嘈雜，天花設計多采用了穿孔吸音鋁板，將有效吸聲降噪。

For indoor materials, in order to reduce the noise caused by crowd gathering in the traffic function space, the ceiling design uses perforated sound-absorbing aluminum panels, which will effectively absorb sound and reduce noise.

∇ 車站大廳進站/乘車安檢區遠景 The far view of the station hall entrance/security check area

∇ 車站大廳進站/乘車安檢區近景 The close view of the station hall entrance/security check area

出站大廳結合當地有利的光照條件，為來訪者營造出通透、明亮、自然的空間體驗。地下通道以“版納金”色彩線條作為視覺引導，將民族元素融入空間細節，希望為來訪者帶入印象深刻的空間特征。

The exit hall combines the favorable local light conditions to create a transparent, bright and natural space experience for visitors. The underground passage uses the “Banna Gold” color line as a visual guide, incorporating ethnic elements into the space details, hoping to bring visitors into an impressive space.

∇ 地下通道 the underground tunnel

∇ 站台雨棚 Platform

西雙版納站及其所屬中老鐵路的建成、承載著“一帶一路”的美好願景，不僅對中老沿線區域產業經濟的快速發展具有重要意義，未來還將作為泛亞鐵路的重要組成部分，成為中國影響力輻射東南亞、連接東盟的一個全新起點。

The completion of Xishuangbanna Station and its affiliated China-Laos Railway is not only of great significance to the rapid development of regional industrial economy along the China and Laos, but will also be an important part of the Trans-Asian Railway in the future, becoming a new starting point for China’s influence to radiate Southeast Asia and connect with ASEAN .

交通亦是促進城市發展的源動力，高鐵時代下，現代站房的建成、更是對其沿線城市的人口流動、產業布局、旅遊經濟發展等都有著極大的帶動作用。

Transportation is the source of power to promote urban development. In the era of high-speed rail, the construction of modern station buildings will greatly promote the population flow and tourism economic development of cities along the route.

作為西雙版納站設計方、中老鐵路建設的參與者，西雙版納高鐵站的竣工通車不僅標誌著CCDI卝智室內團隊又添一裏程碑式代表作，也將為室內交通類項目的未來布局延伸、拓展更多可能性。

As the designer of Xishuangbanna Station and a participant in the construction of the China-Laos Railway, the completion of Xishuangbanna Station not only marks the addition of a landmark masterpiece to CCDI Beijing Interior Design Center, but also expands more possibilities for the future layout of indoor transportation projects.

∇ 項目立麵圖/剖麵圖 Elevation/section view of the project

項目信息

項目名稱：中老鐵路-西雙版納站室內設計
建築設計團隊：CCDI悉地國際 軌道交通產品直屬建築團隊
結構設計團隊：CCDI悉地國際 北京結構設計中心
室內設計團隊：CCDI悉地國際 卝智室內設計中心
聯係郵箱：GWdesign@yeah.net
項目設計 & 竣工時間：2021.5-2021.12
室內主創及設計團隊：室內主持設計：李秩宇 室內設計團隊：董宇曦、張洲文、王歡、莊緒峰
項目地址：雲南省，西雙版納傣族自治州，景洪市
設計麵積：建築10,000㎡ / 室內8,000㎡
攝影團隊：張陽
業主單位：中國國家鐵路集團有限公司（昆明局）
室內主要用材：蜂窩鋁板、鋁條板、花崗岩

Project name：Interior Design of Xishuangbanna Railway Station
Architectural design unit：CCDI Rail transit construction team
Structural design unit：CCDI Beijing Structural Design Center
Interior design unit：CCDI Beijing Interior Design Center
Contact e-mail：GWdesign@yeah.net
Design year & Completion Year：2021.5-2021.12
Interior design team：Leader designer: Li Zhiyu Team: Dong Yuxi, Zhang Zhouwen, Wang Huan, Zhuang Xufeng
Project location：Jinghong City, Xishuangbanna Dai Autonomous Prefecture, Yunnan Province
Design area：Construction area of 10,000㎡, interior design area of 8,000㎡
Photo credits：Zhang Yang
Owner unit：China National Railway Group Limited（Kunming Railway Bureau）
Materials used in the project：Honeycomb aluminum plate, Aluminum strip, Granite

The post CCDI悉地國際 | 中老鐵路-西雙版納站室內設計 first appeared on 設計風向.

QUCESS新作║ 紹興水木蒲絨酒店 ║融入煙雨江南的朦朧氣息–至美自然！

“最好的建築是這樣的

我們身在其中卻不知道

自然在哪裏終了

藝術在哪裏開始—林語堂”

01 「聚焦山水最深處 尋覓煙雨最濃時」

一川煙草║滿城風絮；溫婉綽約║ 林下之風；

聽歌飲酒║劃船賞雨；如詩如畫║ 此為紹興；

水木蒲絨酒店位於紹興·水木灣區科學園區地處紹興市中心城區，緊鄰迪蕩湖，周圍公園綠脈環伺，整個酒店沉浸在「文墨氣息」的花園中。

設計師以城市的「閑雲、飛鳥、陽光、清風 」作為空間背景，將城市的雅韻、朦朧感滲透在每一寸光線中，無形之中，賦予一種自然的力量，希望人們踏入這個場所時，能收獲到城市文化帶來的愉悅感和小確幸，感受慢節奏的居住體驗。

02 「山巒疊翠入雲端 薄霧群繞層林染」

║藏在雲端的人間仙境║

║俯瞰城市的來來往往║

∇ 山巒疊翠 | 酒店餐廳

餐廳選用朦朧的綠色作為空間主色調，宛若這座城市上空一塊清雅的翡翠，映射著這座城市的寧靜與舒適。金屬材質的應用讓餐廳的輕奢、高級感呼之欲出。整體營造出清新自然、舒適休閑、時尚輕奢的聚餐氛圍。

「竹林疏影￤山巒疊翠」

「閑庭漫步￤萬物虛靜」

享空氣之清新￤品食材之鮮美

此為設計師所想

一半情懷￤一半情調￤花開花落￤雲卷雲舒￤

「如今酒店的意義早已超越了單純的落腳之地

在提供探索陌生城市棲息之所的同時

酒店充滿心思的設計感與不斷豐富的文化藝術內涵

也在激發著越來越多人的好奇心

讓身心在充滿藝術氣息的氛圍中得以放鬆」

03 「繁葉深處最紹興 閑居雅宿慢時光」

║輕陰閣小雨，深院晝慵開║

║坐看蒼苔色，欲上人衣來║

「庭院深深￤裏弄小巷」

「粉牆黛瓦￤青石板路」

每一處景致都充滿了濃鬱的江南閑居雅宿

好不愜意

∇ 閑居雅宿 | 接待廳

正如甘地所說，生活有很多東西，比一直追趕更重要。There are many things in life that are more important than chasing.

∇ 閑居雅宿 | 走廊

客房部分，位置得天獨厚

醉人的城市天際線，全玻璃落地窗，

感受拂曉與日落，

設計師做的隻是

「 一抹精致搭配幾處清雅 」

∇ 閑居雅宿 |  客房

暖色的光源，灰色格紋地毯，金屬材質，一件件細小元素，描繪出江南酒店的完整畫卷又在更為宏大的城市曲序中勾畫出靈動的一筆。

精致與匠心的濃縮，讓這裏不僅僅是個酒店，也是科學園員工加班休閑、接待好友、聚會的場所；更是工作會客的客廳、書房和洽談室。門與門，門與櫃的巧妙間隔設計，每件家具，每件用品無不陳述著這家酒店的精致和匠心。

∇ 閑居雅宿 | 客房衛生間

尺度舒適的衛生間，高品質的睡眠和盥洗用品，極大地提升住宿舒適感。浴缸臨窗而設，滿足年輕人愛打卡拍照的需求，又極具儀式感，以充滿視覺享受的手法，刻畫都市獨有的衝擊感。

∇ 平麵 |34F餐廳平麵圖

∇ 平麵 |30-33F客房平麵圖

項目信息

項目名稱：紹興水木蒲絨酒店
項目麵積：約5000㎡
設計指導：李怡明、呂翔
主案設計師：王學麗
室內設計團隊：馮浩林、李亮 、史學軍、付鑫
軟裝設計團隊：胡琨、羅雲
現場負責：謝垚、王海申
完工時間：2021年5月
項目攝影：陳軍

The post 清石設計 | 紹興水木蒲絨酒店 first appeared on 設計風向.

對於國內新商業業態而言，輕醫美還屬於一個“新物種”。但醫美已成為Z世代的生活必需品，構成和豐富Z世代精神生活的一部分。Z世代作為推動新興商業發展的主流群體，他們的群體喜好和消費習慣深刻地影響著商業的迭代方式和創新方向。

For new domestic commercial formats, light medical beauty is also a “new species”. But medical beauty has become a necessities of the Z generation, constituting and enriching a part of the spiritual life of the Z generation. As the mainstream group that promotes the development of emerging businesses, Generation Z, their group preferences and consumption habits have a profound impact on the iterative method and innovation direction of business.

1.Z世代新興快時尚 A new destination for Gen Z

Z&BEAR是針對Z世代新消費需求而生的，涵蓋了水光便利店、黑科技baby光、熱瑪吉等多種項目。滿足了多年齡層段的人們對於美的探索。追求美與自由，輕盈靈動不可捉摸，這種表皮下往往是愈發堅韌沉著的內質，從誕生開始就不遺餘力致力於女性的全球快時尚輕醫美品牌。

Z&BEAR品牌聯合MOOTHAN. Design末染設計打造的Z&BEAR首個全國水光便利店旗艦店，位於武漢最美麗、最摩登、最有腔調和情調的楚河漢街。

Z&BEAR was born in response to the new consumer needs of the Z generation, covering a variety of projects such as Shuiguang convenience store, black technology baby light, and Remag. It satisfies the exploration of beauty for people of many ages. Pursuing beauty and freedom, lightness and agility are unpredictable. This kind of skin is often more tough and calm. Since its birth, it has spared no effort to devote itself to women’s global fast fashion and light medical beauty brand.

Z&BEAR’s first national flagship store of water light convenience store, created by Z&BEAR brand and MOOTHAN.

∇ 地理位置 Geographical Location

∇ 外立麵一角 A corner of the facade

當代女性在科技美容領域是一場驚人的現象級集體消費。對外表的極致關注和維護的背後實則並非單純的消費主義其本質而言實則是當代女性主義的甚囂塵上。由反男權到反父權到回歸性別的類型觀察與自我釋放。女性主義的觀念進化至今已然釋放了橫亙在性別之上的’性別習俗’並進入本質上性別的自我認可。

Contemporary women are an amazing phenomenon-level collective consumption in the field of technological beauty. Behind the extreme attention and maintenance of appearance is not pure consumerism, but in essence, it is the uproar of contemporary feminism. From anti-patriarchy to anti-patriarchy to return to gender type observation and self-release. The evolution of the concept of feminism has so far released the “gender customs” that lie above gender and entered the self-recognition of essentially gender.

∇ 店鋪入口 Shop entrance

2.4層樓高的“盲盒”外立麵 4-storey blind box-featured facade

設計師利用外立麵的尺度優勢，打造了一個4層樓高的，由一個個“盒子”構成的盲盒版外立麵，整齊有序，讓品牌在整個街區中顯得格外突出，像等待打開和探索的盲盒吸引著來往路人進店一探究竟。夜晚當燈光打開的時候，黃色的主色調足夠有辨識度，不僅吸引眼球，同也成為Z&BEAR品牌對外表達品牌態度的媒介。

The designer took advantage of the scale of the facade to create a 4-story building with a blind box version of the facade composed of “boxes”, neat and orderly, making the brand stand out in the entire block, like waiting The blind box opened and explored attracts passersby into the store to find out. At night, when the lights are turned on, the main color of yellow is recognizable enough to not only attract eyeballs, but also become a medium for Z&BEAR to express its brand attitude to the outside world.

∇ 門廳看向大廳空間 The foyer looks towards the lobby space

∇ 後區看向門廳 The back area looks towards the foyer

3.Z號艙——蛻變與新生“X Ark” — rebirth after doomsday

為了讓品牌和空間呈現完整的體驗感，設計師以“航空艙”為主題，用空間講述肌膚在重新建構這樣一個“蛻變與新生”的景象，Z號艙是所有美麗與改變的伊始，是Z世代的精神方舟，更是年輕人的新起點，一代代的觀點進化到今天呈現的普遍的男男女女哪怕僅自外表開始的一場龐大的自我建設。

In order to make the brand and space present a complete sense of experience, the designer uses the “aviation cabin” as the theme, and uses space to tell the skin about rebuilding such a scene of “transformation and rebirth”. Cabin Z is the beginning of all beauty and change. The spiritual ark of the Z generation is a new starting point for young people. The views of generations have evolved into today’s universal men and women, even if they only start from the appearance of a huge self-construction.

∇ 門廳空間 Foyer space

∇ 展示空間 Exhibition space

∇ 建築的交通樞紐 Building transportation hub

原場地分為上中下三層層狹長的空間，本著設計最原始的初衷，我們將空間進行高效的再利用，力求在空間中通過秩序、層疊的多層次空間關係來傳達獨屬Z&BEAR的“全新2.0時代”。

The original site is divided into three long and narrow spaces with upper, middle and lower floors. Based on the original intention of the design, we reuse the space efficiently, and strive to convey the unique Z&BEAR through the orderly and layered multi-level spatial relationship in the space. “The New 2.0 Era”.

4.輕微衝擊，依舊朋克 Slight impact, still punk

為了打破大廳超高層高給空間帶來的空曠感，也本著空間利用程度的最大化，設計師將原有挑高空間一分為二，卻也克製的隻用一半，在後半區造出了一座平台，使空間更有層次，更加的使用，加之電梯井的穿插，使得簡單的空間也多了一道宏偉。

In order to break the sense of emptiness brought to the space by the super high-rise hall, and to maximize the use of space, the designer divided the original high-rise space into two, but restrained only half of it, and built it in the second half. A platform is added to make the space more layered and more usable, and the interspersed elevator shaft makes the simple space more magnificent.

∇ 巨大的穿插結構，造就空間宏偉結構 The huge interspersed structure creates the grand structure of the space

空間中利用水泥板，還原拆除和剝離而呈現的原始裸露的混泥土梁柱，還原建築結構本來的狀態，在建築中重建，深色的啞光不鏽鋼，裸露的灰色水泥，在燈光和亮色的點綴下，初顯賽博朋克，顯得更酷、更潮、更未來。

Cement boards are used in the space to restore the original exposed concrete beams and columns presented by the demolition and stripping, and restore the original state of the building structure. Under the embellishment, cyberpunk is beginning to appear, which is cooler, more fashionable, and more future.

∇ 看向卸妝台 Look at the makeup remover

∇ 不鏽鋼換鞋櫃，幽暗的反射 Stainless steel shoe changing cabinet, dark reflection

如同主體空間的水泥質感並不指向粗粒，相反，水泥質地的調配有膚感般的細膩和精確，同時依然在整體上呈現出灰調的沉靜。玻璃與不鏽鋼鋼反射則強調上升的輕盈與靈透感。兩種截然不同甚至矛盾的質感彌合出整體空間的框架與戲劇性。

Just as the cement texture of the main space does not point to coarse grains, on the contrary, the cement texture is adjusted with skin-like fineness and precision, while still presenting a calmness of gray tone on the whole. The reflection of glass and stainless steel emphasizes the lightness and translucency of rising. Two completely different or even contradictory textures bridge the framework and drama of the overall space.

通過建構亮與陰翳，強及柔和的形式對撞來產生頗具戲劇性的商業空間體驗，通過硬朗冷靜的表象風格與充滿感性的空間觀念來試圖描述交織的內在的複雜度。

Through the construction of bright and cloudy, strong and soft forms of collision to produce a quite dramatic commercial space experience, through the tough and calm appearance style and perceptual space concept to try to describe the inherent complexity of the interweaving.

∇ 通往二樓，上下樓層貫通 Leading to the second floor, through the upper and lower floors

5.建築體量感通天結構

Building volume sense through sky structure

∇ 平台上的視角 Perspective on the platform

設計師在空間中設置了一個通高十多米的電梯井，穿過所有樓板，將所有樓層空間在視覺上統一為一個整體。同時圍繞著它旋轉的樓梯也成為了店內的打卡點和藝術裝置，自下而上仰望，拔地而起向上延伸，充滿力量感和未來感，科幻而神秘。

The designer set up an elevator shaft with a height of more than ten meters in the space, passing through all the floor slabs, and visually unifying all the floor spaces as a whole. At the same time, the stairs that revolve around it have also become the check-in point and art installation in the store, looking up from the bottom up, extending from the ground up, full of power and sense of the future, science fiction and mysterious.

∇ 二層空間 Second floor space

∇ 利落的線條分割開放的空間 The clean lines divide the open space

透明的玻璃扶手設置，模糊了空間之間的物理界限，人流湧動，激發著到店人們的探索欲，應接不暇、眼花繚亂，置身於一個無盡的探索空間之中。

The set of transparent glass handrails blurs the physical boundaries between the spaces, and the flow of people stimulates the desire of exploration of the people who come to the store. They are overwhelmed and dazzled, and they are in an endless space for exploration.

6.專屬“水光便利店”Exclusive “Shuiguang Convenience Store”

品牌LOGO選擇跳脫於空間的綠色來作為空間的主色調，收斂擔憂明快的綠色能夠令來訪者的目光長時間的駐足。

The brand LOGO chooses green that escapes from the space as the main color of the space, and the bright green can make visitors’ eyes stop for a long time.

這裏是消費者與品牌互動的窗口，是消費者發現美好，探索未知，表達自我的空間和平台，是用場景式的全新探索，是用超預期的體驗方式向用戶傳達品牌態度和品牌價值。

Here is the window for consumers to interact with the brand. It is a space and platform for consumers to discover beauty, explore the unknown, and express themselves. It is a new exploration in scenes and an experience that exceeds expectations to convey brand attitude and brand value to users.

∇ 與傳統美容場所的迥異的空間形式 The space form is very different from traditional beauty places

治療區間是完全封閉的私密區域，因此，公區作為過渡帶被賦予一定的可視性。並通過這種對外可視的透明性來建立訪客及消費者對該場所操作技術的信任。

∇ 空間軸測圖 Axonometric drawing

末染設計此次透過品牌文化、空間性質等，將一層層元素特性串聯組合，帶給新的空間以全新的排列方式。由點至麵，從大至小都清晰的訴說著一脈相承的空間邏輯性。空間的語言，訴說的情緒，想表達的事物都是末染從一而終在努力做的設計方向。在此次空間創作中，將品牌文化、功能至上、結構突破、藝術氣質集於一體，使得空間通過簡約純粹的手法表達，得到更多的自由與釋放。

未來Z&BEAR品牌還將持續給市場和消費者帶來驚喜，讓我們一同期待……

Through the brand culture, space nature, etc., MOOTHAN. design combines layer-by-layer element characteristics in series to bring a new arrangement to the new space. From point to surface, from big to small, it clearly tells the spatial logic of the same line. The language of the space, the emotions that I want to express, and the things I want to express are all the design directions that Ender has worked hard to do from the beginning to the end. In this space creation, the brand culture, function supremacy, structural breakthrough, and artistic temperament are integrated, so that the space can be expressed in a simple and pure way and get more freedom and release.

In the future, the Z&BEAR brand will continue to bring surprises to the market and consumers, let us look forward to…

項目信息

項目名稱：張小熊輕醫美
Project Name: Z&BEAR
項目類型：商業空間
Project type: commercial space
項目麵積：300m²
Project area: 300M ²
項目位置：湖北·武漢
Project location: Wuhan·Hubei
主案設計：孟飛/末染設計
Main design: Meng Fei / MOOTHAN. design
深化設計：王鵬宇/末染設計
Detailed design: Wang Pengyu / MOOTHAN. design
燈光設計：三宜·想天照明設計
Lighting design: Sanyi xiangtian lighting design
項目攝影：RICCI空間攝影
Project Photography: Ricci space photography
完成時間：2021.11
Completion time: 2021.11

The post 末染設計 | 武漢張小熊快時尚輕醫美 first appeared on 設計風向.

新鄉，古稱牧野，與鄭州隔河相望，是中原地區重要城市之一，融創文旅集團在國內建設的第11座文旅城就坐落於此。建築設計大膽采用9個聚散的立方體構成三個組團，巨大尺度的建築體塊如冰塊一般落於靜水景觀界麵上。

Xinxiang, known as Muye in ancient times, is one of the important cities in the Central Plains, facing Zhengzhou across the river. Besides, the 11th Cultural Tourism City built by Sunac Cultural Tourism Group in China is located here.The huge-scale building sets like ice cubes on the water and consists of three large clusters of 9 small cubes.

∇ 冰雪城市地標

照明設計由PROL光石操刀，延續“探索光的隱性價值”設計理念，勾勒出中原地區冰雪感觀的城市藝術地標。

All of the lights here are designed by PROL, who further extends the design concept of exploring the hidden value of light to work out the urban artistic landmarks in the Central Plains, namely the winter wonders.

 《冰雪奇緣》的靈感釋放 The inspiration of the Frozen

PROL光石憑借對光影的極致運用，通過照明的主動思考和介入，打破冰盒子建築體式日間的清冷形象，魔法般的將夜間的“大冰塊”幻化為浪漫夢幻的童話世界，呈現出建築的多樣姿態和無限可能。

With the extreme use of light and shadow, PROL actively thinks about the arrangement and combination of various lights, so that the designer breaks through the inherent form of isolated ice box during the day, and magically turns the “big ice block” at night into a romantic fairy tale, showing the diverse styles and infinite possibilities of architecture.

∇ 設計靈感《冰雪奇緣》©圖片源自網絡

∇ 燈光設計抓取《冰雪奇緣》夢幻主題色

照明設計從建築場地關係和建築直觀感受作為切入點，希望通過對“冰”和“雪”概念的重新塑造，用燈光激活“大冰塊”的夜間形象。

The lighting design is based on the intuitive feelings of the building and its relationship with the building, through the reconstruction of the two concepts of ice and snow, so as to achieve the effect of highlighting the shape of large ice cubes with the lighting.

設計師將燈光設定在整體3-5倍亮度於周邊環境，並將其自下而上提高並集中。融合“冰雪奇緣”的趣味聯想，突破冰雪傳統的冷白顏色，讓燈光向更豐富的色彩發散，傳遞出冰雪世界的浪漫、精致與歡樂。

The lighting is set to 3-5 times the overall brightness of the surroundings, gradually raising and converging from bottom to top. Combined with the interesting association of Frozen, PROL breaks through the traditional cold white color of ice and snow, allowing to radiate more colorful lights to convey the romance, exquisiteness and joy of the ice and snow world.

∇ 堆砌的冰塊

∇ 照明設計手稿   ©PROL光石

∇ 建築照明解析   ©PROL光石

∇ 輕盈通透的大冰塊

城市建築的疏離與親近The alienation and closeness of urban architecture

建築外立麵采用數碼打印玻璃技術，日間，白色冰塊相互疊加的建築形式清冷高級，錯落有致。在碩大的立方體之間，半透明的冰晶玻璃立麵可以過濾光線和內部視野，時隱時現。

The façade of the building adopts digital printing glass, which distributes color on white ice cubes during the day, making the building look cool and stylish. Among the huge cubes, the translucent ice crystal glass façade has a hidden visual effect that effectively filters light and interior structure.

夜晚，燈光讓日間清冷的冰塊變身夢幻的冰雪童話世界，光線透露出的視覺感受帶給人們驚喜感和探索欲。

At night, the light turns the daytime cold ice cubes into a fantasy wonder fairy tales. The visual atmosphere created by the light brings endless sense of surprise and desire to explore.

∇ 建築日景 清冷高級

∇ “點亮”的大冰塊

∇ 建築夜景 浪漫夢幻

∇ 大冰塊“清冷”與“溫暖”

為了保持建築外立麵的完整通透，設計師在燈光處理上極盡細節，將燈具安裝位置與建築幕牆維修馬道相結合，借助內打光的形式表現數碼打印玻璃上的霜花彩釉，用逐層照亮的手法還原每個“冰立方”的整體感和通透感，創造了顯與隱、內與外的協調與平衡。

Taking into account the placement of the lighting fixtures and the maintenance path of the building’s curtain wall, the designer tried his best to show all the details the lighting could provide, and finally used the form of internal lighting to highlight the frosted glaze on the digital printed glass. In addition, the designer restored the overall texture and transparency of each Ice Cube by using layer-by-layer lighting, showing the coordination and balance between appearance and formlessness, interior and exterior.

∇ 立麵照明

∇ 藍白色的極地冰雪世界

∇ 夢幻的冰雪奇緣

考慮到夜間內透光對立麵照明效果產生的影響，設計師解構不同角度下豐富的冰霜凝結圖案和外部視覺焦點，經過反複實驗和精心設計，以精湛的技藝呈現出大冰塊均勻流暢、內外平衡的燈光效果。

Given the effect of light transmission at night on the facade, the designer deconstructed various patterns of frost condensation and external visual focal points from different angles. Experienced designer has designed a large ice cube with uniform and smooth lighting effects that are balanced inside and outside after repeated experiments.

∇ 照明設計解析 | 內部實體立麵可見位置

∇ 內外平衡的燈光

燈光色彩上也嵌入了設計師的大膽巧思，除了選用冰雪固有印象的藍白色調，也從冰花折射的虹彩裏抓取藍紫色調區間，契合冰雪奇緣的燈光設計主題。夢幻甜蜜的色彩以緩慢流動的形式在立方體上暈染調和，配合不同時間的需求，以燈光設計的角度突出文旅城商業營銷所需的歡樂場景。

The designer cleverly applied specific lighting colors to match the theme of Frozen. Not only did he choose the blue and white tones that are inherent to the impression of ice and snow, but also captured the blue and purple tones reflected from the ice flowers. Dreamy and sweet colors flow slowly on the cubes, reflecting each other, which to some extent highlights the theme of the founding of happy cultural tourism city.

∇ 平日 | 全部白色

∇ 平日 | 全部藍色

∇ 周末 | 藍色&紫色變化

在燈光調試階段，很多在廣場上玩耍的小朋友停下來發問“這是艾莎公主的城堡嗎？”設計師恍然發現，除了直觀的視覺美感外，光的隱性價值帶給人們最初的感動和歡樂是不分國界、不分年齡的。

During the lighting adjustment, are many children playing in the square, who are attracted by the lights and stop to ask curiously if this is Princess Aisha’s castle. The designer suddenly discovered that the hidden value of light not only has intuitive visual beauty, but also brings people an initial sense of touch and joy that has no boundaries or ages.

∇ “艾莎公主的冰雪城堡”

在孩子的世界觀中，拋開的理性的設計語言，流光溢彩的大冰塊更像是童話故事裏艾莎公主魔法揮動下拔地而起的冰雪城堡，這不也正是成年人對自然、歡樂、童話的追求與思考嗎？

Let go of the rational design language, the glorious big ice block in children’s eyes is more like the ice castle raised from the ground by Princess Aisha’s magical wave. It is also the pursuit and thinking of adults for nature, joy, and fairy tales?

∇ 夢幻冰雪世界

“雲破山呈色，冰融水放光。”極具張力的大冰塊靜靜矗立在黃河北岸，成為城市嶄新的藝術地標，為中原地區帶來極寒氣候裏凝固的美好，PROL光石用光影魔法激發出大冰塊不同於日間的活力和夢幻，喚醒了每個人心中關於童話世界的浪漫與感動。

The clouds are scattered, the beautiful landscape. The ice is melting, with the water is sparkling. The large ice block with great tension has become a new artistic landmark of the city, standing quietly on the north bank of the Yellow River, bringing the beauty of freezing in the extreme cold climate to the Central Plains. The PROL with the magic of light and shadow, inspires the vitality and dream of the big ice building style which is different from the daytime, and awakens the romance and touch of the fairy tale inside each one of us.

∇ 現場地麵上的燈光顧問LOGO

項目信息

項目名稱：中原融創文旅城
地點：河南新鄉
時間：2021年
客戶：融創中國
用地麵積：28200㎡
照明設計：PROL光石 | www.prol.co
建築設計：理想建築設計事務所/鄒強 ( Zone Of Utopia/Qiang ZOU )+馬秋•福萊斯特建築事務所 ( Mathieu Forest architecte)
室內設計：WUZ Design
攝影團隊：TOPIA圖派視覺

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上海Halation Bistro/Lounge光暈餐酒館：歡迎光臨，您的宇宙小旅行即將開始

Halation Bistro/Lounge, Shanghai by RooMoo

人類每次正視自己的渺小，都是自身的一大進步。

——Frank Herbert《沙丘》

“Greatness is a transitory experience. It is never consistent. It depends in part upon the myth-making imagination of humankind. The person who experiences greatness must have a feeling for the myth he is in. He must reflect what is projected upon him. And he must have a strong sense of the sardonic. This is what uncouples him from belief in his own pretensions. The sardonic is all that permits him to move within himself. Without this quality, even occasional greatness will destroy a man.”

— Frank Herbert, Dune

世界深受各種危機的影響，

從終年不斷的環保問題，進而探索宇宙奧秘。

致力於可持續性的推動，是多麼困難。

如何為未來描繪出新的可能，

依舊是充滿好奇心的設計師們盡所能想嚐試的。

The world is deeply affected by various crises,

From constant environmental issues all year round to further exploration of the mysteries of the universe.

How difficult it is to commit to the promotion of sustainability.

How to explore new possibilities for the future,

It’s still what the curious designers do their best to try.

∇ 天花造型圖案和光暈 Ceiling pattern with lighting reflection

想象力就是一份超能力

Halation光暈，是天文學裏的一個迷人詞彙。

傳遞體驗、細致獨特、質感舒適、親切友善，

是上海Halation餐酒館的品牌價值。

Design Inspiration

Halation is a fascinating word in astronomy. Deliver experience, meticulous and unique, comfortable sense, cordial and friendly, and it is the brand logic of Halation Bistro/Lounge. Located in the central area of Shanghai, an affluent Jing’an neighborhood filled with tree-lined avenues and beautiful red-brick 800 Show (Creative Working Center and Show area), this is Halation’s first outpost of the brand.

∇ 座椅組團層次 Landscape of seating group

∇ 植草磚牆體和隔斷細節 Details of grass block pavers wall pattern

我們運用3713塊的植草磚，包覆了整個Halation，同時，以三種拚組設置於空間之內。15個大型無極燈，是廣義相對論中光都無法逃脫的黑洞。70塊金屬天花板麵拚出了對宇宙星際的無限想象，於其上懸掛了81支仿若行星及隕石的圓盤裝置。酒吧台被象征如日月盈缺的80片大小磚麵，以漸遞的方式完整的包覆。2個如旋鈕開關般的飛行酒架，啟動了由86支酒瓶所建造出的時間之門。

The design team used 3713 square-shaped grass block pavers to cover ‘Halation’ with three different combinations and patterns. The 15 large infinity mirror pendant lamps and 70 metal ceiling surfaces together spell out the infinite imagination of the universe and the interstellar, with 81 disc devices that feel like planets and meteorites hung on it. The bar counter is represented by 80 pieces of bricks, like the sun and moon, changing gradually. 2 wine racks like flying rotary switches activate the gate of time built by 86 wine bottles.

∇ 就餐和酒吧區全景 Dining and bar full view

∇ 中心和周邊卡座就餐區 Middle & side dining view

Halation綜合了咖啡區、酒水吧台區、中心就餐區、左右兩邊卡座區、廚房及衛生間，依據不同的使用需求，設計相對應的空間尺度，運用材料與環境之間的組合，劃分出各個區域，又以中心就餐區為主軸串聯了彼此。

Halation integrates the coffee area, the beverage bar area, the central dining area, the card seat area on the left and right sides, the kitchen, and the bathroom. According to different usage requirements, the two newly added pillars with six original ones divide the main space into four seating areas and one delivery corridor to keep each site corresponding privacy. Central dining area naturally as the main axis connects other four regions.

∇ 功能分析圖 Functional analysis

∇ 沿街入口視角

8個無極燈/ 頂麵弧形結構起到連接咖啡區和主入口的作用，同時兼具雨棚的作用

Facade view from the street

8 infinity lamps / Roof structure connect the entrance and coffee area

∇ 酒吧視角-頂上 Bar seat view- Top

∇ 卡座視角-底下 Card seat view- Bottom

活動的桌子滿足不同大小活動的可能性

攝影黑色吸光布包裹的柱體連接結構框景出不同相對私密的就餐區域

Movable table for different size events

Photographic light-absorbing cloth covering the original pillar frame structure to keep each seating area privacy

出發，來一場探秘的旅程吧！

以天文環境為概念的Halation，運用不同的裝置與藍牙控製全場燈光的方式，在不同時間的用餐模式下，為空間體現了十足的趣味與適當的燈光氛圍。

Installation & Lighting

With the concept of astronomical environment, ‘Halation’ uses different lighting Installations and BlueTooth to control the lighting effect of the whole site. Therefore, the various dining times reflect the diverse interest and appropriate lighting atmosphere.

∇ 無極燈造型細節和光效 Infinity lamps detail

咖啡區是一個直接對外的區域，兼顧了照顧外擺及外賣的功能，我們設置了共8個無極燈在入口處（6個）及操作區（2個），希望提供等待咖啡製作時，也能讓人對內部空間有著無限的遐想。

The coffee area directly faces the outside, considering the functions of taking care of the outdoor seating and food taking-out. The total of 8 infinity lamps at the entrance (6) and the operation area (2) can make people have unlimited reveries about the internal space.

∇ 咖啡接待窗口和連接的屋頂雨棚結構 Coffee window with circle connected roof

∇ 主入口視角-銅質站立高桌滿足客人等位時小喝一杯

Dining view from main entrance – lighting high table for guests waiting moment to have a little drink

鄰近主入口的酒水吧台區，是調酒師的主場，也是設計上對於時空流轉的表現之處。半弧形的三階層縱向酒瓶裝置，透過燈光的照射，綻放出一份留住時間的美感，2座大型的飛行酒架，提供了酒品的展示與擺放，卻好似成為了開啟時間更迭的旋鈕。

The wine bar area adjacent to the main entrance is the stage of the bartenders, and it is also the place where the design expresses the flow of time area. Through the illumination of the light, the half-curved three-level vertical wine bottle installation blooms a beauty of keeping time. The two sizeable flying wine racks provide the display of wine and seem to be the start of the time change.

∇ 就餐區的酒吧台視野-頂上 The view from middle dining area – Top

∇ 酒展示及陰晴圓缺的特製磚-底下Wine display and ceramic tile detail – Bottom

瓷磚圖案來自於Halation品牌Ceramic tile pattern from Halation brand

81支圓盤分布於中心用餐區的天花頂麵，我們希望從任何的角度，都能看到不同的樣貌，錯落的高低設置，暗喻了月亮陰晴圓缺的想象。並且以點、線、麵為基礎構思，運用RGB燈光顏色可編程及其能不斷變幻的特性，搭配圓盤組建為宇宙星盤的意象。

The 81 discs are distributed on the top surface of the ceiling in the central dining area. We hope that from any angle, we can see different appearances. The staggered settings of heights allude to the imagination of the cloudy and sunny moon. And based design logic of points, lines, and surfaces using RGB light color programmable and constantly changing characteristics, combined with the disc to form the image of the universe astrolabe.

∇ 頂麵天花思考 Ceiling idea

∇ 頂麵結構模型 Ceiling modeling analysis

如黑洞般凹陷的中心點與四邊如恒星般的變色光盤，連結排列於吊頂上的大小燈點，成為了行星帶的視覺，並且以燈光反射的原理，在頂麵形成光暈的視覺，呼應了Halation迷人光暈的初衷。

The sunken center point is like a black hole, and the star-like color-changing discs on the four sides are connected with the large and small spotlights arranged on the ceiling, which becomes the vision of the planetary belt. Also, the haloed image on the top surface by light reflection reflects the original intention of Halation.

∇ 燈光在夜晚的時候會變化成不同的光效模式去滿足不同的場景化需求 The lighting effect at night time and show time

每一個燈光通過藍牙係統均可以單獨調節，滿足未來運營的更多需求 Every single light can be controlled individually

向往宇宙奧秘的我們，為Halation製作了一座返回艙飛船裝置，增添了全場中心位置趣味的亮點。並且為了能夠提供該區域舞台及表演的多樣性使用，能夠輕易的搬移也是飛船重要的結構特性。

For adding an exciting highlight to the center of the venue, we have made a return capsule spacecraft device for Halation. And to be able to provide the diversified use of the middle area as stage and performances for routine and special activities, being able to move quickly is also an essential structural feature of the ‘spacecraft’.

∇‘飛行器’設計思路 ‘Spacecraft’ thinking idea

∇ ‘飛行器’製作過程和細節（綠色皮革，藍綠色紐扣和黑色金屬框架)

‘Spacecraft’ produce process and detail (Blue leather, Buttons and Black Frame)

∇ ‘飛行器’在苔蘚上’ Spacecraft’ standing on the moss

如果說，所有用餐區是一片天文學的想象，那麼暗藏於空間後端的衛生間區域，就是另一個小行星係。走入光線邃暗的走道，行星上的迎賓獸，安靜的等待所有走進的賓客，刻意將空間劃分為主使用區及等待區，錯開不同使用者的需求。相互對照的鏡麵，體現了無底黑洞的層迭效果，讓等待的時間，也有了非常有趣的感受。

Walking into the dark bathroom aisle, the welcoming beast on the planet quietly waits for all the guests who walk in, deliberately dividing the space into the main toilet area and the waiting area, matching the needs of different users. The contrasting mirror surfaces reflect the layering effect of bottomless black holes, which gives an exciting feeling in the waiting time.

∇ 衛生間通道盡頭視覺 The view of the end of the bathroom corridor

中心半圓形的結構為紙巾收集垃圾桶，桌麵上兩個側麵有側翻板滿足垃圾的投遞。

The circle middle structure is for wasted wet hand paper. Garbage disposal ports are located on both sides of the circular structure table.

∇ 衛生間走廊 Bathroom corridor

∇ 鏡麵反射效果 Mirror reflection effect

那些年，我們對於環境的用心

為了達到友善環境的目的，設計師決定降低新材料的開發成本，嚐試運用隱藏在生活環境中具環保性及可持續性的建材及素材。

Material & Environment friendly

To achieve the goal of a friendly environment, the design team decided to reduce the development cost of new materials and tried to use environmentally friendly and sustainable materials and materials hidden in the everyday living environment.

材料的選擇：尋找簡單、普通的材料

我們希望在材料的運用上，針對質量與造價上能有所平衡，所以選了具有環保性及低成本的植草磚，免燒磚的製程，達到環保生產的要求。並且選擇磚的既有本色，不增加製色工序，進行重組和疊加，提供更彈性的視覺條件，抗壓不易損壞，是針對可持續性材料上的最重要表現。

Material selection: look for simple and familiar materials

In response to environmental friendliness, we use reorganized and superimposed low-cost square grass block pavers to balance cost and quality. Its compressive resistance and not ease of damage is the most critical performance for sustainable materials.

∇ 卡座區域視角-3個不同組合方式植草磚牆麵和隔斷，抬高的階梯滿足此區域對中心舞台的視覺通透性

Card seat area – three different assemble way for grass block pavers wall and partition

∇ 植草磚隔斷細節-2個組合方式 Grass block pavers wall partition detail – two pattern

∇ 植草磚隔斷細節-半溝通隔斷 Grass block pavers wall partition detail – transparent assemble method

∇ 入口高吧桌等候和喝酒區 Entrance high table seat area – for bar and waiting people

即興的過程：偶然中的效果

針對天花頂麵的光暈反射的產生方式，是我們透過工地巡場時的啟發，將原本包裝燈具的鋁箔紙袋和打包現場各式建材的廢棄塑料膜，作為圓盤材料上的可持續性作法，對我們而言，美的畫麵也可以經由簡易材料的再創造，是環保議題上需要被重視的。

The process of improvisation: the effect of fortuitous

The production method of the halo reflection on the top surface of the ceiling is inspired by our site visits. The aluminum foil plastic bags used to pack the lamps and the waste plastic film used to pack all kinds of site materials are used as the disc materials. Sometimes, beautiful space can also be recreated by simple materials, which is an issue that needs to be taken all the time seriously.

∇ 天花反光盤細節-頂上 Ceiling disc detail- Top

∇ 天花反光盤細節-底下 Ceiling disc detail- Bottom

通過5次現場調節反光盤角度，滿足每個就餐區和位置沒有眩光，影響就餐

By 5 times site disc and spot lights adjustment to keep every seating point no light glare problem

∇ 現場清理垃圾-頂上Site waste materials – Top

天花圓盤製作材料和過程-底下 4副Ceiling disc materials – Bottom 4

對比的視覺：環保理念的發聲

圓盤的設計初衷，是一顆顆閃耀於宇宙星際中的行星群想象。而灰色鋁箔紙盤麵和具肌理感的金色塗料盤底搭配，卻是我們想要表述，在欣賞所有美麗事物的時刻，是否應該反思背後所可能產生的廢棄物代價？當設計開始朝著反思材料及建造方式的理念前進時，該如何運用與解決已存在的人造材料及廢棄物，也是一個需要被思考的議題。仰望浩瀚星辰的當下，是希望透過設計的表現，傳達對環境的保護。

Contrasting vision: the voice of environmental protection concepts

The original intention of the design of the disc is the imagination of a group of planets shining in the interstellar universe. But if the combination of the gray aluminum foil plastic plate can inspire people to appreciate all the beautiful things, whether they are at the expense of the environment. When the design direction begins to move towards rethinking materials use and construction methods, how to use and solve the existing manufactured materials and waste is also an issue that needs to be considered. Looking up at the vast stars now, the design team wishes to convey the protection of the environment through design performance.

∇ 平麵圖 Layout plan

∇ 天花結構圖 Ceiling structure plan

∇ 天花結構線框圖 Ceiling structure line plan

∇ 外立麵空間思路 Facade concept

∇ 酒吧空間思路 Bar concept

∇ 就餐區空間思路 Dining area concept

項目信息

項目名稱：上海Halation Bistro/Lounge光暈餐酒館
項目定位：上海靜安區常德路800秀2棟一層
項目麵積：360平方米
項目樓層：一層
商業形態：餐酒吧
項目客戶：Halation
設計團隊：RooMoo
建設單位：上海邑築裝飾工程有限公司
燈光顧問：歐羊（WOY）照明設計
項目攝影：Wen Studio
主要材料：棕色植草磚、噴色金屬、灰色鋁製塑料袋（包燈具）、灰塑料薄膜、黑色吸光布、定製圖案瓷磚

Project Name: Halation Bistro/Lounge, Shanghai
Project Location:800 Show, Changde Road, Jing’an District, Shanghai City, China
Project Area: 360 Square Meters
Number of Floors: 1
Business Attribute: Bistro/Lounge
Client: Halation
Construction Company:Yizhu Shanghai Decoration Engineering Co., Ltd
Lighting Consultant: WOY Lighting Design Co., Ltd
Photography: Wen Studio
Material: Grass Block Paver, Color Paint Metal, Aluminum Foil Plastic Bags, Waste Plastic Film, Studio Black Light-absorbing Cloth, Customized Pattern Ceramic Tile

The post RooMoo | 上海Halation Bistro/Lounge光暈餐酒館 first appeared on 設計風向.

人們常說的“大隱於市”，其實源於內心對樸素日常的趨往，對東方意境的追溯。

What people often call “great hidden in the city” actually stems from the inner tendency of simple daily life and the tracing of oriental artistic conception.

這是為一對年輕夫婦所做的私宅設計，設計理念自傳統中提煉出的東方意境出發，用中飽和度和對比度的橡木、微水泥材質主導空間材質，致敬傳統居所中“木”與“土”的元素。

This is a private house design for a young couple,The design concept starts with the oriental artistic conception extracted from the tradition, and uses medium-saturation and contrast oak and micro-cement materials to dominate the space materials, paying tribute to the “wood” and “earth” elements of traditional dwellings.

公共區域的頂麵和地麵材質設計為“視覺反轉”：上部做全木頂天花係統，與燈、空調風口一體化建構，使得視覺可以“踩” 在頂麵上；下部做微水泥係統，細膩、裸感、原始、透氣。

The top and ground materials of the public area are designed as “visual reversal”:The upper part is made of an all-wood ceiling system, integrated with lights and air-conditioning vents, so that the vision can be “stepped” on the top surface; the lower part is made of a micro-cement system, which is delicate, naked, original and breathable.

半透光亞克力隔斷與折疊蜂巢簾的使用，也是模仿傳統東方建築中“窗欞紙”的妙用，讓自然光線可以柔和的滲透進各個空間。

The use of semi-transparent acrylic partitions and folding honeycomb curtains is also a magical effect of imitating the “window paper” in traditional oriental architecture, allowing natural light to softly penetrate into each space.

半開放的餐廚區營造，讓烹飪空間不再逼仄. 亂紋不鏽鋼與天然洞石的碰撞設計，不會因為時間的流逝而顯得陳舊。

The semi-open dining and kitchen area design makes the cooking space no longer cramped. The collision design of stainless steel and natural stone will not appear old due to the passage of time.

玄關處釋放出的空間，圍合成額外的儲藏室。

懸浮卡座貫穿餐廳與客廳，統籌空間關係的同時提供就餐、陳列、收納、就坐等複合功能。

The space released by the hallway formed a storage room.

The suspended rest area runs through the dining room and the living room, coordinating the spatial relationship and providing compound functions such as dining, display, storage, and sitting.

不去追求流行，也不過度的堆砌設計語彙，甚至於不去追求明亮與飽和。家的氛圍是自然形成的溫柔與溫暖，寂聲且寂色。

Don’t pursue fashion, don’t over-stack design vocabulary, or even pursue brightness and saturation. The atmosphere of the home is naturally formed with gentleness and warmth, silence and tranquility.

“埏埴以為器，當其無，有器之用。

鑿戶牖以為室，當其無，有室之用。

故有之以為利，無之以為用。”

Mold clay into a vessel;

From its not-being (in the vessel’s hollow)

Arises the utility of the vessel.

Cut out doors and windows in the house (-wall),

From their not-being (empty space) arises the utility of the house.

Therefore by the existence of things we profit.

And by the non-existence of things we are served.

兩千年前的《道德經》已道出了居住空間的本質。

因此這次我們隻是單純的想做一個融入工匠精神的“容器”，以包容屋主未來生活中的喜樂、成長以及對於藝術的想象。

Two thousand years ago, the “Tao De Jing” has revealed the essence of living space.

Therefore, this time we simply want to be a “container” that incorporates the spirit of craftsmanship, in order to accommodate the joy, growth of the homeowner in the future life.

如何在中國當代都市居所設計中，保持日常生活實用性的同時，又能體現東方文化中所擁有的，那份刻在每個人骨子裏的圓融靜謐、優雅端莊. 是我們會一直堅持探索的課題。

How to maintain the practicability of daily life in the design of Chinese contemporary urban residences, but also reflect the harmony, tranquility and elegance engraved in everyone’s bones in the oriental culture. It is a question that we will continue to explore.

∇ 平麵圖

∇ 原始平麵圖

項目信息

項目名稱：容
項目地址：上海市黃浦區
建築麵積：105㎡
設計方：MUKA ARCHITECTS木卡工作室
聯係郵箱：mukalab@163.com
項目設計時間：2020
項目完成時間：2021
主創及設計團隊：張英琦 陸凱琳&顧斌 徐帆 關歆鑰
攝影版權：李聖高子
施工方：上海木卡建築設計有限公司
品牌：Echo全屋定製,KASKADE,喻小姐窗簾,梵幾,KARIMOKU case study,叕木,Akari,JOLOR,&Tradition,Marset,Vibia,Atelier Koma,molosco

Project name：Container
Project location：Huangpu District ， Shanghai
Gross Built Area ：105 square meters
Design：MUKA ARCHITECTS
Contact e-mail：mukalab@163.com
Design year：2020
Completion Year：2021
Leader designer & Team：Linc Zhang Alin Lu & Alen Gu  Vela Xu  Zoe Guan
Partners：Shanghai Muka Architectural Design Co., Ltd.
Photo credits：Amber Li
Brands / Products used in the project：Echo/KASKADE/Miss Yucurtains/Fnji/ZHUOMU/Akari/JOLOR/&Tradition/Marset/Vibia/Atelier Koma/molosco

The post 木卡工作室 | 105㎡，上海原木色住宅-《容》 first appeared on 設計風向.

閩南語中“奧蘇阿｜aosua”的意思是後山，來自於童年記憶裏那座無名之地.隨著時間，記憶裏的後山在消失，相應的這個名稱也被逐漸淡忘……——李文強

“In Minnan language, the term ‘aosua’ means ‘back mountain’. The obscure back mountain in childhood memories disappeared as time passed, and its name was also gradually forgotten…”— Li Wenqiang

NEOBIO | 奈爾寶作為中國原創室內玩樂品牌，以高品質空間和超創意內容，每到一城即成為當地的親子地標。繼奈爾寶深圳店之後，李文強領銜PIG Design再度為品牌打造上海新店，在高度現代化的城市文明中，差異化重塑一座根植於自然而充滿探索情境的“後山”。

NEOBIO is an original Chinese indoor entertainment brand focusing on high-quality space and super-creative content. Every time it arrives in a new city, it becomes a landmark for local parents and children. After completing its Shenzhen store, PIG DESIGN led by Li Wenqiang was invited to conceive the brand’s new premise in Shanghai. Amidst a highly modernized urban context, the project’s differentiated design = reshapes a ‘back mountain’ that is rooted in nature and provides an exploratory environment.

都市背景的“柔性”注腳

“Soft” presence in the urban context

項目所在地浦東張江，作為中國硬核科技的集聚區，某種程度上折射著人類未來的創新遠景。外星生物體般的建築萌態，與之構成異質的對比卻又互為協調的補充。立麵延續品牌的主色並中和為大地黃，契合自然主題。“奶嘴”符號連同一係列弧形的門與開窗，跳脫於灰度的城市背景，以“陽光朋克”的立體雕塑，包裹孕育新生的“歸巢”。

The project is located in Zhangjiang Town, within Shanghai’s Pudong New Area. Zhangjiang is an area with many of China’s cutting-edge technology companies, and to some extent, it reflects the innovative prospects for humanity’s future. NEOBIO’s new store in Shanghai features an extraterrestrial organisms-like singular architectural appearance, which contrasts yet coordinates with Zhangjiang’s built environment. The building’s facade extends the brand’s main hue and neutralizes it as an earth-toned yellow, perfectly matching the natural theme. The pacifier-shaped visual symbol along with a series of curved doors and windows stand out against the gray urban backdrop, creating a three-dimensional “Solarpunk” sculpture that wraps up a “nest” that nurtures new life.

記憶覺醒的“第二自然”

“Second nature”

閩南語中“奧蘇阿｜aosua”的意思是後山，童年記憶裏的那座無名之地，隨著時間，逐漸在消失和被淡忘……層疊視錯的入口仿佛時空洞窟，夾雜著光影下的反差，重啟一場想象力的漫遊。“山”的輪廓賦形於換鞋區大小尺度的空間界麵和家具模塊，以抽象的色彩及圖案拚接自然記憶，倒掛其間的絨草裝置更添注超現實的意趣。

The layered and irregular entrance mimics a time cave that is mixed up with contrasting light and shadow, opening up a journey for imagination to roam. The silhouette of “mountain” transforms into a shoe changing area with various large and small spatial surfaces and furniture modules. This area uses abstract colors and patterns to depict memories of nature, while the velvet grass installation adds a surreal visual appeal.

當空間呈現的形態與暗含的活動背景之間存在同構關係，場所便有了性格。於此處，正在發生的城市童年與回不去的兒時後山，成長中的孩童與一個成人“內在的小孩”，不同角色故事疊加糅合似曾相識而全然新異的幻景，承載一種集體的場所記憶，補足日常生活的意義，衍生出新的體驗和感受。

An isomorphic relationship exists between the spatial forms and the activity background, hence giving the entire place a unique character. The presently occurring childhood in the urban context, and the long-gone “back mountain” in childhood memory, children who are growing up, and adults who have an “inner child”, all those different roles and stories mix together, creating seemingly familiar yet completely new scenes, which sustain a collective memory of this place and generate new experiences and emotions.

“虛擬現實”的敘事體驗

Storytelling experience that fuses the real and the illusionary

主體空間呈現雙層結構，容納豐富的縱深場景和內部陳設密度，“後山”則是貫穿始終的母題。彩虹、太陽、雲朵、月亮，圍繞中軸的山神柱展開布景，將斑斕熾烈的簡筆塗鴉化作具象輪廓的真實體驗，喚醒記憶神經中的空間好感。大自然的調色盤賦予空間全尺度光譜，眾多視覺要素統一為生動的全景。尤似馬蒂斯的理想，“用色彩在畫麵上奏出音樂”。

The main space is a two-level volume that contains scenes with rich depth and interior furnishings. “Back mountain” is the theme that runs throughout the spatial design. Rainbow, sun, cloud and moon elements are set around the central mountain column. Their colorful, vivid and simple scribbles become concretely real experience, stimulating an affinity for this space. Nature’s palette endows the space with a full color spectrum, while numerous visual elements unite to create a lively holistic scene. It echoes Henri Matisse’s idea of playing music on the canvas by using colors.

看得見的世界不再是真實，看不見的世界不再是夢境。我們正進入新型的教育時代，它的目的不是傳授，而是發現。容性的交互場景構築山野林間般的有機情境，賦予局限的場地以無窮的探索之趣。新世代在時空上無法親曆的“風景”，經由設計想象和藝術化表達，重構為“乘之愈往，識之愈真”的認知天地，透過全身心的通道去發現自然，感知時節。

The real and the illusionary intermingle in this space. The new era of education focuses on encouraging children to discover rather than merely imparting knowledge. In this limited space, inclusive, interactive scenes form a spatial environment filled with mountain, field and forest elements, bringing infinite possibilities for exploration. Through bold imagination and artistic expression, the design brings “natural scenery” into the space, creating a desired destination for kids where they immerse themselves into discovering nature and perceiving seasons.

細節尺度與人本溫度

People-friendly details and scales

自由動線串聯的空間序列中，多維度視角的關注點落在個體的人。記憶的灰度注入低飽和、弱對比的用色方案，吸納自然的溫暖肌理。照明亦多以白色燈膜貼近自然光的方式營造大麵積漫反射的舒適光環境。

The free circulation route connects a series of spaces, and shows the emphasis on users in various aspects. The design adopts a low-saturation and weak-contrast color scheme, and absorbs naturally warm textures. The white light membranes simulate daylight, producing a freely-diffusing and comfortable light environment.

結合流線型的邊界和圓角設計，環保材料和防滑保護，以及動態呈現的功能係統，在清晰易懂和激發好奇之間實現細膩的平衡。

Streamlined boundaries and round corners, environment-friendly materials and anti-skid treatments, as well as the dynamically presented functional system, achieve a delicate balance between clarity and curiosity.

自然回應與記憶疊加

Response to nature and childhood memories

“後山”是一座記憶的產物，通過自然造境，引導人與空間的有趣交互，和人與自然的溫柔互動。這個時空錯位穿插的“意識迷宮”，既代表過去的記憶又連接著未來。

Taking “back mountain” as the design theme, the project is a product of memories. The design uses natural elements to create spatial scenarios, guides users to interact with the space in playful ways, and encourages heartwarming communication between people and nature. This “consciousness maze” represents past memories, whilst also connecting with the future.

這是一部寫給孩子也寫給成人的童話，感性的共鳴和陪伴的印記足以蘊育啟發智性、激發感受的種子，並在未來長成反觀人生的一片樹林。

This project creates a fairyland for both adults and children. It provides a place where parents and kids spend time together, which helps cultivate a “seed” for enlightening and inspiring children and this “seed” will grow into a “forest” as they growing up in the future.

∇ 一層平麵 1F plan

∇ 二層平麵 2F plan

項目信息

項目名稱｜NEOBIO奈爾寶
項目地址｜上海市浦東新區哈雷路536號
設計公司｜皮愛紀設計PIG DESIGN
工作室網站｜pigdesign.art
主創設計｜李文強
設計團隊｜朱義雲、顏俊俊、楊誌偉、劉超、錢蒙蒙、沈滔滔、程亮
主要材料｜塗料、皮革、金屬、石材、鏡麵亞克力
項目麵積｜4000平方米
燈光設計｜Yaank向楊照明
家具品牌｜PIG DESIGN
項目攝影｜榫卯建築攝影SFAP
視覺導示｜江平
視頻導演｜李文強
視覺特效｜錢超凡
聲音藝術｜王浙輝
視頻編劇｜李文強
視頻攝像｜榫卯建築攝影SFAP

Project name: NEOBIO SHANGHAI
Location: No. 536 Halei Road, Pudong New Area, Shanghai
Design firm: PIG DESIGN (pigdesign.art)
Chief designer: Li Wenqiang
Design team: Zhu Yiyun, Yan Junjun, Yang Zhiwei, Liu Chao, Qian Mengmeng, Shen Taotao, Cheng Liang
Main materials: paint, leather, metal, stone materials, acrylic
Area: 4,000 square meters
Lighting design: Yaank
Furniture: PIG DESIGN
Photos: SFAP
Visual guidance: Jiang Ping
Video director: Li Wenqiang
Visual effects: Qiao Chaofan
Sound art: Wang Zhehui
Video script: Li Wenqiang
Video filming: SFAP

The post 皮愛紀 | 上海NEOBIO奈爾寶:城市裏的一座“後山” first appeared on 設計風向.

“建築的一半依賴於思維，另一半則源自於存在與精神。”
一 安藤忠雄 (Tadao Ando)

於藝術中心而言，它的場所精神與現實意義同等重要，不僅是時代下文化藝術的映射，更是一座城市國際化進展中的標杆之作，對此，巢·藝術中心的建造者希望它是一個內外兼修的城市符號，以“美”之張力實現空間的無限可能性。

For art centers, their design aspirations – rooted as it is within its locale – is of equal importance to its attention to practical considerations. It is not only a reflection of contemporary movements in culture and art, but also a benchmark in the city’s progress on an international stage. Q-Plex’s developers hope that it will become an iconic symbol of the city, known for its refined qualities, both internal and external – and thereby create a fruitful tension between its spatial accomplishment and future potentials.

當下，我們談論美即生產力，無法取代的競爭力是為美的構成要素。在深圳這座國際化城市的雄心和抱負之下，巢·藝術中心的“美”具備了獨一無二的意義，才能在時代的浪潮中勇往前行。

At the moment, we have come to recognize beauty as a productive force, as we believe a lively spirit of competitiveness is an essential element of beauty. In Shenzhen, an ambitious city with major international aspirations, the spatial and aesthetic qualities of the Nest Art Center present a unique image which encapsulates the spirit of the times, and provides a template for the city’s development in times to come.

1.為什麼選擇穆氏作建築設計？

Why was M Moser Associates Chosen to Design the Building?

設計之初，巢·藝術中心參考國際各大灣區的藝術發展史，從建築、室內以及功能空間的設計理念上都塑造至國際高度，所以它不僅僅是一個藝術中心，更是一個時代的映射。

From the earliest stage of its design, the Nest Art Center was conceived as a continuation of major art spaces established in cities around the Greater Bay Area (consisting of Hong Kong, Macao, and nine cities in Guangdong). Its architectural, interior, and functional space design concepts have been designed to an international standard, and it aspires to serve not simply as a place within which to view art, but as a significant emblem of the times itself.

“在垂直建築裏融入造型有機的元素，這有助於在建築和它所處的自然環境間營造共生的意境。” – Ramesh Subramaniam，Director @ 穆氏 M Moser Associates

“The placement of an organic element within a rectiliner structure creates a symbiotic relationship between the building and the surrounding natural environment.”– Ramesh Subramaniam, Design Director @ M Moser Associates

也因此，我們選擇了為google大樓、paypal辦公、阿裏和騰訊總部操刀的美國M Moser Associates穆氏(中國區)進行建築與室內設計，將極致的創新性融入室內空間，在整個僑城坊的生態背景下，以科技感、未來感、時尚感貫穿建築、室內以至整個人文環境。

Following this, the American firm M Moser Associates (Shanghai branch) was selected for both the architectural and interior design. They have previously completed many prestigious projects including the headquarter buildings of Google in Malaysia, several offices of PayPal across Asia, and Tencent’s headquarters in Guangzhou. For this project, a thoroughly innovative approach was incorporated in the interior design  blending indoor space with the context of the greater urban ecology in which the building stands. The spirit of current movements in technology, the future and fashion runs throughout the building, indoors and out, and even beyond into the realm of the city’s concept of culture and the built environment.

2.破繭而出的“蛋”

The “Egg” Emerging from the Cocoon

建築的創新不僅僅是形式的創新，更是內在行為邏輯的創新，在此基礎上，創造一種全新的美學價值和觀念，讓建築真正散發出屬於它自己的藝術價值。

The innovation of architecture is not only about the new form, but also bringing forth new ideas in internal logic and activities. This approach enables the creation of new aesthetic concepts and meanings, so that every building project may truly fulfill and exemplify their own unique cultural values.

橢圓體玻璃建築，我們常稱它為“一個破繭而出的蛋”，與僑城坊之間形成一種獨立而連結的關係，在開放、創新、自由、非常態的基調下，創造獨具思想性的空間。同時，“蛋”的造型也與空間的功能使用不謀而合，藝術中心作為集企業發布會、路演展示、酒會交流等多元空間，旨在為企業發聲的同時，成為企業真正的孵化器。

建築內部白色線條柔和且流暢，從中生出一股浪漫，這理性與柔美的結合，與巢·藝術中心的特質不謀而合：一個內外兼修、具有長久生命力的城市標杆。

The architecture is easily recognized with its elliptical structure housed within a glazed frame facing the street, referred as “an egg emerging from a cocoon”, which forms an independent yet connected relationship with the surrounding area. It seeks to embody the ideals of innovation, freedom, and distinction, creating a unique, thoughtfully considered space. At the same time, the shape of the “egg” easily lends itself to the required function of the space. As a diversified building integrating corporate conferences, roadshows, cocktail parties, etc., the Center aims to be a true incubator for companies, and provide an outstanding platform from which to announce themselves.

「巢」寓意著新生、希望與活力，在將藝術、建築與生態結合的同時，項目時刻呼應著這座新生城市的獨特氣質，此外，飽含科技感的氛圍將造就全球現象級藝術空間，成為深圳的人文藝術另類高地。

“Nest” implies a new life, hope, and vitality. In its combining of art, architecture and ecology, the project aims to echo the unique temperament of the new, vibrant city where it resides. The abundance of hi-tech and scientific research companies here has created a dynamic atmosphere, which provides a backdrop that contributes to Q-Plex’s attraction as an international-level space – an oasis of alternative arts and culture in Shenzhen.

此外，建築內部白色網格狀結構層層相接，不斷延伸、擴張之下，形成極具秩序感與儀式感的存在，帶來的不僅是視覺上的震撼，更是文化語言的表達，是理性且科學的精神展現。

In addition, the white grid-like structure inside the building extends throughout the project, which gives a continuous and cohesive order to the architecture as one moves through the various spaces. This provides a visually striking effect, while simultaneously giving expressions to a rational and scientific spirit.

Within the building, the interior design has also incorporated white flowing lines to lead the eye throughout the space. Such creates an elegant contrast of rational straight edges and gentle contours, which illustrates the main characteristics of the Nest Art Center – a city icon with long-term vitality, and possessed of both inner and outer refinement.

如果將建築稱之為藝術，那麼光線必定有著不可替代的作用，它貫穿於建築的形體，變幻著空間的節奏。在此，亦如此，玻璃幕牆與純白色鋼架結構增加通透感，光線遊走其中，以自然的、流動的形態雕琢建築尺度，造就了巢・藝術中心的建築美學，也使其成為深圳獨樹一幟的地標性建築。

If architecture is to reach the level of art, then light must have an intrinsic role in the defining of space. It runs through the shape of the building and changes its rhythm. Here, the circular glass curtain wall and pure white steel frame structure increase the sense of transparency within the space as light passes through it. As the architecture is sculpted by illumination, its nature-inspired flowing forms are accentuated, creating the defining aesthetic qualities of the Nest Art Center, now a well-known and outstanding landmark in Shenzhen.

3.功能設計：以尺度丈量藝術的高度

Functional Architectural Design:A Measurement of Beauty

空間的結構亦決定了功能的走向，雖為藝術中心，但項目建造者更希望它是一個綜合性的宣發互動平台。

A space’s structure to a large extent determines how the building will function in the future. The developer hopes that the Center will become a comprehensive business incubator.

極具標誌性的建築外觀以強烈的視覺符號奠定基調，而內部則以簡潔、靈活的調性形成反差。為此，我們設定它是中性的，從藝術大展到私人酒會，空間靈活、多變而又有序，以此配合多種活動類型、塑造多種氛圍、串聯多家企業，它的未來具有無限的可能性。

The exterior design of this landmark building establishes a strong visual presence, while the interior, in contrast, presents a simple and flexible spatial character. We have set it up in such way as neutral, in order to better serve the art exhibitions, private cocktail parties, and other events as intended to host. The space is flexible, changeable, and precise, in order to seamlessly coordinate multiple types of activities, create multiple atmospheres, and connect multiple companies with each other, allowing for unlimited possibilities in the future.

作為一個國際化的活動場所，巢·藝術中心至今已舉辦眾多展覽活動，如當代街頭藝術之父RON ENGLISH的展覽、托尼諾·蘭博基尼的新品發布會、勞斯萊斯VIP品鑒活動、TEDx2021年度大會、藝術家顏磊xPINKPUNK跨界藝術展“彩輪嘉年華”等等。於豁然開朗的舞台極目四望，幕牆外便是深圳最美天際線，整個空間仿佛融化在藍天之中，日光下澈，不覺間心曠神怡，此刻，這才是對人、建築與環境關係的最佳詮釋。

As an international event venue, the Nest Art Center has thus far held multiple exhibitions and events, including but not limited to immersive art exhibitions by Ron English, who is known as the “Godfather of Street Art”,  ROLLS-ROYCE NEW GHOST NATIONAL LAUNCH, Forums by TEDXShenzhen, COLOR WHEEL.

主會場位於上層，樓下是商務洽談或是休閑的區域，吧台曲徑通幽，緩步向上，愈發開闊，寧靜而遼遠，搭以西班牙老船木與苔蘚植物相接，不失為都市裏的花園謐境。 靈動的曲線運用於橢圓麵中呈現幾何之美，接待台、咖啡廳、活動空間的運用將實用主義融入建築藝術之中，木百葉與外部庭院形成連通，引入和煦的自然光線。

The main venue is located on the upper floor, while the lower level is reserved for business conversations or leisure activities. The path to the bar is winding and relaxed, slowly leading to the upper level, gradually becoming wider and quieter the further away it gets from the bar. The pathway is aesthetically unified through the motifs of old Spanish boat timber and moss, which envokes a quiet garden environment in the city. Meanwhile, the main elliptical shape visible from the street presents the beauty of geometry, and the integration of the reception desk, cafe, and event space incorporates a dynamic pragmatism into the architectural design.

木百葉與外部庭院形成連通，引入和煦的自然光線。移步二層，地麵被木質踏步包裹，呼應著橢圓木質入口，平台無梁柱的1200平米超大主會場，可容納500人。

Wooden shutters form a connection with the external courtyard, introducing warm natural light. Moving to the second level, the glazed stairwell has a flooring of wooden steps that echo the wood oval at the entrance area, which boasts a main venue with a platform of 1200 sqm free of beams and columns, with accommodation of up to 500 people.

空間下部圍合材料通過3D打印技術將木飾麵雕刻於金屬板麵上，木質麵特有的溫柔細膩拉近了人與空間的距離，與金屬的對比，也突出空間的層次感與肌理感，遠遠看去，如巨型的藝術裝置，空間氛圍藝術化。

The materials used in the ellipse’s lower portion consist of metal plates clad in wood veneer created with 3D printing technology. The unique nature of the wood-like surface draws people into the space, while the contrast with the metal also calls attention to a sense of layering and texture. From afar, it appears like an outsized art installation, and lends the building an atmosphere of aesthetic ambition and refinement.

4.流動的盛宴 A Flowing Feast

擯棄傳統藝術空間慣用的木質、陶瓷地板，巢·藝術心中鋪設人工草坪將自然引入室內，呼應僑城坊綠色園區理念，將美之緯度上升到另外一層境界：自然景觀與藝術表現的結合是為美的天作之合。

Other than the wooden and ceramic floors used in traditional art spaces and laying artificial turf to introduce nature into the interior, the concept of urban green parks is echoed here, and raises the aesthetic quality: the fusion of natural landscape and artistic elements is a compelling match and sets a new standard for this type of space.

室內的綠意更添空間靈動，層層日光灑下，白色框架蜿蜒流動，頗有“雖由人作，宛自天開”的意味。“內庭園林”中不乏感性的文化氣息，綠植在禪意的白沙上投下陰影，時間緩緩而逝。

The indoor greenery is a prominent symbol of a larger landscape beyond, with layers of daylight filtered through the white frame, flowing onto and through the building – the total effect recalls the phrase, “Although made by humans, it seems to have come from the sky above”. This “inner garden” creates a dignified air of culture, with its green plants casting shadows on the Zen-like white sand, eloquently bearing witness to the gentle passing of time.

建築設計師高迪曾經說過:“直線屬於人類，而曲線歸於上帝。” 曲線之美，與大自然最為相似，無可比擬。

The famed Spanish architect Antoni Gaudí once said, “The straight line belongs to man, the curve to God.” The beauty of non-linear contours lies in their similarity to the ones found in nature, fascinating in their uniqueness and unexpectedness.

空間皆以曲線貫穿，每一條線都被賦予最大程度的張力，接待台作為下層空間的中心，以圓柱體造型聚焦視線，而分散在它周圍的支柱係統，則被設計師作為發光薄膜燈具，頂部內嵌絲帶形日光燈槽，穿插在柱子之間，勾勒靈動曲線。

The various interiors of the building are connected through a series of curves, with each one performing the task of creating a degree of spatial tension. The reception desk is the center of the main lower area, focusing on visitors’ sights with a cylindrical shape which narrows at the location of the desk.

5.開發者說 Words from the Developer

深圳是中國最年輕的一線城市，它又以探索和創新成為國際化的大都市，巢·藝術中心亦是如此，它有著前瞻性的視角，朝氣蓬勃的活力，在時代的步伐中，不斷突破著既定的標準，串聯起人、自然、建築的關係，這不僅是一個藝術中心，更不僅是一座建築，而是一個鮮活的城市景觀。

Shenzhen is the youngest first-tier city in China, and has become an international metropolis through its willingness to explore and innovate. The same is true for the Nest Art Center. It has a forward-looking perspective and its architectural design speaks of vigor and vitality. It seeks to symbolize these fast-paced times, which are embodied by the continual breaking through of established standards. At this moment, when the cost of real estate in the city is at a premium, the project aims to connect people, nature, and architecture, and aspires to be more than simply an art center or building, but rather a living, self-contained urban landscape.

任何角度的巢·藝術中心，都是明亮、通透且與外界渾然一體。因為在我們看來：美即生產力。這不僅僅是形態、材質，更是它所帶來的舒適感、所呈現出來的精神、情懷，這樣的建築才是有意義的，才是一個完整的係統性的思維，否則，隻徒有外表的皮毛，是沒有生命力的。

Seen from any angle, the Nest Art Center retains a bright, transparent appearance, visually integrated with its external surroundings. In our view, beauty is a productive force. This concept applies not only to the form and materials of a building, but also to the comfort, spirit, and feelings it engenders. Without this larger, holistic architectural approach, which focuses on meaning and a complete, systematic process of thought, all efforts to create a vibrant design would only lead to style without substance.

設計本身是一個非常係統的過程，從商業的角度來看，設計要實現商業價值；從藝術的角度來看，設計要實現人文價值；從人性的角度來看，設計要實現個人價值。隻有建設者與設計師共同傾力打造，才能呈現出一個跨越時代的好作品。

Good design necessitates a thorough and systematic process. From a commercial point of view, design must achieve reasonable economic value; from an artistic point of view, design must achieve a recognizable humanistic value; and from a human perspective, design must realize a subjective personal value. It is only through the collaborative process of builders and designers working closely together that long-lasting works of universal excellence can be created.

∇ 一層平麵圖

∇ 負一層平麵圖

∇ 立麵圖

∇ 剖麵圖

項目信息

項目名稱：巢·藝術中心 （The Nest Art Center）
項目地點：深圳南山區僑香路4080號僑城坊
項目類型：建築設計、室內設計
項目狀態：已建成
開發商：運泰建業置業（深圳）有限公司
主要材料：鋼、玻璃、木等
建築設計公司：穆氏建築設計（上海）有限公司
主持設計師 : Ramesh Subramaniam
空間結構：獨棟雙層
建築麵積：2400m²
攝影：鄭焰
視頻：花生工作室

Project Name: The Nest Art Center
Project Location: Q-Plex, 4080 Qiao Xiang Road, Nanshan District, Shenzhen, China
Project Type: Architecture Design; Interior Design
Project Status: Built
Developer: Q-Plex
Main Materials: Steel, glass, wood, etc.
Architecture Design: M Moser Design and Architecture (Shanghai) Co., Ltd.
Principle Architect: Ramesh Subramaniam
Interior Area: 2280 sqm
Program: Public venue, leisure, food and beverage space, meeting rooms and office spaces
Photograph: Zheng Yan
Video: Huasheng Studio

The post 穆氏建築 | 深圳巢·藝術中心 （The Nest Art Center） first appeared on 設計風向.

緣起：鄉村到城市功能區的轉化

Origin: Transformation from Village to Urban Functional Area

山根村在溫州南部茶山一帶，位於市區南部邊緣，距離市中心僅十餘公⾥。2017年初，SpActrum團隊第一次來到這個地⽅。彼時，村民已經為了整村的重新規劃和改造，而準備整體遷移到場地北部的高層建築新村之中。這個幾近空置的山腳下的小村，許多屋舍已經破敗，但代表浙南“僑村”曆史的從清代到90年代各個不同時代的民居遺留建築在政府和開發商的策動下得以整村的風貌完整地保留了下來，甚為可貴。

Shangen Village is located in the Chashan(Tea Hill) area of southern Wenzhou, only ten kilometres away from the city centre. In early 2017, the SpActrum team visited the village for the first time. At that time, the villagers were ready to move to the newly constructed residential buildings in the northern part of the village. The existing buildings of the village were largely preserved under a regeneration development planned by the local government and a Wenzhou-born developer. Architects participated in the regeneration planning and renovation, to transfer Shangen into a city culture & tourism site.

∇ 山根村原貌頂視航拍（2017）

∇ 改造後的新山根村頂視航拍（2020）

SpActrum參與進⾏整治規劃和改造並在2018年形成了規劃方案。這個方案中，基本恢複了被多年的私搭亂建逐漸模糊的河北岸以平行河岸的三條街為基本骨架，南岸與村後山勢結合形成組團的基本格局。對於遺存的⽼建築，建築師持更原生態的態度，主張最少的⼲預原有建築，甚⾄保留某些 “廢墟”。建築師認為“廢墟”的狀態恰恰是具有意味的，它應該⽆偏見的被視作場地的⼀種重要特質。另一個規劃階段提出的建築策略是對於現有建築按照結構的堅固程度、美學價值綜合評價，拆除以後，插入新建築。 而新建築將使⽤當代的建造⽅式和⻛格，為這個鄉村構築物的集合體添加屬於今天的遺留物。

In 2008, architects completed the planning, which restored the gradually blurred north bank of the river after years of illegal private construction, with three streets running parallel to the riverbank as the initial skeleton. The south bank and hills behind the village combined to form a basic pattern of building clusters. The architect advised to preserve the old buildings with as little intervention as possible. In their point of view, these “residues” in their current condition are the most intriguing part as they showcase a ‘true’ character of the village. Again, the renovation and transformation of the single building also followed this understanding. Another strategic proposal in the planning phase is to comprehensively evaluate the remaining buildings in terms of their structural strength and aesthetic value, then replace some of them with new ones. The implementation of new buildings would add a modern touch to the village.

∇ 山根村的原始魅力之一正是這種混雜的生機（2017）

基於這樣的方案，四類現存建築的典型案例都基本得到保留，代表了鄉村建築在不同時代，以某種原型存在和發展的基本模式。它們分別是:⼀，清末的⽊構架古建築，在當地居⺠民與外國交流密切的浙南地區糅合了了巴洛克⻛格的影響;⼆，上世紀30年代民國以後流⾏的空心磚柱與本地紅色花岩⽯梁為主，再結合⽊構架的浙南上世紀中頁常見風格;三，上世紀後半期的鄉村磚混建築，他們在⽐例上留有明顯的蘇俄舶來的現代主義建築的痕跡，結合了鄉村常見材料和中國的建築的裝飾母題; 四，改革開放之後滿⾜更個⼈化欲望的建築物，其中⼀些是當時歸國華僑委托外國建築師的作品。

On this basis, the four typical genres of existing buildings were mostly preserved, representing varied modes of rural architecture styles of the different eras, including: 1. The wooden structure buildings of the late Qing Dynasty, which adopted the Baroque style as the southern Zhejiang region communicated closely and thus was influenced by overseas culture; 2. Popular styles of hollow brick columns and local red granite beams in the 1930s, and common styles of wood frames in southern Zhejiang Province in the 1950s; 3. Rural brick-concrete buildings, which in their proportions embody obvious traces of modernist architecture imported from Soviet Russia, as well as combining common materials and decorative motifs of Chinese suburban architecture; 4. Buildings that reflect the increasing demand for private dwellings after the reform and opening up of modern China, where these were commissioned to foreign architects by the returning overseas Chinese.

∇ 山根村是浙南民居各不同時代演進的活化石

（此照片可以看到山根村各個不同時期的代表性民居個案，）（2017）

這樣的規劃⽅案反映了政府、開發商、建築師的一個共識:多種風格的建築的保留是對於鄉村曆史的基本尊重，⽆需擬古或者將建築統⼀到某個特定年代風格。這在當代由政府主導的⽂旅改造項目中⽆疑是一個具有進步精神的認識。這個項目是對於鄉村的操作，但已經成為某種城市化行為，與常規意義上的鄉建具有本質的不同，在SpActrum的規劃下，山根村將成為一個古今並存、藝術與鄉韻融合的綜合文旅區。

The planning scheme reflected the consensus of the government, the developer, and the architect: to keep the various styles of old residential buildings in respect to the history of the village, and there is no need to limit all buildings into a specific era frame. From the beginning, this renovation plan had become a kind of urbanization, which was fundamentally different from village construction in the conventional sense. This is undoubtedly a major progress in contemporary government-led cultural & tourism renovation projects.

回歸：混沌的複興

Retrieve: The Renaissance of Chaos

設計⽅完成山根的規劃方案後離場了，後期具體的建築和景觀的實施他們並未介入。當他們再度來到現場時，發現這片場地的⼀些珍貴的特質過度的損失了。保留浙南民居百年類別豐富性的宏願基本得以實現的同時，原來村⼦的魅⼒很⼤程度上來⾃自發、時間堆積、⽣活沉澱形成的含混不清和自然發⽣，換句話說，就是那一點點“髒”和“野”，隨著施工中更常規和普通的處理，變得過於幹淨整潔了。另一方麵，原計劃中幾個關鍵地點的新建築的精細化設計，和其原設想時空穿越的體驗流，在後來的實施中都由於實施技術手段和投入的限製⽽未能實現。

SpActrum left the project soon after they proposed the master plan during 2017-2018. When the architects visited the village again, they found that the site has been overly tidied-up and lost its original identity. The village had lost its original wild and rustic ‘sentimental attractiveness’ that had evolved naturally and over the slow passing of time. The village has been hugely cleaned up since then but has lost some of its ancient ambience. The once charming chaos has turned into the blankness of purposeful building activity. Meanwhile, some new buildings lost their original delicate and explicit design language during the construction phase due to technical and difficulties and budget shortages.

∇ “山根之花”場地原狀（2017）

“山根之花”設計概念的靈感：在場地附近的一座破敗的民居中，

生機盎然的蕨類植物占領了原本人類的起居活動空間，自然

與人造物之間的此消彼長，建築和景觀邊界的突破和消解，

激發了這一無法被簡單定義的設計

正在這時，山根橋頭的一塊空地在拆除原有建築後暴露出來，甲方邀請SpActrum再為山根設計一個具有開放性的小品建築，一個鄉村的集合點，建築師抓住這個機會以實踐表明了⾃己的態度，為這樣的問題提出了⼀個創造性的參照。

Under this circumstance, a small plot at the end of the bridge was emptied and now presents an opportunity for the architects to recall and restore the power of ambiguity in Shangen Village.

對於多數浙江村莊，村頭、橋頭都是具有鮮明特征的記憶點。橋不僅具有交通意義，聯結河的兩岸。它們更具有社會性意義，是村莊⾥少見的視覺⾛廊，建⽴了對於村莊整體視覺形象的認識場所。⼭根中心橋也正是這樣的認識節點。橋北岸是⼏座保存最為完整的⼗九世紀的鄉村大屋，南岸正對兩個組團的分界點，西側組團部分拆除後產⽣了一個較大的空地，正對橋頭，背靠漸漸⾼起的石山。⾯對山根那始終難忘的蕨類叢⽣生的破舊庭院，耿耿於懷於簡單框架下⽣命力的迸發和⼊侵。SpActrum構想了“山根之花”，並將這座無法定義的構築物獻給山根。

The site is an empty plot adjacent to a traditional 1950’s – 60’s style village house. It’s in a strategic location, close to the village’s central bridge, and the river has the potential to be a focal point both for the view and as the community spiritual centre. The site is an ideal spot for people to gather at the heart of the village and provides a beautiful view towards the river and the magnificent Qing Dynasty houses. Due to the small scale of the adjacent buildings, the new structure needs to harmonize with them in height and scale. The flower-like cone opening towards the sky is both a geometrical and pragmatic solution to support the proposed structure and bring “nature” into the building.

“山根之花”立於橋頭的空地，是個具有開放性的⼩品建築，一個鄉村的集合點。在創作“山根之花”時，數碼化的設計思路⾸先被⽤來尋找與場地整體勢態的聯係。這⾥被設想為⼀個連接的關節，⾸先在地⾯高度承接橋頭，之後抬⾼到地⾯⼀層以上，形成對橋頭觀望的平台，這個平台同時可以與組團現存建築相連接。螺旋上升的沿雙軌道旋轉的形體可以用來完成這樣的⾏為，更進⼀步為形體尋找結構上的支撐，繼續向上旋轉，並將雙軌道設置為外邊界和內邊界兩條軌道。最終得到的是一個複雜曲⾯麵形成的旋轉體，這個旋轉體外側從地⾯升起，形成平台後繼續升⾼為⾐領⼀樣的外廓， 另⼀側形成收攏的盤旋體。

Shangen Blossom Pavilion stands in the open space at the head of the village bridge. It is an open landscape/architecture, a meeting point of the village. When conceiving Shangen Blossom Pavilion, digital design strategy was initially used to find the resonance with the overall situation of the site. It was eventually composed of two spirals; the outer one rises from the ground to form a platform that connects to the adjacent buildings’ upper floor. This provides an elevated panorama of the village. The inner spiral is a cone that supports the platform. It splits into two, allowing light to penetrate the rooms from the openings.

這個模型並非直接實施的建築體量。在鄉村建築的背景下，建築師以前麵一年多時間對於當地建造性積累的經驗，對於建造的技術層級做出了判斷，同時認識到，建築師在此情況下應該不會深⼊設計到結構細節， 這⼀部分⼯作會由施⼯⽅進⾏，建築師隻能控製⼀個相對精確的體量方案。所以接下來是主動的簡化，這種簡化並非減損，⽽是再一次的創造。將複雜的⼏何形體歸結為⼀係列三⻆形和四邊形。最終的形體具有比之前曲麵更明確的指向，同時這種形體組合不是常規的平⾯構思的塑形路徑所能夠設想的。

The general geometry comes from a computer-generated shape that embodies the function and power it needs to deliver. This forms a very complex geometry, but was later manually simplified into triangles and quadrangles to fit the technical capacities of construction in a village.

∇ 計算機生成的連續螺旋麵被轉化成為一係列在鄉村建造中可實現的連續折麵

以這種⽅式，⼀種新的形式語⾔被創造出來。這也是SpActrum對於建築形式的一種認識: 新的建築形態往往來源於形式所需要回應的問題，以及采取什麼樣的⽅方式對這種問題進⾏編碼，來源於產⽣形式生成的過程，⽽並不來⾃某種直接的雕塑過程。設計經常意味著設計這樣的⽣成過程。在將複雜曲麵平麵化的過程中，對於⾏為、結構等建築學議題的判讀起到了指向性的作⽤。這時⼀個重要的工作是提供可用場所，同時保持不被定義的含混感。建築的構件取得了多義性和含混性。

The project dispels the existing definitions of the man-made environment. It responds to people’s behaviour and requirements within the specific site conditions. Building, landscape, shelter, pavilion, you name it. The performance of such a construction enriches people’s experience in the village; it highlights the central bridge, provides tiered seats for resting with a view, provides a shelter in a rough climate, and gradually becomes an alternative landmark, a landmark filled with people, a landmark that reconnects to nature and the built environment.

∇ “山根之花”總平麵圖

∇ “山根之花”一層平麵圖

∇ 北立麵圖

∇ 東立麵圖

∇ 剖麵圖

∇ 山根之花建造的空間定位點位圖

∇ “山根之花”使用了具有當地特色的傳統建造工藝&鄉土建材

另⼀方麵，為空間匹配正常使用需要的樓梯、欄杆、 砌體、內部塗裝等。整個建築體盡可能的使用了當地的、有機的材料。扶手部分，設計以十分工業化的螺紋鋼來進行塑造。⽽最為有趣的是，受浙江傳統牡蠣牆和蠣灰塗刷⼯藝啟發，將內部空間以粗糲的灰漿塑造成了特殊的室內表⾯效果。

The design captures possible trends through the digital design tool, and then adapts to the locality with appropriate construction techniques. The covered indoor space is a function room, its inner walls rendered with a traditional oyster shell clay technique to form a very bumpy surface. The design team also developed a methodology to control the form’s spatial coordinates with simple faceted surfaces, and the resulting geometry was then simplified for the local construction team. By the involvement of such a team, the construction process regains the authenticity of architectural behaviour: build for demand, not for desire.

內部的倒錐體作為支撐整個平台的結構物，同時開向天空，將⾬水引⼊內部，在倒錐體底部彙合成一個池塘，與外部的⽣態池相連。這彙聚在整個內壁的⾬水滋養了內壁留槽裏的蕨類植物。這樣， 內部與外部、景觀與建築的邊界消解了。進⼀步製造了定義之間犬牙交錯的是椎體的一分為二，兩個半錐之間錯開光縫，將室內最暗處引⼊自然的光亮。

The planter walls of the cone act as a flag to attract people from a distance and showcase how living creatures can coexist with man-made structures, as this village did in the past. The keynote of the project is the rejection of any single identity or labelling. It combines landscape features, functional space, a communal gathering point and a sensual expression of how nature blends into the built environment.

山根之花致敬生命、致敬⾃然、致敬建築中難以名狀的⼼理需求和⾏為方式。再過幾年，當藤蔓爬滿磚牆，當蕨類占據了倒錐體的整個內壁，浮萍和菖蒲長滿池塘；當人們習慣夏日的午後在這裏的台階上坐著看日落，在平台下呷著一口咖啡，建築師會欣慰曾經在這裏撒了一點兒野，幫助混沌的力量回來。

The design employs easily accessed local materials and develops them into a particular architectural language, just as the original village buildings did for hundreds of years. The generic material ensures low construction and running costs; the heavy platform confers high sustainability on the indoor space. Plants in the cone constantly grow, adding a dimension of time to this man-made structure. It is a project that integrates completely with its surroundings, while inviting natural elements and people to celebrate its ambiguity and polysemy.

項目信息

項目名稱：山根之花
項目地點：浙江省溫州市山根村
項目類型：建築設計&景觀設計
客戶：浙江雲澗旅遊投資有限公司
項目狀態：建成
設計公司：SpActrum／譜觀建築
主創設計師：潘岩
設計團隊：潘岩、李真、唐一萌、陳俊友
設計時間：2019-2020
完成時間：2020
總建築麵積：120 平方米
施工圖及施工承建：浙江雲澗
材料：噴射混凝土砌塊、回收手工製青磚、蠣殼灰塗料、玻璃、鋼
攝影師：朱迪

Project Name: Shangen Blossom Pavilion
Project Location: Shangen Village, Wenzhou, Zhejiang Province, P.R.China
Project Type: Architecture Design & Landscape Design
Client: Zhejiang Yunjian Tourism Investment Ltd.
Project Status: Built
Design Company: SpActrum
Principle Architect: Yan Pan
Design Team: Yan Pan, Zhen Li, Yimeng Tang, Junyou Chen
Design Period: 2019-2020
Completed Year: 2020
Gross Floor Area: 120 sqm
Construction Drawing & Contractor: Zhejiang Yunjian
Applied Materials: Spray Concrete, Recycled Old Bricks, Oyster Shell Rendering, Glass, Steel
Photographer: Di Zhu

The post 譜觀建築 | 溫州山根村-山根之花 first appeared on 設計風向.

設計說明 PROJECT DESCRIPTION

設計師結合中心書城店自然舒適的周邊環境和混果汁“探索自然好奇心”的品牌理念，打造了一個為這座高速發展的城市不斷傳遞健康(Healthy)+自然(Natural)的生活理念的獨一無二(Unique)的休閑空間。

The designer combined the Natural and comfortable surrounding environment of the Central Book City and the brand concept of “exploring Natural curiosity” of HUN JUICE to create a Unique leisure space that continuously delivers Healthy + Natural life concept for this rapidly developing city.

開放、自在的外擺空間，從書本中獲取靈感的烤漆不鏽鋼飾麵，水泥、原木、綠植的獨到運用，皆體現出設計師對混果汁中心書城店作為繁忙都市中擁有治愈能力的自然空間的理解與詮釋。

The open and free exterior space, the lacquered stainless steel finish inspired by books, and the unique use of cement, logs and green plants all reflect the designer’s understanding and interpretation of HUN JUICE shop in the Central Book City as a natural space with healing power in a busy city.

∇ 模型

寄居在城市中心書城的綠色“精靈”The green “elf” living in the Central Book City.

形態萬千的摩天大樓，描摹著深圳的都市輪廓，變化的天際線展現出它的青春與活力。萬物被吸引到這片經濟熱土孵化共生，包括這隻充滿好奇心的綠色“精靈“……

Thousands of skyscrapers depict the urban outline of Shenzhen, and the changing skyline shows its youth and vitality. All things are attracted to this economic hotbed to hatch and coexist, including this curious green “elf”.

精靈穿梭在建築森林之中，不斷釋放的探索因子散落在中心書城。彙聚了知識和活力的無限能量，與探索因子交融，形成生活和城市的無線連接。

The elf shuttles through the architectural forest, and the constantly released exploration factors are scattered in the central bookstore. It gathers infinite energy of knowledge and vitality, blends with exploration factors, and forms a wireless connection between life and the city.

精靈以烤漆不鏽鋼裹身，形色各異的仙人掌點綴外形，化身到現實生活中，築起獨一無二的舒適空間。

The elf is wrapped with the stainless steel that bake lacquer, the cactus that form color adorns appearance of each different, incarnate arrives in real life, build unique and comfortable space.

門店與中心書城上萬平方的綠色文化廣場接壤。利用自然舒適的周邊環境，打造一個開放、自在的空間。健康美味的果汁和適宜閱讀的環境，吸引著喜愛閱讀、向往自然的人們到訪。

設計師從堆疊的書本中獲取靈感，賦予不鏽鋼飾麵獨特的造型。像是書本整齊的擺放在書架上，配以各式植物和一層烤漆的綠色外衣，營造林中書架邊的閑適氛圍。

The store is bordered by the green cultural square of 10,000 square meters in the Central Book City. Take advantage of the natural and comfortable surrounding environment to create an open and comfortable space. The healthy and delicious fruit juice and the environment suitable for reading attract people who love reading and yearn for nature.

Drawing inspiration from stacked books, the designers gave the stainless steel finish its unique shape. Like books neatly placed on the bookshelf, with all kinds of plants and a layer of paint baking green coat, creating a leisurely atmosphere in the forest bookshelf edge.

呈現活力之感，為忙碌都市中的人帶來生氣

Present the sense of vitality, bring life to the people in the busy city.

為探索而生的精靈變身成空間，無忘深圳的開放、多元屬性。將水泥、原木和綠植完美結合，三者碰撞出的融合感，凸顯出這座新城市熱衷探索的態度。

The spirit, born for exploration, transforms into a space without forgetting the open and diverse nature of Shenzhen. The perfect combination of cement, logs and plants creates a sense of fusion that highlights the new city’s love of exploration.

特色磚材、敦實的年輪木紋板凳和環繞式的綠植，為空間賦予大自然的紋理，使空間層次更鮮明，從而喚醒都市自然複興。

The characteristic brick, solid tree-ring wooden bench and surrounding green plants give the natural texture to the space and make the spatial level more distinct, thus awakening the natural Renaissance of the city.

∇ 中島台

平整的長桌適合擺放書籍，年輪木紋是書本中歲月的痕跡，磚材那圓形的孔洞喻義好奇心的窗口。好奇心驅使著孩子們透過書本這一窗口探索那自然奧妙。

The long desk of level off suits to put a book, tree ring wood grain is the trace of time in the book, brick material is the window of curiosity of figurative meaning of circular hole. Curiosity drives children to explore the mysteries of nature through the window of books.

簡單的平麵配置助力統一的理念，建材與設備的有序組合，以顯示出形式的和諧之美，視覺清新幹淨。

Simple plane configuration helps unify the concept, orderly combination of building materials and equipment, to show the beauty of form harmony, fresh and clean vision.

模糊生活與社交的邊界，是精靈對“書城賦予城市溫度”的延續

Blurring the boundary between life and social life is the continuation of “Book City endows the city with temperature”.

座位設置是產生社交的形式主體，不同形式的設計使人與人的距離被拉近，觸發更為親密有機的社交關係，以人與自我、人與社群的關係被重新建構。

Seating is the main form of social interaction. Different forms of design shorten the distance between people, trigger more intimate and organic social relations, and reconstruct the relationship between people and themselves, and between people and communities.

樹下圓形沙發的設計源自設計師的美好童年記憶，圍坐樹下、分食甜果、共話家常。不鏽鋼桌麵與常規皮麵沙發各占據半圓，象征新與舊的碰撞、城市快節奏與童年慢生活的呼應。

將室外自然光引入室內，強調內外流動的延續性，生活與自然和諧共處的情境，讓商業的空間突破既定的限製。

The design of the round sofa under the tree comes from the designer’s good childhood memories, sitting under the tree, eating sweet fruit, and talking with each other. Stainless steel table top and conventional leather sofa each occupy semicircle, symbolized the collision of new and old, the echo of fast pace of city and slow life of childhood.

The introduction of outdoor natural light into the interior emphasizes the continuity of internal and external flow, and the harmonious coexistence of life and nature enables the commercial space to break through established limits.

∇ 樹台

混果汁精靈降落在深圳中心書城，化身而成的空間攜帶著精靈探索自然好奇心的基因，為這座高速發展的城市不斷傳遞健康(Healthy)+自然(Natural)的生活理念，提供獨一無二(Unique)的休閑空間。

The elf of HUN JUICE landed in Shenzhen Central Book City, and the space incarnated carries the gene of spirit’s curiosity to explore nature, which continuously transmits Healthy + Natural life concept and provides a Unique leisure space for this rapidly developing city.

深圳的人們在此也將暫時忘卻城市的喧囂與忙碌，成為生活積極的參與者，回到最樸實的樣子，體驗日常，感受自然。

People in Shenzhen will temporarily forget the hustle and bustle of the city, become active participants in life, return to the most simple appearance, experience the daily life, feel the nature.

混果汁堅信自然的治愈能力。

以充沛的好奇心探索大自然的能量，以「果汁混萬物」的理念打開人與自然的無限連接。

HUN JUICE believes in the healing power of nature.

Explore the energy of nature with abundant curiosity, and open the infinite connection between man and nature with the concept of “juice mixed with everything”.

∇ 立麵圖

∇ 剖麵圖

∇ 平麵圖

項目信息

名稱：混果汁中心書城店
品牌：HUN JUICE混果汁
類型：商業空間設計
設計時間：2021年8月
地點：深圳中心書城
空間麵積：104㎡

Project: HUN JUICE shop in the Central Book City
Client: HUN JUICE
Type: commercial space design
Design time：2021.08
Floor Area: 104 square meters

設計團隊信息

設計總監：藍天
主案設計：許冰冰
參與設計：覃燕瑩

圖文團隊信息

創意總監：張國浩
推廣策劃：Metsysuh
內容編輯：Metsysuh、殷之鑰、馮碩
項目攝影：黃早慧

Creative & Art Director: Blues
​​​Space Designers: Icey、Mercy
Promotion：Trevor Zhang、Metsysuh
Copywriter：Metsysuh、Catherine Yin、Micah Feng

The post MOD | 深圳混果汁HUN JUICE中心書城店 first appeared on 設計風向.