所属业主 ：生活大师

设　　计 ：赵睿

设计项目 ：家具体验馆

图像摄影 ：赵睿、杨跃文

技术负责 ：莫振泉

文字记录 ：杨跃文

编　　辑 ：伍启雕、谢瑜明

设计时间 ：2014年

The owner：Life Master

The Designer：Zhao Rui

Design projects：Furniture experience pavilion

Image photography：Zhao rui,Yang Yuewen

Technical director：Mo Zhenquan

Written records：Yang Yuwen

The editor：Wu Qidiao,Xie Yuming

Design time：In 2014

生活大师家具体验馆【第二期】是一个相对特殊的展示空间设计案例，特殊性在于设计者需要构建一个空间氛围，并且能够同时承载极具差异性的家具。

Furniture Showroom of Life Master (II) is a relatively special exhibition space design case，its particularity is that designer needs to create a space atmosphere which can at the same time carry the brand furniture with extremelydifferences.

那么设计者如何去直面这种差异性，又同时让一个空间作品葆有其自主性逻辑，或者说是保持一个相对统一的空间氛围？这对设计者而言，是一个设计线索随着线条的叠加，渐渐浮现和清晰的过程。

So how the designer to face this kind of difference directly and at the same time make space artwork maintain its autonomy logic, or keep a relatively uniform space atmosphere?This is a process ,for the designer, with design clues gradually emerging and clear ,as the superposition of lines.

首先，在店铺的外观设计上，设计者采用线性的构成手法来延展整体店面的形象设计，通过45度网格线的交错切割，适当抽离部分线条，使得其在立面上形成丰富的韵律感。

First of all,designer uses linear composition technique to extend the overall store image design on the store’s appearance design,to pull away part of lines by the grid lines staggered cutting of 45 degrees,so as to make it form a rich sense of rhythm on the elevation.

然后，结合三个立面关系，再以大跨度的斜切，在立面上自然形成了不规则斜窗，并结合平面的动线关系，主次入口的位置得以确认并且融合在整体的设计语言中。

Then combining the relation between the three elevation,naturally formed irregular inclined window on the elevation by large span of oblique cutting.And combining the moving lines relationship of plane,the location of the primary and secondary entrance can be confirmed and can integrate in the whole design language.

基于大跨度斜窗设置，随着人在展厅周边的身体移动，展厅内部的家具在视觉上呈现出一种渐隐渐现的动态变化状态，给人和家具之间的交流互动制造了一种戏剧化的模式。再加上自下而上渐变的雾化玻璃效果，店面的整体外观设计一定程度上为客人提供了一种更加丰富的观看和消费体验。

Based on the large span inclined window settings,furniture inside the hall present a visually fade-in and fade-out dynamic change state as people move their bodies around the hall, it will create a dramatization pattern on the communication between people and furniture. Coupled with the gradient effect of atomizing glass from bottom to top, the store’s overall design provides guests with a more rich experience of watching and consumption to some degree.

首先在空间的经营层面，设计者与甲方团队就展示情景模式和平面流线进行频繁深入的沟通，把前台办公设置在两种家具转折过渡区域，这样更加方便工作人员及时与高效地应对参观者的需求和相关服务。

Firstly, in the management level of space, designer team frequently in-depth communicate with party A about showing the profiles and surface streamlines, we place the front office reception in the transition area of two kinds furniture, so that staff can timely and efficiently meets the needs of visitors and related services.

在空间氛围的营造上，设计者试图为空间构筑一个可以容纳两种性格家具的整体空间界面，从而可以消解两种家具风格并置所造成的冲突感和紧张感。

On the space atmosphere creation, the designers try to create an integral space interface which can accommodate furniture of two characters in order to eliminate the conflict and tension caused by the collocation of two different furniture styles.

具体的策略便是，在延续线性元素构成基调下，地面和天花材料在两个区域的互相入侵和穿插，一定程度上为整体氛围的设定找到了相对合适的制衡方式。

The specific strategy is that the invasion and interspersed with each other in two areas of ground and smallpox material under the keynote of the linear elements continuation, so that to some extent come up with relatively appropriate checks and balances for the overall atmosphere settings.

最后，设计者想强调的是：不管是体验馆形象设计，亦或是空间内部的装饰风格，最终都回归到彰显产品的特色本身。在为业主创造商业价值的同时，也在另一层面上，设计者通过家具在室内中的重构组合和情景设置，也试图为进一步延展和深化符合当下的生活方式而努力。

Finally, the designer wants to stress is that whether it's showroom image design or the adornment style of inside space, eventually will return to reveal the characteristics of the products. At the same time of create business value for the owners, designers tries to further extend and deepen in accordance with the present way of life by reconstructing furniture and circumstance setting in interior.