將自然視為信仰，保持最初的沉默和柔和。

Considering nature as faith, keeping the initial silence and softness.

溯源

RETROSPECTIVE

━

BXX最新門(mén)店的設(shè)計(jì)語(yǔ)言更像是一次對(duì)于品牌的溯源。我們把成長(zhǎng)記憶中那些質(zhì)樸的、天然的、美好的記憶通過(guò)空間碎片化的方式進(jìn)行了重組。但這些碎片，也不再是某種單一、原生的材質(zhì)表達(dá)。而是通過(guò)將那些熟悉的、天然的質(zhì)地重新組合，通過(guò)再造的方式，讓新的質(zhì)地得以呈現(xiàn)。并有機(jī)會(huì)覆蓋在建筑基礎(chǔ)之上。之所以有這樣的思考，亦是對(duì)BXX早期服裝設(shè)計(jì)作品中的一些自我認(rèn)知與理解。

The design language of BXX's newest store is more like a retrospective of the brand. We have reorganized the rustic, natural and beautiful memories of growing up through the fragmentation of space. But these fragments are no longer a single, native material expression. Rather, by recombining those familiar, natural textures, new textures are made present by way of recreation. And have the opportunity to cover the architectural foundation. The reason for such thinking is also some self-knowledge and understanding of BXX's early garment design works.

空間營(yíng)造

SPACE CREATION

━

而空間布局的關(guān)系也猶如夢(mèng)境一般?？臻g體塊不再是常規(guī)的羅列，而是看似無(wú)序拼湊出來(lái)的積木。當(dāng)然，這也是為了更好的利用原建筑外觀弧形開(kāi)口面所帶來(lái)的不利因素。從而得到更為立體的外觀視覺(jué)效果，與周邊門(mén)店形成差異，提升消費(fèi)者的吸引力。

And the relationship of spatial layout is also like a dream world. The spatial blocks are no longer conventional lists, but seemingly disorderly pieced together blocks. Of course, this is also to make better use of the disadvantage brought by the curved opening surface of the original building appearance. Thus, the visual effect of the appearance is more three-dimensional, which is different from the surrounding stores and enhances the attractiveness of consumers.

輕與重、內(nèi)與外、精致與粗糙這些看似矛盾的關(guān)系都在這一空間中被打破。我們甚至沒(méi)有了常規(guī)的門(mén)頭，沒(méi)有了與商場(chǎng)之間明顯的界限。這樣開(kāi)放的設(shè)計(jì)，無(wú)疑是反商業(yè)的設(shè)計(jì)思維。但我們應(yīng)該試想一下，當(dāng)所有商業(yè)空間都以看似最“完美”的商業(yè)模型呈現(xiàn)在大眾面前時(shí)，品牌基因何在？個(gè)性何在？吸引力何在？

The seemingly contradictory relationships between light and heavy, inside and outside, delicate and rough are all broken in this space. We don't even have the conventional doorway and the obvious boundary between it and the mall. Such an open design is undoubtedly an anti-commercial design thinking. But we should think about this: when all commercial spaces are presented to the public with the most "perfect" commercial model, where is the brand DNA? Where is the personality? Where is the appeal?

所以，在如此扁平化的世界里，可能反商業(yè)的思維輸出方式，才是最能吸引個(gè)性化消費(fèi)群體最好的方式。但反商業(yè)，并非是不遵循商業(yè)業(yè)態(tài)的底層邏輯。

So, in such a flat world, probably the anti-business way of thinking output is the best way to attract the best personalized consumer groups. But anti-business, is not not to follow the underlying logic of the commercial business.

空間可以重構(gòu)，材質(zhì)可以豐富。但功能關(guān)系卻一樣也不能少，每一面墻體都有了它的使命，這關(guān)乎空間美感，也關(guān)乎功能、陳列等訴求。特別是結(jié)合開(kāi)放的空間關(guān)系，墻體的利用率反而被放大，從而提升了在小空間中的實(shí)際使用面積。收銀服務(wù)臺(tái)也以更開(kāi)放的姿態(tài)，成為空間中的核心元素。因?yàn)椋ㄟ^(guò)服務(wù)臺(tái)的設(shè)置，我們才得以把一個(gè)看似分散的空間重組起來(lái)。這樣的設(shè)置，也能讓我們的工作人員更為全面的照顧到不同區(qū)域的客戶。滿足更為便利、高效的營(yíng)銷(xiāo)目的。

Space can be reconstructed and materials can be enriched. But the functional relationship is no less, and each wall has its mission, which is about the aesthetics of the space, but also about the function, display and other claims. Especially combined with the open space relationship, the utilization rate of the wall is instead amplified, thus enhancing the actual use area in the small space. The cashier's service counter also becomes the core element in the space with a more open posture. It is through the setting of the service counter that we are able to reorganize a seemingly scattered space. This setup also allows our staff to take care of customers in different areas more comprehensively. It meets the purpose of more convenient and efficient marketing.

處理手法

PROCESSING TECHNIQUES

━

樸拙的質(zhì)態(tài)，是貫穿整個(gè)空間設(shè)計(jì)的核心。這不僅表現(xiàn)在材料質(zhì)感的處理上，也與空間的造型，構(gòu)成有很大的關(guān)系。比如主入口處看似下壓的吊頂、向外開(kāi)放的櫥窗、以及內(nèi)部空間里漏斗式的門(mén)洞等等。這些看似比例夸張的造型，正是為了與質(zhì)樸且粗糲的材質(zhì)形成鮮明的戲劇化效果。同時(shí)，配搭著精心營(yíng)造的燈光氛圍，旨為把零售展廳秒變?yōu)橐粋€(gè)隨時(shí)準(zhǔn)備就緒的小型秀場(chǎng)。因?yàn)?，所有的空間設(shè)計(jì)，都將回到一個(gè)原點(diǎn)，為真正的主角而服務(wù)。而這里的主角，不是空間、不是燈光造型、更不是軟裝陳設(shè)，而是我們所要展示、銷(xiāo)售的“每一件衣服”。

The rustic texture is the core of the design throughout the space. This is not only expressed in the treatment of material texture, but also has a lot to do with the shape, composition of the space. For example, the seemingly depressed ceiling at the main entrance, the windows that open to the outside, and the funnel-like doorways in the interior space, etc.. These seemingly exaggerated proportions are designed to create a dramatic effect with the rustic and coarse materials. At the same time, the lighting atmosphere is carefully created to turn the retail showroom into a mini-showroom ready to go. Because all the space design will return to a point of origin, to serve the real protagonist. And the main character here is not the space, not the lighting, not the soft furnishings, but the "every piece of clothing" we want to show and sell.

項(xiàng)目信息

Information

━

項(xiàng)目名稱(chēng)：BAN XIAOXUE

Project：BAN XIAOXUE

項(xiàng)目地點(diǎn)：中國(guó)合肥

Project Location：Hefei，China

設(shè)計(jì)總監(jiān)：文超

Design Director：Steven

設(shè)計(jì)團(tuán)隊(duì)：JSD-簡(jiǎn)璞設(shè)計(jì)

Design Team：JSD

全案統(tǒng)籌：JSD-簡(jiǎn)璞設(shè)計(jì)

Project Coordination：JSD

建筑面積：137平方米

Cover Area：137㎡

空間攝影：邊界人&文超

Space Photography：Boundary Man & Wen Chao

Words：off-words/Venus

?