.베스트 디자인 미디어 상
.베스트 디자인 미디어 상
우수컨텐츠 로고
우수컨텐츠 로고
우수컨텐츠 로고
The Highest Quality & Retention of Design
디자인 트렌드를 선도하는 대한민국 프리미엄 미디어 그룹
The Highest Quality & Retention of Design


Emperor Xunjiao, from the east to the sea, climbed the Huan Mountain, and got the white beast on the seashore. Can speak, reach the feeling of all things-“The Seventh Sign of Yunji·Xuanyuan Benji”. Mountains, rivers and lakes are scattered. Chinese classical literature often reflects a certain world view, and this is also the core of the existence of “Bayz”. Talking about everything with mountains and seas to accommodate people and transform Bayz. The appearance of a design is often between technology and art, and even more so, it conveys a philosophy. This is the result of the collision between the designer and the brand. Pythagoras once believed that the conflict filled the world with life. Art and business, day and night. All herald a huge difference in their atmosphere and environment. And this is also the difficulty of design. In order to combine the composite format of art exhibition halls/coffee/bars, we cut the space into two layers, upper and lower, for the display of the second floor for commercial operation. This is also different from the design logic of traditional commercial bodies, seeking common aesthetics, In order to attract loyal customers more effectively. From the name of BAYZ, this design is destined to be more like a structure of the inner world. It is different from exploring the mountains and seas from the ancient books of thousands of years. What we have to do is just to restore the master’s. Original intention. A pure and “fairy” world. Therefore, we have sorted out the concept of “nest”, from brand design to build an overall IP image, and then transplant the main concept into the entire space. The rough cement, fine glass, and the flickering lights flickering between them, like the undulating lines of the labyrinth, all foreshadowing the unusual depth of the “nest”. And when you find the deepest part, you will find that BAYZ is right there. If we say that our previous design is to create a space, a field, a feeling. Then this time we will break the tradition and let the space “live”. In order to better present BAYZ mountain and sea world, we have updated the combination of lights and movable devices. When you are in it, you will find that the flowing smoke, the beating lights, and even the “BAYZ” will also look at you from time to time. Learning mountains and seas for creation, design is not only logic and art, but also crafts and materials. There are rivers, lakes, and seas in this world. Sometimes, the communication of design is just a simple idea. BAYZ, that’s it.


Gathering is the beginning of all civilized behaviors, and people’s gathering leads to the emergence of food, history and emotions. In Fuzhou, known as the “Rongcheng”, people used to gathering under trees and talking about various things and a village culture emerged along with nature. All contains deep emotions showing that it is difficult for urban life to take root. WATERFROM DESIGN responsible for Vanke Cultural Center in Paiwei, Fuzhou, taking “gathering” as the main conceptual axis, is aimed to build a social field that plays a role in the emotional attachment of contemporary life. Here, people can stay naturally, gather and interact. As the No. 2 building will be used as the public library of Fuzhou and for the community’s cultural activities in the future, it must be considered to have a function of storing a variety of books. However, unlike the traditional library using array bookcases, we hope to liberate a large number of bookcases into an organic posture through design, and the bookcases are regarded as houses in the village that have fences, paths, courtyards of communities, and squares that are convenient for gatherings and events. Naturally, the cultural behavior of the settlement is drawn in the two-story space. Next to the floor-to-ceiling window on the first floor, there is a coffee shop with a bar counter where people can enjoyed alone, drinking coffee and reading to interpret their leisurely attitudes the space claims, which links the interior with the street activities. Behind the seats of the counter, we place books and plants at a modeling booth and before and after two glass bookshelves. A layer of books and a layer of greenery are interspersed into a miniature forest with a faint barrier. When people step into it, the scene like an indoor garden comes into view, breaking the stereotyped image of sales office or library. Books that can be displayed and sold and the flexibility of floral or cultural arts also give richer imaginations for future use. The amber-red corner on the right of the entrance is another eye-catching space impression. Different from a lot of warm gray and off-white neutral silent tone in the room, the reception area is made of fine bamboo slices to create such graceful colors and strengthen the dramatic tension. As Paiwei is abundant in bamboo, we cut the bamboo piece to remove its arc outline, and only retain the bamboo texture and then re-arrange the arrangement to make the bamboo material into a new soft look like silk, and the dot-like bamboo joints are arranged like a password. Modern design vocabulary makes the red color fit in Chinese culture, and the bamboo piece connected with the impression of the Paiwei craft, showing an intriguing novelty. The metal box frame hanging on the wall is full of Fuzhou’s old books and newspapers presenting thick and thin lines with a yellow light of time. At a distance, they are seen as an installation art whose nature is difficult to tell. Similarly dismantle and borrow the vocabulary of bamboo elements which are applied in the ceiling shape. In the first-floor space with horizontal and vertical linear vision as a main part, we created a half-section arched line above the partial space, such as the radian of the bamboo material deliberately enlarged, increasing the rhythmic sensation of the interior architectural lines. Not only that, the surface is covered with white-colored fine bamboo pieces, which highlights the fine groove changes by light and shadow and gives full play to the characteristics of bamboo material in a fashionable but restrained way. The strong visual temperature of amber red has spiraled upstairs from the staircase. On the staircase, there are high-ceilinged bookshelves for exhibiting the printed matters about the local life history of Fuzhou and memories of cultural relics. Then the same-color arrangement is displayed to show a single homogeneous feeling, and the arrangement effect enhanced by filters makes passing people part of the installation art. The second floor is the main book display area. The bookshelf becomes the main body of a large number of construction space shapes. Unlike the pure linear axis on the first floor, this floor will use a non-closed bookshelf to construct lines and en-framed scenery. According to the library’s basic functions of collecting books, displaying and providing seats for reading, we mix and match them into bookshelf-shaped components, and at the same time blur the traditional identity of each component. The bookshelf with real and virtual shapes can be used to store books, and you can also find openings to sit and read. The bookcases connected in series with revolving lines naturally form aframed scenery. In the set openings, you can see people walking, looking for books, reading with their heads down, and the postures of plant growth, which makes a scene of activity. More interestingly, books concentrated in specific areas according to thematic attributes form a semi-independent exclusive space with seats to attract like-minded people to gather. Unlike the traditional bookstore’s only behavior model of “people looking for books”, the other model of “book looking for people” is added through the space structure. If the seating area generated by the bookshelf shape is like the corners of the paths that often interact with each other in the building and easily produces small groups, then on the central axis of the space, a relatively wide open rest area surrounded by bookshelves is the square in the village that can be used as a cultural lecture hall for convening activities, eating and chatting, facilitating more interactive behaviors. People will come out from behind the book, gather together and build more possibilities. In order to strengthen the concept of cohesion, the ceiling between the bookshelves is a low-key and plain plane, but we keep the height of the house above the open area and paint it with amber red, then build a dense and complicated installation lines, such as interpersonal networks, and naturally draw the boundaries between activities and reading / community and individuals with an artistic vocabulary. Not to rush to define it, people can move around freely, leisurely imagine and enjoy cultural mobility.


Namra Coffee의 리노베이션을 맡은 D1 Architectural Studio의 건축가들은건물을 보며 역사성이 주는 매력에 매료되었다. Namra Coffee에 필요한 것은재건축이 아니라, 기존의 인상적인 요소들을 지키면서 보완하는 것이었고, D1역시 이 상징적인 디테일들을 보존하기로 결정했다. 2층의 벽돌 벽, 녹색 시멘트의 바닥, 70년대 스타일의 발코니 등 옛 흔적들을 남겨두고 외관 등에 새로움을 더한 것이다. 이로써 Namra Coffee는 과거와 현재가 연결되는 독특한 건축물로 재탄생했다. ‘Namra’는 산스크리트어로 ‘감사’를 뜻한다. 이 이름은 카페의 단골과 역사를 간직한 장소 자체에 깊은 감사를 표하는 것으로,클라이언트가 직접 지었다. Namra Coffee는 분리되어 있는 현대인의 관계를 회복하고 보다 천천히 살면서 내면의 평화와 풍요로운 내적 가치를 심화하기 위해 만들어졌다. D1은 본래 건물의 역사성은 유지하며 기능적이고 미적인 부분을 만족시키기 위해 현대의 물성을 끌어왔다. 물론 공간 안에 진정성을 담으려 할수록 디자인적으로는 더욱 어려워졌다. 평화로운 공간을 만들어내기 위해 D1 Architectural Studio는 기존 답답해 보였던 구조물을 녹지, 자연조명이 있는 건강한 열린 공간으로 재편성했다. 스튜디오는 계단을 건물 후방부로 옮겨 개방성을 확보했다. 무거운 콘크리트 바닥의 절반을 제거, 철골구조로 교체하기도 했다. 옛 역사적 흔적과 현재의 물성이 아름답게 녹아든 공간, Namra Coffee다.


Wutopia Lab has completed Sinan books poetry store with the concept of ‘Church in church’ , using 45 tons of steel in the historic site of St. Nicholas Church in Shanghai. As the largest professional poetry bookstore in Shanghai, it offers 1000 poetry books in different languages. A continuation of Wutopia Lab’s design style, magical realism based on antithesis, perforated steel plates, translucent, uncertain light, color and dramatic poetry could be found in the poetry store. The former orthodox church at Gaolan Road #16 is the second batch of outstanding historical buildings in Shanghai. It was built in 1932 and was not used as church for a long time. In the past few decades, it was an office, factory, warehouse, canteen, residential place, and later became a club, restaurant, and finally was in a waste. The first time when I stood in the site, I felt it like a ruin of maze. But after accustomed to the darkness, with the knowledge of architecture and urban historical experience, I can identify the traces of construction that have been gaining from generation to generation since the beginning. Various traces of the addition and decoration of this old church at different times are squeezed together and integrated as ones. The entire project can only be implemented under the permission of the Shanghai Historic Building Protection Affairs Center. No existing façade, structural system, basic floor plan and distinctive interior decoration of the building could be changed. The façade and layout, new and characteristic decorations on wall and dome cannot be changed as well. It is required to remove the unnecessary walls and floors, such as the steel structure interlayer built in the 1990s. The building space should be cleaned up to reveal its original image and keep the height of the main hall. Shorten the build-on part at east side, aligning to the original part.Tracing the original materials, such as pillars, floral decorations, walls, and flooring. After decades of wearing down, only concrete layer were left in the main hall. A small part of aged stone floor was discovered in the side hall, while others were terrazzo added in the 1970s. After repeated grinding and cleaning of the floor tiles, the oil pollution was still faint and it was regarded as the memory of the factory and persisted. I believe that the poetry bookstore should be the sacred space of the city of Shanghai. It should have an independent spirituality and should not be based on the religion of the old site. Given the fact that the dome could not be transformed, I used bookshelf to create a new structure as a Church in the old building Church. This is Church in church, a sanctuary for modern people was born in where once a sanctuary of faith. I chose to use plated steel plates other than the stone in old site. The partition and stand of the bookshelf are welded as a steel plate grid system. They interact with each other to form an inner space—a poetry bookstore. The bookshelf has no back panel, and the light from the dome can still spill into the bookstore. Different traces from 1932 to 2019 on the wall are faintly revealed through the bookshelf, including the Catholicstyle frescoes that the owner asked the students of the Academy to draw when the group was used as a restaurant in the early 2000s. The steel bookstore and masonry church became a new integrate. With light strips on wall, readers could figure out the original outline of the church and tell which part is newly add-on. East and west part of the church was transformed into a café. Contracting to the silver metal bookstore, I used chocolate color to make the café a mild and cozy atmosphere. The bookstore is an interior project that does not involve the preservation and renovation of the facade. We tested on the wall by the side of café, which is an inner wall but basically an outer wall, to see if there are layers of paints covering on the wall. After peeling off layers of paints, the texture and vicissitudes of 1932 were finally revealed. I chose blue film to replace the faded color window. An infinitely transparent blue is rendered when sunlight spilling into the side hall, dissolving the physical sense of the side hall and highlighting the brightness of the main hall. The steel bookstore was built by 30 workers in 80 days. Workers must first cut 5 mm steel plates into 128 standpipes, 640 large steel plates and 2921 small steel plates for 23 layers of crossbars according to the drawings. After pre-assembled correctly outdoor, the pieces were moved inside and welded together. Finally, this bookstore of 388 square meters and a height of 9.9 meters was methodically formed left a 50 cm gap from the old wall. In the silver bookstore, a balcony was transformed into a golden pulpit. Here you can see how the steel bookstore and the old masonry church are interwoven without touched. The poet should recite aloud in this noble place. “when people come to the world, if they can not make others better, they will make them worse.” - Eliot On the day of completion, I walked up the spiral staircase shrouded in blue light. I stood in front of the pulpit and whispered my own sentence, “I love poetry, and I use it to create the world.” The Sinan Books poetry store I designed is a gift “For the infinite few” (Jiménez). It is the soul of Shanghai. “Poetry is connate with the origin of man.” – Shelley


We try to create the pure and simple beauty of “Wabi sabi” with contemporary materials. Goose Hut is a Bistro located in Xidan Joy City, a commercial street in Xicheng District, Beijing. Over the years, whenever people in Beijing hear about Goose Hut, they always feel warmth and sincerity in their hearts. The hard working young people of different prats of Beijing, imagine Yan She as their “home.” As the fifth branch in Beijing, our original intention of the design is not to change anything. We want to keep the brand's warm atmopshere, and we just want to provide people who yearn for beauty to do nothing and let the heart rest and relax. Reshaping of the building facade and interior space. The first floor of the building is the most important public area of the whole guesthouse, functioning as the reception, dining room, activity areas, and logistics and support office; the second and third floors are mainly guest rooms; on the top floor, there are duplex two-story bedrooms and an outdoor independent terrace, besides a multi-function hall. There are 13 rooms in total of different size and different designs. The entire space layout is a rectangular staggered site with a floor height of only 2,500 mm. Our design started with trying to figure out how to make the Low floor height not oppressive. The house and the tree are the continuation of the design of the Goose Hut brand. The continuous ridge in the space is the designer’s interpretation of the “love” of the Goose Hut. It is also a new unique look and feel given to this design. The high and low undulations stretch freely in space, and perfectly blend with the quiet space with continuous folds. The shape of the tree under the eaves creates its own relaxing and dependent nature, giving customers a space to relax and imagine without any sense of oppression. We repeatedly pondered its modeling structure, and felt the rhythm of the tree in the house and the house in the tree. It succumbs to all formalism and expresses the warmth unique to the home under the eaves of ordinary people in a seemingly impractical state of decoration. Considering that the shape and surrounding sight are not blocked, it is divided into two materials: white metal mesh and wooden finish; based on the shape, it retains the permeability of the space and adds to the dining experience A sense of mystery. The rhythmic roof shape, abstract garden, the seemingly complete space actually carries the long-awaited life beyond the design: one home, two people, three meals, four seasons, a good meal with your family, and spending the best time with your most beloved.


Traditional theaters pay more attention on panoramic sound effects and the viewing experience on the screen while they lack creativity. The single business model of selling tickets and snacks, will it somehow weaken the experience and expectations that the venue can give the audience? Or ignore the chemistry that can occur between the audience and the theater? As designers, we found an improvement approach which might be potential answer to the questions in this project. According to the original plane, we can only build four relatively square video halls. Since this space pattern is difficult to provide rich viewing, we changed the thinking of traditional design and transformed its logic that purely focused on decoration into more in-depth thinking. From the perspective of integrating composite formats, the theater space is integrated with other formats with similar entertainment attributes to build an avant-garde new cinema space that meets the relatively closed business loops. Originating from the owner’s personal hobby, we moved the lounge bar into the theater space. It is not only an independently operable space, but also symbiotic and mutually beneficial with the cinema. The experiential claw machine and other entertainments also stimulates consumers to extend their stay in the theater, maximizes the value of the space effect, and makes up for the free time before and after the movie. In terms of design concepts and aesthetics, we also break away from tradition and use space narrative to uniquely show the “shooting scene” of film production. Consumers’ flows just string out the film’s narrative logic so that the demand for spatial aesthetic experience before and after the film-watching was fully tapped and met. The main hall of the cinema presents unique “visual effects” to every audience. The exaggerated black and gold color looks dramatic. The sales area and ticket office constructed by the exquisite “prop box” create a sense of fashion. The large floor lamps inspired from photographic lamp stand in between, creating a strong immersive experience atmosphere. The warm-colored lights of the different geometric shapes not only give the audience a strong scene suggestion, but also reflect the abstract art style with the lights refracted on the gradient floor. The billiard table is supported by the fantasy-shaped duck webs, which has a surprising visual impact. The experiential claw machine in the metal-like entertainment space upgrades the experience of young customers. Dark red sofas, beds and bathtubs with design sense, all of these shooting props have successfully arranged a series of elegant compositions and close-ups. The bar, made of casual furniture imitating a director’s chair, invites people to indulge in a relaxing atmosphere that is very different from ordinary life. Hall No.1 simulates an European-style study, with classic bookcases and black and red seats overflowing with aristocratic heritage. In Hall No.2 we built a grotesque artist’s living room. The Dutch-style wall uses only pure colors and geometric images to express the purity of the design spirit. The unique inverted hall is full of drama effect, with bunny sculpture in the auditorium and hanging hat-shaped lamps adding funs to the space. Hall No.3 adopts light luxury and elegant arches of classical architectural elements to bring a sense of order. Black and white strips of carpet and seats embellish the quiet dark green space. Hall No.4 transforms into a futuristic surreal street. The bright neon shows the vitality of the city and the rich colors convey the style of fashion. Regardless of the video halls or the private rooms, we did not ignore the specific requirements of the acoustic environment. The wall coverings and ceilings in the venue are equipped with sound-absorbing devices, and personalized carpets effectively reduce noise. Comfortable seats, taking into consideration the high vision difference and viewpoint height, have ensured high-quality listening and visual enjoyment and enhanced the audience’s immersive movie watching experience. While satisfying the best viewing needs and leisure entertainment, the designer has completely changed the interactive viewing experience through landscaping in the hall. And by creating scenes ingeniously, the designer pays tribute to the filmmakers who have made countless laughter and tears on the screen and presents a perfect film-watching journey for movie enthusiasts. In addition to providing entertainment and popcorn, a cinema should also pay attention to the connection between audience and the art of film. Director Hou Hsiao-hsien has a saying, “There are many valuables in our life that is impossible to describe and difficult to classify, and they can’t even constitute any significant meaning. But, they just linger in my mind.” The space that the designer has created as a space director exactly expects to fill gaps between reality and fantasy and to create those incomparable valuables in people’s life.


RooMoo is happy to release our new Lecoq restaurant in Gubei, Shanghai. Gubei is a charming local district, welcoming families. Frequently, you will see parents taking their kids to school and hear some laughter from a child playing at the playground on the opposite of the street. It is in this context that we designed our restaurant, night bar, and grocery store. It sounds quite like a large place, but those three functions get all together in an 87 m2 shop with a 15,7 m2 kitchen. The real challenge was to try to mix those three functions and still let the customer understand that they could come to buy some groceries, at the same time eat dinner or lunch and still stay after for party at the bar. Each function should be understandable at any moments of the day without disturbing each other. For doing so, the external space of the storefront adopts a full-open symmetrical design, and a multi-openable mobile door design connects the indoor and outdoor spaces to the maximum extent. At the same time, different opening methods in different seasons are set, which is convenient for operators to create more Comfortable using scene flexibly. The considerable metal frame integrates the two entrances of the original storefront. The light and economical setting of the light warm grey metal iron mesh forms another transparent skin on the original load-bearing wall. In the rendering of natural light and night lights, penetrate to deduce its solid feeling. In the design of the internal space, to achieve its special functional requirements, we redesigned the entire mezzanine space, liberating the end of the mezzanine space. Through the overall opening of the glass curtain wall, the light overlapped the date. Indoor. At the same time, the mezzanine area of the backyard is reserved. The kitchen and the public toilet are placed on it to ensure that the space on the first floor is maximized for functional layout. we divided internal space by four: between front, back, left and right. It allows us to separate function but also to reinforce the design. We use mirrors to divide the space and enlarge it by using reflection. We mirrored the front with the back, and we reflected the left with the right. The front counter is the deli-counter arranging diverse displaying ways and storages when the back provides a bar service in a more cosy atmosphere with different material performances. To participate to the mirror reflection, we re-use the same language of wood sticks at the counter to bring a little “grocery touch counter” at the front, and we transformed those sticks into acrylic to deliver more delightful ambience by lighting it and turn it into a bar at the back. A staircase with spiral-covered leather armrests is located in the center behind the bar for the functional purpose to save space and to gain a focus sight behind the bar. The staircase leads to the kitchen and toilet. On the left and right of this space, you can find brick-walls with a unique pattern designed for this restaurant. Those recycled bricks carry with them a part of history. Every furniture and lighting have been bespoke at the exception of the chairs. You can find small mirrors placing randomly between the bricks and therefore playing with light and vibration during the day and night, bringing the feeling of hundred candles hanging and lighting your evenings.


프로젝트는 모던, 뉴트럴, 인더스트리얼이라는 세 요소에 깊은 영향을 받아 탄생했다. 골판지 알루미늄과 검은 고무 재질 바닥을 제외하면, 백색의 그림자와 물성 사이의 중립성, 흑과 백의 복조(複調)는 그 자체로 균형이 무엇인지 여실히 드러낸다. 시작부터 스튜디오는 브랜드에 대해 정확히 이해하고 있었다. ‘신선함’을 뜻하는 Fresco라는 이름에 걸맞게 신선한 제품을 사용하는 것을 넘어, 신선함 그 자체를 표현하는 무언가가 필요했다. 이런 고민의 결과로 스튜디오는 자연의 존재를 구현하며, 또 자연을 단지 도구로만 사용하지 않기를 바랐다. 50년대 디자인에서 영감을 받은 건축가는 파사드의 모듈 구성을 현대식으로 구성하기를 원했다. 프로젝트의 기초라 할 수 있는 인 와이어 메쉬는 단순하지만, 공간에 깊이를 만들어낸다. 식물로 둘러싸인 6개의 코어는 조명지지대로, 이는 공간을 더욱 생동감이 있게 만들어놓았다. 필로델드론, 양치식물, 칼라테아 등의 식물을 사용, 자연과 공간이 하나되는 것이 무엇인지를 보여주었다. HMA는 환경친화적 경험을 제안한다. 대부분 방문객들은 마법의 식물과 함께하는 듯한 느낌을 받는다.


TORI TORI Santa Fe는 Esrawe Studio의 다섯 번째 일식 레스토랑 프로젝트다. 레스토랑은 멕시코 시티에 위치한 스튜디오의 건물 1층에 위치해 있어, 실제로 Esrawe Studio의 직원들도 자주 찾곤 한다. TORI TORI Santa Fe에 들어서는 고객들은 아주 놀라운 경험을 하게 된다. 바로 이 특징적인 건축 요소를 만나는 일이다. 일식집인 만큼, 일본 공예 기술의 미묘함, 또 절제에서 영감을 받은 단색의 고요한 분위기는 털가시 나무와 함께 프로젝트의 규모를 강조한다 이 요소 중 일부는 테이크아웃 존에 위치해 있고, 나머지 한 부분은 더 큰 크기로 테이블 위에 위치하며, 이 레스토랑의 큰 기둥들은 상황에 따라 조명으로 기능하기도 한다. 스시바로 향하는 벽은 멕시코인들에게는 무척 기하학적인 그래픽일 한자로 채워져 있다. 중심 공간 옆에는 철판 구이 테이블이 있는 테라스와 전용 식당이 위치하고 있다.


Beijing Daxing International Airport is a new airport in the Daxing district 46km south of the city centre (20 minutes by express train). Developed to alleviate congestion at the capital’s existing airport, Beijing Daxing will be a major transport hub for the region with the world’s fastest growing demand for international travel and is fully integrated within the country’s expanding transport network. Initially serving 45 million passengers per year, Beijing Daxing will accommodate 72 million travellers by 2025 and is planned for further expansion to serve up to 100 million passengers and 4 million tonnes of cargo annually. Beijing Daxing’s 700,000m² passenger terminal includes an 80,000m² ground transportation centre offering direct connections to Beijing, the national high-speed rail network and local train services, providing a catalyst for economic development in Tianjin and Hebei Province. Recently assigned the airport code ‘PKX’ by the International Air Transport Association, Beijing Daxing sets a new standard in air transport services, serving the region’s growing population within a compact and efficient passenger terminal that is adaptable for future growth. Echoing principles within traditional Chinese architecture that organise interconnected spaces around a central courtyard, the terminal’s design guides all passengers seamlessly through the relevant departure, arrival or transfer zones towards the grand courtyard at its centre – a multi-layered meeting space at the heart of the terminal. Six flowing forms within the terminal’s vaulted roof reach to the ground to support the structure and bring natural light within, directing all passengers towards the central courtyard. Natural light also enters the terminal via a network of linear skylights that provide an intuitive system of navigation throughout the building, guiding passengers to and from their departure gates. Structural spans of up to 100m create the terminal's generous public spaces and allow the highest degree of flexibility for any future reconfiguration. The compact radial design of the terminal allows a maximum number of aircraft to be parked directly at the terminal with minimum distances from the centre of the building, providing exceptional convenience for passengers and flexibility in operations. 79 gates with airbridges connect directly to the terminal which can rapidly process the passengers of six full A380 aircraft simultaneously. Five aircraft piers radiate directly from the terminal’s main central court where all passenger services and amenities are located, enabling passengers to walk the comparatively short distances through the airport without the need for automated shuttle trains. As a result, the terminal’s compact design minimises distances between check-in and gate, as well as connections between gates for transferring passengers. This radial configuration ensures the farthest boarding gate can be accessed in a walking time of less than 8 minutes. Photovoltaic power generation is installed throughout the airport to provide a minimum capacity of at least 10MW. Beijing Daxing’s centralised heating with waste heat recover y is supported by a composite ground-source heat pump system incorporating a concentrated energy supply area of nearly 2.5 million m². The airport also implements rainwater collection and a water management system that employs the natural storage, natural permeation and natural purification of up to 2.8 million cubic meters of water in new wetlands, lakes and streams to prevent flooding and counter the summer ‘heat island’ effect on the local microclimate.


This new opera house is located on Fenyang and Huaihai Road. The building has a great public entrance at the corner of these two important streets of the historical French district. Rather than a massive unique building the opera is built as a sequence of pavilions, following the rhythm and the height of the existing architecture including, on Fenyang road the existing recent building of the conservatory. The color and texture of the pavilions is respecting a brick pattern aspect. The opera house belongs to the Conservatory of Shanghai. It provides to students and teachers a toll for practicing Opera in real condition. It is also conceived to be a high standard public hall for music, with a high level acoustical quality and international standards scenographic equipment. An opera hall is a musical instrument. This one was to be conceived as a classical traditional one, respecting the acoustical qualities of the u-shape model. Nevertheless, it is designed in a new way to give good visibility from everywhere as well as good acoustic for both classical and romantic repertory through a variation of reverberation time. The dimensions of the u-shape form create an intimate relation between the artists, the orchestra and the public. This main hall contains 1,230 seats. The building provides all facilities as rehearsal and loges. The Opera has fours rehearsal rooms: the orchestra, the Chinese traditional music, the ballet and the choir. The lobby is an intermediate space between outside and inside. It is composed by two additional floors giving access to all the balconies in the auditorium each of them counts around 250 places. Being both a pedagogical equipment and a public performance hall, the use of the project is flexible. Inside the urban block formed with the others conservatory’s buildings. The opera house is linked with all others pedagogical facilities. When there is no performance, students may access directly to the main foyer and rehearsal hall. When a large public performance is presented, the whole building is reserved to them and a link connecting the loges with the existing building is provided to extend the capacity of welcoming the artists.


Yanlord health cafe is a new food concept that promotes green and healthy living. As part of a residences club in Shenzhen, China, the cafe is located adjacent to a swimming pool, and provides a healthy menu to complement the athletic activities. Inspired by the streamline of marine architecture, the design utilizes sustainable materials with a simple palette to create a young, healthy and energetic environment. Green is the color accent as well as the ideological spirit of the design.


COLLIDANIELARCHITETTO는 Daniela Colli가 2009년 로마에 설립한 건축, 인테리어 디자인 스튜디오다. 다수의 수상경력이 있는 스튜디오는 현대와 사회 비전과 그 요구를 인테리어 디자인의역사적, 문화적 뿌리와 결합하며 과거와 미래를 혼합한 프로젝트가 특징이다. 그들은 가구, 인테리어 디자인 및 도시 건축에 이르기까지 설계 및 건설 단계의 세부 사항에 특히 주의를 기울이며 현장의 특성을 포함해 도전적인 실험을 지속한다. 현재 국제 비평가들로부터 호평을 받으며 카페, 레스토랑, 호텔 및 스파에 이르기까지 다양한 프로젝트를 수행하고 있다. Located in the East tower of Covent Garden market, a famous listedbuilding grade II monument and heart of swinging London in the 1960s,VyTA is part of a broader redevelopment programme that hastransformed the neighbourhood from a tourist destination into a lively,upbeat corner of the city. The vibrant and creative square looks to thefuture and attracts a cosmopolitan audience in search of exclusiveexperiences. The external dehor, rebaptized “VyTA Garden”accommodates up to 100 people. Set with tables and chairs andshielded by large white umbrellas, it represents an urban oasis whereconsumers can take a break from the heat and pace of the city. Covent Garden Market의 동쪽 타워에 위치한 VyTA CoventGarden은 이탈리아 요리와 새로운 스타일의 고급 음식을 제공하는레스토랑이다. 외부의 VyTA Garden은 100명까지 수용할 수 있으며,하얀색 파라솔은 코벤트 가든 안에서 쉴 수 있는 오아시스가 되어준다. 빅토리아 풍의 입구로 들어가면 장미나무 벽체를 비롯한 프로젝트의 상징적인 컬러들이 맞이한다. 황동 샹들리에, 유리와 귀금속으로 구성된 내부는 화려함이 특징인 전통 이탈리아 스타일을 표현하고있다. The interior design draws heavily on the Italian architecturalculture of the Sixties, from which it takes its refinement of theconstruction and decorative details, the conception of thespace as a living set, and the cocktail of elegance and irony inits geometric stylizations. The rhombus constitutes the matrixof the dynamic elements that characterize design, from themacro engravings of the boiserie to the decorative patternsof the polychrome marble floors.“VyTA Covent Garden is a wonderland of colours and shapes,designed to surprise, celebrate and entertain people who’slooking for a world of pleasure and emotions”, assertsDaniela Colli, founder of the firm. 60년대의 이탈리아 건축 문화로부터 영감을 얻은 프로젝트는 건축과 장식적인 디테일의 정교함, 우아함과 아이러니한 스타일의 혼합을 보여준다. 폴리크롬 대리석 바닥의 장식 패턴들은 역동적인 요소의 매트릭스를 형성한다. 마름모 꼴의 다색 대리석 바닥 장식 패턴같은 절충주의적인 실험은 VyTA Covent Garden의 기본적인 구성이다. DanielaColli는 “VyTA Covent Garden은 기쁨과 감성을 찾는 이들을 위한 놀라운 색깔과 환상적인 형태의 세계”라고 말한다. Two terraces, facing North and South respectively offer an unusual open-airexperience in London. The first, more intimate, is equipped with sofas, coloured metaltables and large flower-filled vases; the other, which is larger in size, features a longcounter and emerald green metal stools, and is visually projected towards the iconicCovent Garden dome and the vivid life of the square. VyTA Covent Garden의 2층은 코벤트 가든이 내려다보이는 넓은 야외 공간과 라운지 바 역할을 하는 두 개의 테라스를 갖췄다. 에메랄드 색상의 의자와 대형 꽃 화분으로 인테리어된 우아하고 세련된 테라스 바는 코벤트 가든의 철조 구조물의 색과 이어지면서 활기찬 광장의 풍경과 어우러진다. The lower floor, intimate and welcoming, houses severalrooms with vaulted ceilings, once used as storage areas forthe shops above. The polychrome marble floor, inspired bythe artworks of the futurist painter Giacomo Balla, and thedynamism of his design composed of over 7,000 rhombusesand half-rhombuses in marble, brings continuity and fluidityto the rooms, fragmented by the original structure.White lacquered vaults with rhombus and circle decorationsdominate the succession of private spaces and niches,wrapped in lacquered walls with friezes and mirrors thatamplify the space, accompanying the client on a discovery ofsurprising underground London. Enveloping linear sofas,velvet-upholstered chairs in burgundy and pink peony, andglass tables with brass finishes, complete the heterogeneousdesign of the rooms. 위층 상점들의 창고로 사용되었던 지하층은 아치형 천장이특징으로 미래파 화가 Giacomo Balla의 작품에서 영감을받아 마름모 꼴과 반 마름모꼴 디자인의 연속으로 추상적인 바닥의 디자인이 돋보인다. 황동 장식장이나 벨벳과 같은 고급 재료는 현대적이면서 고풍스러운 분위기를 자아낸다. 거울로 둘러싸인 공간은 보다 넓은 시야각을 제공하며좌석마다 벽체를 두어 프라이빗하게 사용하도록 했다.


Oxalis is located in 4L of Bohua Square, which is a French Restaurant. Shanghai Bohua Square is composed of a 60-story office tower and retail commercials. It is located next to the Shanghai Nature Museum. The Oxalis restaurant has a large terrace on the north side facing the Wusong River, which means there are great views. The roots of the “Oxalis” name can be traced to 2008, at Restaurant BRAS when Chef Jonas started to work with Michel BRAS where together with the kitchen team, he foraged herbs, plants & flowers in fields around the restaurant. Oxalis was one of the first herbs he foraged. Chef Jonas defines this restaurant as “Bistronomy”, which means the fusion of a pub and food. The interior design of Oxalis is inspired by the French farmyards and the chef's philosophy of food, rooted in the seasons and nature. So we use modern design language to tell a ‘Glowing Mysteries’, and move the French farmyard into the commercial space. The bright spatial tone, rattan, wood and white marble create a relaxing dining atmosphere for the restaurant. The dark color of the entrance bar area is different from the relaxed and bright color tone in the dining area. We designed a darker environment for drinking and talking in the bar area. The black bar over 4 meters long and the green hand-made bricks on the wall are matched with marble countertops and ceramic murals behind the shelves. Growing means going beyond the original. In the bar, dining area, and private room, we use the extension of the material as the growth image, extending the same material from the ground to the wall, from the wall to the top, from the inner space to the outer space. They are both conspicuous and harmonized. From Reception to the private dining room, the ubiquitous curved and rattan elements set a relaxed tone for the restaurant. The arc at the top is inspired by the curved roof of the greenhouse, which gives ‘growth’ tenderness and soft protection. The long couch in the middle of the main dining area uses rattan for the back and sides, while the cushion cover features a bright green fabric from Gabriel. The combination of the material and color of the plants also adds vitality to the dining space. Behind the log couch is the open kitchen where you can see the busy figure of the chefs from the perspective of each guest in the dining area. At the end of the dining area, there are two sets of seats under the curved rattan roof, creating a strong sense of inclusion from the back and top, which gives guests a more intimate dining space. At the end of the restaurant, there are two sets of seats under a set of curved rattan ceilings, creating a strong sense of inclusion from the back and top, creating a more intimate dining space. It is worth mentioning that we are fortunate to cooperate with young illustrator Wang Zhe. She was invited to create murals for Oxalis's 12-meterlong, 2-meter-high interior wall with the theme of “Reiki Plants and Animals”. Her style is lively and vivid, full of imagination, and coincides with the new French style defined by Oxalis. From the bar at the entrance to the private room, this series of paintings is presented in the form of ceramic murals, which are novel and chic, while creating a wonderful dining atmosphere. The plants in the picture are inspired by the common fruits and vegetables and herbs in Europe. These rustic outlines and colors make the picture full of vitality. The inconspicuous little insects make the picture more vivid, and the surprise is that the chef's cat also unexpectedly appears in the picture. Delicious food is always accompanied by fun, isn't it?


Wutopia Lab is invited by client to renovate a Xinhua Bookstore and its annex room in the historic district of Yangzhou. The bookstore is redesigned as a multi-functional box for bookstore, hostel, exhibition, conference and tea house, which presents a possibility of connection of the past and the future of the city of Yangzhou. Yangzhou, with a history of 2500 years, used to be the most prosperous city in China. This Xinhua Bookstore in Guoqing Road opened on January 28th, 1949 was the first of its branch in the city. The former of the bookstore was the Jianguo Bookstore during the period of Republic of China and was took over after the liberation. The bookstore is gradually downsized and dilapidated 70 years after its opening so the government of Yangzhou and client are looking for a revival of the bookstore and hope it can bring a positive effect to the city renovation of historic district. The Weightless Box – A bookstore of screens. Based on the heavy grey color theme in Guoqing Road, Wutopia Lab would like to create an opposite space by using bright white color theme for the bookstore. By borrowing the idea of “Palace of Screens”, bookshelves made of white acrylic are installed as screens, splitting the space like a maze. The translucent acrylic material of the bookshelves creates a visual effect of fog, which provides a sense of floating, weightless experience inside of the bookstore. The lifting platform used to be logistics elevator is turned into a mobile living space, which is hidden behind the mirrored wall. The wall of the platform can also be used for exhibition. The third floor is a little collection space for limited books. The space is equipped with portable stainless-steel bookshelves and fixed bookshelves. Together with the mirror ceiling and black floor, the space becomes a boundary-less chamber. The two buildings behind the Xinhua Bookstore is turned into a hostel and shared lobby space. The one with two floors is the hostel with 12 bedrooms, which are small boxes within the large hostel space. The hostel is like a box of chocolate and you’ll never which bedroom you’re going to get. The building next to the hostel is the shared lobby space for group events. We are asked to not to change the façade, so the roof becomes our focusing point. In order to create a vibrant interior atmosphere, we chose to install colored transparent panels for the skylights. A poetic life is the treasure of the hostel box.


Find a simple and tranquil, harmonious and undisturbed dwelling place in the world. It is desirable no matter what age it is, just as The Peach Blossom Spring describes the story of the fisherman going along a creek and accidentally discovering the Arcadia: “he suddenly chanced upon a peach Cleaning forest; keeping by the shore he moved a hundred paces; inside there were no other trees, and the fragrant grasses were fresh and beautiful; the fallen leaves were a mix of colors, and the fisherman found it strange; He continued onwards, wanting to find the end of this forest⋯⋯” This sudden enlightenment inspired the design of this copywriting. Two premises make Xiamen Zhongnan Real Estate differ from the traditional sales office: Firstly, the sales office building will be for the community’s sustainable use in the future. Secondly, except the reception entrance, most of the use area of the two-story building is located in the landscape. It is the primary task for WATERFROM DESIGN to give play to the characteristics of the sequestering and independent field, while the environment architecture of the three elements of sunlight, air and water is maintained. Source of tea, take a dip. It is expected that on the blueprint for community use in the future, we will build a landscape that is connected to the ground from the entrance of the first floor. In the past, an old tree always acted as the core of the gathering among the villagers, who exchanged daily information and built relationships. It is a habit and a collective memory to gather under the old tree. Tea is the tradition and essence of the old Xiamen culture. It is a ritual and life to boil water and brew tea for friends. It is not about the level of tea; drinking tea is a gesture of freeing and calming our mind. A glass tea pavilion surrounded by a lake is a prelude, just like the transparent container for the ritual on the tea table. The flowing stream of the river accentuates the quietness of the interior, which brings a sense of tranquility for people after they step in. The water flows across the long tea table at the center of the tea pavilion and runs through the glass curtain. When the tea is being brewed on the table, the sound of the water flows continually into the lake stretches all over the room. Although it is not the reappearance of Wang Xizhi’s description of drinking fine wine by the river, the running stream still brings refined pleasure as enjoyed by the ancient literati of China. Source of light, after passing a winding path. There is an opening on the floor next to the tea table, which is the ladder leading to the cave below the lake. Most of the legendary Arcadia discoveries begin with a hidden and unobtrusive entrance for outsiders who want to explore a peaceful and leisurely life in this place. Walking through this dim path, people can leave behind their stress and frustration, and calm their minds to find their essence in life. Then, with the guide of twilight at the end of the corridor, they can step into a different and open space hiding at the bottom of lake. With a sceneryof exceptional charm, the underground is surrounded by the circular atrium bringing light and water nourishing the tree in the bottom of the lake that stretches out to the sky. The scene resembles the simplest appearance of the heaven and the earth. The daylight makes the tree shadow wander indoor where people could leave behind their busy schedules and slow down. They could gather under the tree, enjoy the time together, observe the day and night and the four seasons. As they sip a cup of tea, they could feel themselves surpassing the order of the bustling city, and comfortable breath in the rhythm of life. Hiding in the lake, time makes things painted. When people look up, they could see the lake water over the roof. The reflection of water creates ever-changing shadows on the wall; the silent swaying beam seems like hiding under the lake. Quietly keeping the distance from the busy traffic on the ground, this space is free from the stress of daily life. In order to retain the detachment from the outside world, we chose warm, natural and simple materials, and maintained the pure texture and tactility. In the design process, we strived to avoid the form of excessive expression, and constructed an intuitive space with lines. Under simplicity,the users can perceive the natural light and shadow without interruption. The décor is like a long scroll on the wall, just as contemporary ink painting that is abstract and only outlines the text. There is no frustration in this space; the cooper plate that ages over time reflects the changes of people in the flow of time. The hand-made pottery that connects the veins of the soil, the fragrance of the wood, and the undulations of the rattan weaved tightly, all narrate the memories and stories of people with subtle details. They are like the microscopic expression of emotions, and the embellishment on the tea tables, and the preludes of cultures activities in the future. Heart of the city, nourishing trees is also cultivating the temperament. Whether it is a sales office or a community activity center in the future, we have removed excessively specific functional frameworks, and hope to create a space for dialogues so the individuals who are alienated by urbanization can find a place to gather around the tree and talk about their daily lives and build personal relationships with others. “He invited the fisherman to the house and entertained the fisherman with wine and delicious food. Others in the village heard of him, and all came to inquire him about the outside news.” In the Peach Garden, people are simple and honest, and live a harmonious atmosphere. We hope this scene will reappear here, which will become a precious life connotation in the community. No matter how bustling the outside world is and how the city is changed, find the entrance to the Arcadia and dive to the bottom of the lake, and you will always find tranquility from an unusual perspective.


A love song of Kangding pushes the town to the world, and the whole world came to the city. When a large number of people reside here, it is doomed that cultural blending will produce new fermentation here. Under the traction of the great era, the impact of foreign business is like a wave, and the market is covered step by step from the first line to the N line. Increasing the need for food, clothing, and shelter is often the first step to thinking and behavior change. In fact, starting from “HIYA CAFE”, it seems that we began to understand why he insisted on creating a local commercial brand; this is not just a successful business model, but more of a cultural guardian of the homeland. “Highland barley”, a kind of highland crops, and PINE is a deeper expression on this basis — evergreen tree. As a comprehensive business combining Tibetan/western food, coffee, baking and craft wine, I think this is also a kind of expectation and sustenance for cultural inheritance. If HIYA CAFE is about nomadic yearning, PINE must be the return of farming civilization. The relationship between life and land has always been inseparable. One side of the land and water, this side, is the wind, the fire, the soil, the wood, this is the worship of nature by people in Tibet, not related to religion, but the original belief of life. Therefore, starting from the brand, we refined the elements of wind and fire and soil and wood and integrated them with the unique totem culture of the Tibetan, forming the cultural logic keynote of the whole brand vision. The original building goes up and down like this small town. Whether it is sunken or elevated, it creates a basic level and progressive relationship of space, and forms the unique perception characteristics of each region. We let the brand logic naturally be derived from the entire spatial layout, representing the outdoor area of the land, front area with fireplace as the core, and the mezzanine space carrying the “Wind Horse post office” and the back area representing the wood system. If the construction of the space is the skeleton, then the use of the material is the skin; the carbonized black wood, the clay of the Tibetan land, the wall of the cloth, the grille of the cast iron, and the moderate skylight opening form a unique The feeling of space; the construction of space and the material divide the relationship between light and dark, with the change of time and season, the formation of different light and shadow effects;all of these seem to take people away from the real society, which is hard to distinguish between the real and the virtual. Ifit is a pilgrimage place, it all seems to have reached our impressions; but as a place of consumption, it seems too cold and rational; so we use the color system extracted from VI as much as possible. The Tibetan Lama Red is matched with the medium gray, under the mapping of the whole lighting system, the whole space will become more vivid, thus more temperature. Like a sudden rise in the mountains when heavy snow, in the glow of nature and fireworks, I listened to the wind and snow, feeling the leaves are silent, and one side of the world, boiled tea and warm wine, do not ask the world. How to explore the relationship between region and architecture, architecture and people? We always believe that the architectural space is the result of humanity’s exploration after the emergence of thinking in the region; and a firm idealist is to create one by one for you to see, fortunately, PINE is like this, we are also. 2019 is the fourth year of PINE’s existence in kangding and the first year of reconstruction after self-denial. We believe this is the dream of a watchman who keeps on going and never stops.


The Culture & Arts Centre by Zaha Hadid Architects incorporates a contemporary art museum(MICA), an 1,800-seat theatre with supporting facilities and a multipurpose hall. Its organic architectural language is defined by pedestrian routes that weave through the site to connect with neighbouring streets. Providing views of the adjacent Meixi Lake from the city and giving access to the parks and walking trails on the lake’s Festival Island, this ensemble of three separate cultural institutions creates external courtyards where pedestrian routes intersect for outdoor events and sculpture exhibitions. The largest and most versatile cultural centre in Hunan province, the Culture & Arts Centre connects directly with its station on Line 2 of Changsha’s new Metro System. Located on historic trade routes through China, the city of Changsha’s traditions as an important centre of communications continues as one of the country’s leading media hubs with the centre’s Grand Theatre hosting a popular programme of performances and television productions. Designed for the widest variety of performing arts, the Grand Theatre provides all front-of-house functions in sculpted lobbies, bars and hospitality suites, as well as the necessary ancillary functions including administration offices, rehearsal studios, backstage logistics, wardrobe and dressing rooms. With eight juxtaposed exhibition galleries totalling 10,000 m2 centred around an atrium for large-scale installations and events, the MICA art museum also includes dedicated spaces for community workshops, a lecture theatre, café and museum shop. The Small Theatre is characterized by its flexibility. This multipurpose hall with a capacity of 500 seats can be transformed to different configurations to accommodate a broad range of functions and performances that span from small plays, fashion shows and music performances to banquets and commercial events. Totalling 115,000 m2, these three civic institutions are uniquely defined and separate, yet complement each other with different opening times creating vitality throughout the day and evening. The theatre becomes active as the art museum begins to conclude its day-time operations, whilst the variety of events in the smaller theatre ensure it will be used at all times.


AD Project Dorohov Architect는 2009년 설립된 건축사무소로, 호텔, 레스토랑, 스포츠 및 레크리에이션 시설을 비롯한 상업 공간 등 다양한 분야의 건축 및 인테리어 디자인 프로젝트를 수행하고 있다. 또한, Hilton, Marriott, InterContinental 등 세계적인 호텔 브랜드와 협업하여 완성도 높은 포트폴리오를 보유하고 있다. 스튜디오는 카리스마와 열정이 넘치는 디자인을 기반으로, 친환경적이며 자연스러운 소재를 건축 분야에 적용하기 위해 노력하고 있다. Bosfor는 러시아 Rostov-on Don 지역에 위치한 레스토랑으로, 스트리트 푸드부터 프리미엄 요리까지 다채로운 터키 음식을 맛볼 수 있다. 보스포루스(Bosfor) 해협은 터키의 서부, 마르마라해와 흑해를 연결하는 동시에 아시아와 유럽을 나누는 해협이다. 아시아와 유럽의 경계를 지칭하는 해협의 이름을 빌려온 레스토랑은 그 이름에 걸맞게 유럽과 아시아 문화가 융합된 공간이다. 스튜디오는 우리가 가진 고정관념에서 벗어나 화려하면서도 동양적 디테일이 조화롭게 어우러진 유럽풍 디자인의 레스토랑을 완성했다. 스튜디오는 식당, 카페, Pub 등 시장의 유행을 선도하는 것은 젊은 층의 고객들이라 생각했기에 이들의 관심과 흥미를 끌어 모을 수 있는 인테리어 디자인을 만들어내는 것이 이번 프로젝트의 해결 과제였다. ‘터키’하면 흔히 떠오르는 전형적인 이미지를 탈피하고 깔끔한 라인의 현대적인 아름다움을 느낄 수 있는 공간으로 연출했다. 파노라믹(Panoramic) 스테인드글라스, 벨벳, 식물, 천연석, 아치형, 그리고 개방적인 구조 등을 통해 동양 문화에 대한 현대적 관점을 그들만의 방식으로 풀어내는 데 성공했다. 1층이 캐주얼하게 식사를 즐길 수 있는 밝은 느낌의 공간이었다면, 2층은 레스토랑의 프리미엄 구역이다. 아래층과 대조적으로 톤 다운된 차분한 색상을 베이스로 두고 식물을 더해 포인트 요소로 활용했다. 레스토랑 전체를 아우르는 푸른 식물은 실내 장식의 중요한 요소로 작용한다. 공중에서 아래로 떨어지는 식물은 바에 앉은 손님들의 눈길을 사로잡는 오브제로, 낮에는 자연광을, 밤에는 밝은 네온 사인의 빛을 받아 은은하게 반짝인다. 루프탑에는 지붕 주변을 따라 수많은 식물들을 배치하여 번잡한 도시의 풍경을 가려주는 ‘커튼’을 형성했다. Bosfor 레스토랑의 인테리어 디자인은 터키인들의 라이프스타일, 그리고 자연적 재료와 현대적인 재료들이 조화롭게 어우러져, 비슷한 느낌의 전형적인 레스토랑 이미지에서 벗어나 캐주얼하면서도 세련된 상업공간으로 완성됐다.


Two layers of single-family style buildings, a total area of 536 square meters, the Vatican several flagship store located in chengdu southwest characteristics in the Pacific Ocean. Is full of western sichuan style park slope roof and grille with large area be born glass curtain wall, integrating traditional and modern form, in the center of the city the importance of ci to build an open free space aesthetic experience. Vatican several founder high gucci said. “He doesn’t want a few furniture became a kind of fashion, he wants a piece of furniture that can be used more than ten years or even decades. Wood is a life, a piece of furniture to grow old when rounded edge is ground, sleek, surface may have the years trace, there is a story of the time every detail. Designer also shoulder the traditional handicraft reflect value under the new form of design, so as to retain and inheriting our national unique process of responsibility.” The feeling of the whole building is quiet simple and natural, can be seen everywhere in the space long-unseen element restoring ancient ways, through the vicissitudes of condole top, log wear shabby old floor and pillars, small window on the wall in a proper perspective projection come in a little light, you can be in that a beam of sunlight, see the dust float in the sky, and breath. While like paying homage, retains the unique “modern wabi-sabi” (wabi-sabi) do not pursue at first glance, it is after careful consideration, to numerous to Jane. While in the traditional “modern wabi-sabi” incorporating the characteristics of the modern design language, time sheen and pristine strength in contracted innovation environment is presented. Therefore, glass curtain wall shop can be seen everywhere in the collection of restoring ancient ways elements, after the vicissitudes of condole top, log wear shabby old floor and pillars. Ground in addition to using the old stone brick and wood floor, we will also chengdu local shop system, after three soil mixed by worker again pure manual a hammer, hammer, after two months, pounding ground tens of thousands of times, got the hard-won rammed earth ground in chengdu shop. After falling off walls slightly show more about coarse texture, reflecting sunlight reflected light on the ground, and the surrounding color, showing a cascading JianRan. Windows on the second floor with a rice paper, natural light to be controlled to just close corridor, only through the paper combines the light and space, maintained a sensual balance, space scale and more interesting, although the space is little, but with increased, the interaction of many, in some places is compressed to a person, just very close and open again, in the simple structure of thinking space. In the central position of store patio, not only make up for the problem of insufficient light between the original structure, at different times of the day, patio cast light also can let the store presents different tone changes. And on the use of lamplight, we only choose the weaker point light source and the auxiliary light of linear, through the use of light control and block, build a quiet and elegant atmosphere, make the person sinking calm air, and can extend the endless speculation. Space and the space between the ups and downs, mutual connection and mutual interference, about allowing visitors to the taste, long, constantly changing scenes, like walking the winding hutongs, narrow alley. Return to daily, stripping unnecessary external decoration, borrow from design to the natural into the building, let time to simmer it boil a kind of art, can be quiet space to reshape the temperature of time.