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751 Fashion Buyer Shop

有人说城市化是工业化的副产品。以前无法想象没有工厂怎么称得上是一座城市?

People agree that the urbanization nowadays is largely a byproduct of industrialization. In the past, you cannot imagine that how to call a city without any factories.

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短短几年时间,形势便发生了变化,传统城市掀起的“去工业化”浪潮,远离污染、远离机器的轰鸣声,人们因工厂逐渐退出城市而欢呼,但是老厂房明天又该去向哪里?

The situation changed by last few years, traditional cities started a wave of ‘Industrialization’: Keeping away from the pollution and the roar of the machine, people cheers by the gradually dropped out factories. The capacity of those factories left, construction stayed, so the following problem came , how to make a better way that can change those huge areas instead of the demolition, this is also a history remained problem that our society is facing to.

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在北京,老厂房的圣地非酒仙桥这片儿莫属。751找到我们时,它给我们展示着是当年工业遗存和工业时代的足迹。

In Beijing, there is an area called JiuXianQiao which is called ‘holy island’ for old factories, it has always been the first choice for the youth and the trend. When 751 found us, they showed us the footprints of industrial relics that were engraved in the past industrial ages.

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项目位于751D•PARK北京时尚设计广场核心地带,也是751除了火车头广场外另一标志性建筑之一。这里由十个大铁罐留下的独特空间成为各个国家品牌展示、发布的主要场所,也是北京国际设计周的主场,具有展览,论坛、文化交流与美学馆等功能。

This project is located in the heart of the fashion design square of 751 D-Park Beijing, which is one of the landmarks in the locomotive square. The ten tin cans which were desulfurization towers had witnesses the development process of 751 industrial civilization, the appearance of the rust still retains the vicissitudes of the industrial era. But this unique field has become a important area to show and release brands from different countries, as well as a core area to the Beijing International Design Week. The functions of this area covered by exhibitions, forum release, cultural exchange and spatial aesthetics.

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此次任务是把时尚回廊空间打造成新的751 Design Store做商业使用目的时,它的呈现则是以生活方式的买手店的商业形态影响着我们身边消费群体。

When we know that this space would be a designer brand boutique in the future for commercial purpose, it is presented a business mode by the buyer shop which advocate lifestyle that is affecting our consumers group around us.

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设计师太过于自我,时尚买手会站出来,给到设计师新的市场需求,时尚最终还是会落脚在商业,将商业与时尚的相结合才是时尚买手店所需要的。所以我们在这个空间中设定了三条主线来链接整个设计。

Fashion buyers would help if the designers get too self-centered, they will bring new market demands to the designers. Fashion has to be a business eventually, what fashion buyers need is the combination of fashion and business. More and more spaces like this have been created as a cool place, but ignored its own temperature demanding, mentioned the how original cold industrial atmosphere it is, which does not the business desire of consumers. So we set up three main lines in the space to connect the entire design.


NO1.设计&商业|NO1.Design&commerce

寸认为设计应服务于商业,应该带有很强的目的性,甚至设计的本质就是创造商业的价值以及某种更贴近人们现实生活空间水平的提升与完善。刚好在751摆放着一批由上一届北京国际设计周留存下来的陈设道具。

The first line is that we think design has to be commercial with a strong purpose, even the essence of the design is to create the value of business, and close to the level of space in people’s life, make the improvement and perfect. So happened that there placed a number of previous furnishings props that left by last Beijing international design week, designed by ODD studio from Japan.

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临时展示道具

但这些由日本设计师设计的陈列道具更适用于小范围的陈列展示,由于它太过于注重形式所以展示面积与展示数量有限,所以并不符合我们整体空间的商业目的,重新核算和改造,从而提升它们的商业价值成为我们第一项任务。

But these props are more suitable for small-scale display. They are not the type of our commercial purpose of the space, in order to maximize the significance of its function, using them more efficiently has become the direction of our thinking.   

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数据统计,原装置的摆放率只有600件,面临后期大量的设计师产品展示需求,它的功能是远远不够的。我们将其中一些装置进行倒置并加以链接,不仅解决了拉近大层高的空间高度,同时上与下的关系与材质使这些区域形成独立的空间。

According to the statistics, the rate of the original device is only 600, facing the huge product category demand from designers by latter part, functions are far from enough. So we think that some of these devices are inverted and connected, so that we not only solve the problem that the height of the space is closer to the large layer, while the relationship between the upper and lower materials and the formation of these areas to form an independent space.

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改造后的产品展示量从原先的600增添到1623件!并且不再是单一水平高度上的陈列,大大加强了展示和备货数量。从而使形式化的构件变的更加实用!

The placements have changed from original 600 to 1623, enough booth can fulfil the installation of the future design, it is not a single horizontal display on the surface, also need rhythmic space to attract customers, replace the value successfully.

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NO2.展示&设计|NO2.Display&design

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商品展示并非一种纯粹艺术的行为,它既要追求产品本身的美,又要与销售逻辑和销售氛围结合。为了软化老工业带来的厚重气场,我们加入了红砖、木质、水泥一些贴近生活材质的陈设装置,来弥补空间的顺序,这些材质都是近30年内的中国人生活中的建筑生活材质,所以即贴近消费者,又具有大众回忆的温度!

In here, the show is not only a purely objective behavior, it seeks the beauty of the product in the space, also based on the combination of the theoretical data and practical reasons, the existence of design is to create a physical environment and space services. In order to soften the heavy atmosphere brought by the old industry, we designed some furnishings by material which close to daily life, that can make up for the order of the space.

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这些打散并重组的DNA也让行为动线根据人流、物流在尽量不需要视觉导引情况下使消费者走完整个项目所有角落,增加了消费动线调和了空间气氛。

These dispersing and recombinant DNA also allow the behavioral line to make the consumer to walk through the whole project without the visual guidance, which is in line with the business logic.

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色彩则是人体对空间感觉的触发器,纯白色的中心区域则是整个展示的核心轴,与周围压暗的宝湖蓝有着质感的对比,并将走进空间的人流被强烈视觉吸引到这里后,再由VI导视引导发散于各个大罐子。

Color is a trigger for people to feel the space, the pure white central area is the core of the show. It takes a texture contrast with the stressful surround in the dark blue, after leading people to the space by a visual attraction, dividing them into different spaces.

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751VI导视设计-广煜

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每个罐体也都拥有自己独立的主题定义,我们将每个罐体与主空间链接的门套进行拉伸,增加长度形成“小走廊”,也是空间与空间之间的完美过渡。

Each space has its own independent definition, we stretch each space that connected to main area, and increase its length to form a ‘small corridor’, which is a perfect transition between the space.

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往往我们在评论一个好的空间,最大的就是去感受它的空间舒适度。改造后的罐体内咖啡,书吧让展陈空间更有了生活味道。

Usually we give references to a good space, what we want to feel is the comfort of the space.

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中心场域的另一侧我们设置了落地玻璃,“新”的空间与“旧”的回忆被这条玻璃线相切,但又相互交融,尊重着时间的痕迹。

We set a floor-to-ceiling window in the other side of the center area, the memory of the ‘new’ and the ‘old’ are divided by this glass window line, but also blend in a same environment.

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玻璃外的走廊,刚好成为举办时尚Show的T台。这种时尚的设置又是循环更替的,流行趋势不断更替,空间内的设计产品与外廊对应的活动可以不同时尚文化的迭代,够满足并影响人们的消费欲求。

Standing in this modified space to see the original factory in the past. The corridor outside has became a fashion runway out side the glass window. Fashion is a changeful set as well as the the trend, the product of interior space should make a connect with the outside, make enough and affect the consumption desire of people.


NO3.生活=氛围|NO3.Life=atmosphere

一个空间的容纳是有限度的,如果这个“度”把握不好,必定会造成空间的“拥挤感”或是“空旷感”。把握空间尺度要求,将空间内陈设的存在需要与原结构背景之间有一定的“缓冲空间”。

There is a limitation to capacity of a space, if the designer did too much, it can make the place into a crowd and hollowness atmosphere. To grasp the requirement of the space scale, there is a certain ‘buffer space’ between the existence of the space and the original structure.

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并调理空间内人、物、活动、噪声、色彩和图案等等之间的关系,也阐述设计师及制造者赋予它的美学价值。

Expounding the relationship between people, objects, activities, noise, colors and patterns, atc. It also elaborates the aesthetic value that designer gave to it.

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时过境迁,“老厂房”也一度被当作社会“包袱”被荒弃,或被拆除,逐渐消失在城市记忆里。再也听不到齿轮重机那震耳的轰鸣声,再也看不到那熟悉的“大头运输车”来来往往穿梭于家与工厂之间,再也看不到熙熙攘攘的人群和热闹的工作景象。它仿佛中国80年代社会的整体缩影,寄存了我们儿时美好的记忆与童年,而随着城市对工业遗存历史、文化、社会价值的再认识,是时候考虑“老厂房”改造的新选择。

Facing to transformation of the space, as for us is to make something new on the original buildings. In addition to the building itself, it’s also a symbiotic entity of human environment. We respect the sign of time, solve the current requirements at the same time. Then combination between the new and old is more like old buildings in another pose in our daily life.  
Nowadays, the ‘Old factory’ has been abandoned as a social ‘burden’, or we can say it has been dismantled and gradually disappeared in the city’s memory. We no longer to hear the blasting noise by gear juki, see the familiar ‘bulk carrier’ moving between factory and home. We no longer to see the scene of the lively crowd. As if it’s the microcosm of Chinese 80’s society that remains the good memories of our childhood. As the city take a re-understanding to the industrial heritage, culture and social value, it’s the time to consider new options of the old factory.

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主案设计:崔树
设计公司:寸 DESIGN(www.cunchina.cn
位置:北京市751D•park时尚回廊
功能:商业空间
面积:430㎡
竣工时间:2017年9月
摄影师:王厅,王瑾

Designer: CUI Shu
Design: CUN Design(www.cunchina.cn)
Location: Fashion Echo, 751D•park, Beijing, China
Function: Commercial space
Area: 430㎡
Completion time: September, 2017
Photography: WANG Ting, WANG Jin


设计-寸DESIGN|崔树

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作为一位80 年代出生的设计师,身上充满了这个时代的符号,  集叛逆,个性,细致,严谨于一身与当下最时尚的元素紧密相连  ,不做传统设计的奴隶, 不是审美趋势的附庸者不断超越自己!

2015 年成为中国设计星全国总冠军
2016 年获得中国金堂奖最佳办公空间设计奖
2016 年入围 Andrew Martin 年鉴
2016 年获得美国IIDA 全球卓越设计大奖  
2016 年成为40 UNDER 40 中国设计杰出青年
2017 年同时获得红点与IF 双项德国设计大奖  
2017 年获得全球Architizer A+设计奖
2017 年获得意大利A‘ Design 奖
2017 年获得台湾TID 办公空间金奖
2017 年获得美国建筑奖
2017 获得London Design Awards金奖

代表作品

▼全球领先营销机构-大象群文化传媒办公设计
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▼遇见一束光-葡萄牙SERIP灯具展厅
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▼从自然而来-ROSEMOO创意空间环境设计
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▼一条切割时间的线-蓝月影视办公设计
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▼1.4亿的老宅改造-北京香山默玉格格府私宅设计
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▼高颜爆表聚会圣地-JASON无界美食餐厅

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来源:本文由寸 DESIGN提供稿件,所有著作权归属寸 DESIGN所有。

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