當(dāng)我們稱贊一幢房子時(shí)，我們其實(shí)是在說喜歡這幢房子，向我們暗示的那種生活方式。

——阿廣州大學(xué)松田蘭·德波頓《幸福的建筑》

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When we praise a house, we mean to say that we like the way the house suggests to us.

—— Alleins de Botton, the architecture of happiness

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山里有云霧，水上有晨曦。作為“經(jīng)世致用、義利并舉”永嘉學(xué)派思想的發(fā)源地，溫州蟬聯(lián)“中國(guó)最具幸福感城市”多年。這座千年未易址、文脈永傳承的古城，于致富溫商的傳奇故事下沉淀出一代代勤勞奮斗、不斷創(chuàng)新的精神文化。在這幸福城市建設(shè)的背后，或許“微笑Smile”理念成為其經(jīng)久不衰、永動(dòng)不竭的“密鑰”。

There are clouds in the mountains and dawn on the water. As the birthplace of Yongjia School, Wenzhou has been the happiest city in China for many years. This ancient city, which has not been changed for thousands of years and whose culture has been passed down from generation to generation, has deposited a spiritual culture of hard work and constant innovation under the legend of the prosperous businessmen. Behind the construction of this happy city, perhaps the idea of “Smile”has become its enduring, never-ending “Key”.

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我們進(jìn)入城市，要為城市帶來(lái)什么？深耕溫州數(shù)年，不斷思考的旭輝終于用自己的方式交出了一份滿意的答卷：微笑式的生活方式。以微笑Smile為設(shè)計(jì)理念，進(jìn)一步聯(lián)結(jié)城市與人文的關(guān)系。在溫州旭輝微笑空間站項(xiàng)目中，宇合光年設(shè)計(jì)事務(wù)所基于地域特色與客群需求的深度洞察，以IP旭小熊為星球領(lǐng)航，通過多維場(chǎng)景的營(yíng)造、新舊材料的對(duì)話、設(shè)計(jì)巧思的應(yīng)用打造出浩渺宇宙里可遨游、可暢想的“Smile星際空間站”，以此呼應(yīng)旭輝“用心構(gòu)筑美好生活”的品牌使命。

What do we bring to the city as we enter it? After years of intensive cultivation in Wenzhou, Xu Hui finally handed in a satisfactory answer in his own way: a smiling way of life. Smile is the design concept to further connect the city and the humanities. In the Wenzhou Xuhui Smiling Space Station Project, Umakai Light Years Design office based on the regional characteristics and customer needs of the depth of insight, to Ip Xu Bear for the planet navigation, through the construction of multi-dimensional scenes, the dialogue of new and old materials, and the application of ingenious design, we have created the “Interstellar space station of Smile”, which can travel in the曙光公司 vast universe and can be imagined, in response to the xuhui “Build a better life with heart”brand mission.

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設(shè)計(jì)概念

DESIGN CONCEPT

“Smile Planet微笑空間站”

作為城市重要肌理的建筑，是時(shí)代背景下的記錄者，亦是設(shè)計(jì)手法切入的載體?；趫?chǎng)地保存著較為完整的空間形態(tài)與建筑肌理，通過保留原有建筑形式，融入現(xiàn)代的商業(yè)模式，并結(jié)合景觀環(huán)境與商業(yè)包裝以生活方式的革新為切入點(diǎn)，打造圍繞星球生活業(yè)態(tài)為構(gòu)筑的“Smile Planet微笑空間站”，在情緒工坊等“宇宙站點(diǎn)”中開啟一場(chǎng)星球登陸之旅。

As an important urban texture of the building, is the era of the background of the record, but also the design approach to cut into the carrier. Based on the complete space form and architectural texture of the site, by retaining the original architectural form and iintel官網(wǎng)ntegrating it into the modern business model, and combining the landscape environment and commercial packaging, the innovation of life style is taken as the starting point, “Smile Planet Smile Space Station”will be built around the life style of the Planet. It will start a trip to the Planet in the “Space station”such as emotion workshop.

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情緒工坊快閃店

MOOD WORKSHOP POP-UP SHOP?

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城市處于進(jìn)化之中，舊的城市肌理不斷被新的元素覆蓋與取代，如何用情緒回應(yīng)時(shí)代與建筑的關(guān)系成為設(shè)計(jì)師此次的首要設(shè)計(jì)線索。Smile情緒工坊快閃店，以啟航（情緒收集登陸艙）——探索（多重情緒展示艙）——暢游（情緒廣場(chǎng)中轉(zhuǎn)艙）——洄游（情緒販賣返回艙）為故事牽引，通過星球載體為我們?cè)佻F(xiàn)一個(gè)安放情緒與自我的超現(xiàn)實(shí)世界。

The city is in the process of evolution, the old urban texture is covered and replaced by the new elements, how to respond with emotion to the relationship between the times and the architecture is the designer’s primary design clue. Smile mood workshop pop-up shop, to set sail (emotion collection landing module) -- exploration (multi-emotion display module) -- Changyou (Emotion Plaza Transit module) -- migration (emotion selling return module) for the story traction, it reproduces a surreal world of emotions and egos for us through a planetary carrier.

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第一幕

FIRST ART

啟航：情緒收集登陸艙

1971年，當(dāng)阿蘭·謝帕德在阿波羅14號(hào)月球登陸任務(wù)中從月亮之上遙望地球時(shí)，浩瀚無(wú)際的宇宙留下了人類的一滴淚水。情緒，成為記載歷史重要時(shí)刻的動(dòng)人符號(hào)。

When Alan Shepard looked down at Earth from the Moon during the Apollo 14 mission in 1971, the vastness of space left a human tear. The emotion, becomes records the history important moment the moving symbol.

行星胚胎、碎片在時(shí)空中橫沖直撞，光的定格瞬間之際，入口驟然開啟。不銹鋼、鏡面等材質(zhì)作為第一介入語(yǔ)言，豐富著艙體立面表情，也在虛實(shí)朦朧之間找到過去與未來(lái)的接入點(diǎn)。

Planetary embryos, fragments, Burnout in space and time, the moment the light stopped, the portal suddenly opened. Stainless steel, mirror and other materials as the first intervention language, enriching the cabin facade expression, but also between the virtual and real hazy access point to find the past and future.

情緒在停留之中被記載、錄入，正如《太空旅客》中在精密設(shè)計(jì)的飛船里男主星爵孤獨(dú)的瞬間。浩瀚宇宙，在神跡中尋找設(shè)計(jì)與情緒的共通之處，許愿樹上的扭蛋球成為暢游微笑星球的“入場(chǎng)券”。

Emotions are recorded and recorded during the stay, just as the lonely moments of the star Lord in the exquisitely designed spaceship in the space traveler. The universe, in the miracle to find design and emotional commonality, the wish tree of the egg ball into the smile of the planet’s “Admission ticket.”.

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第二幕

SECOND ART

探索：多重情緒展示艙

宇宙無(wú)垠，廣闊而黑暗，當(dāng)已知智慧本體只有人類時(shí)，孤獨(dú)與好奇心驅(qū)使人類奔向太空并不斷探索，費(fèi)米悖論中有關(guān)尺度與概率兩大問題論點(diǎn)和證據(jù)之間的矛盾因此顯得失落而寂寥。

The universe is vast, vast and dark, and when man is the only known intelligence, loneliness and Curiosity Drive Man to space and explore, the contradiction between arguments and evidence on the scale and probability problem in Fermi’礦山工程s paradox is thus lost and empty.

球體形態(tài)的營(yíng)造帶來(lái)沉浸式的探索體驗(yàn)，并在結(jié)構(gòu)與光線之間將建筑空間與天體運(yùn)動(dòng)相鏈接。置身其中，靜觀宇宙之變，如同步入科幻片的切片場(chǎng)景中，在藝術(shù)裝置中跳脫現(xiàn)實(shí)世界的桎梏。

The form of the sphere creates an immersive experience of exploration, linking the architectural space with the movement of the heavenly bodies between the structure and the light. It’s like stepping into a sci-fi slice of the universe and escaping the shackles of the real world in an art installation.

星羅密布，展示艙為訪者呈現(xiàn)出情緒星球的多“面性”：微笑幣的先鋒實(shí)驗(yàn)，星際盲盒的曖昧對(duì)話，袖珍森林的寫意張力，在粗野主義的語(yǔ)境背后“收集”每一次心緒的跌宕起伏。

The display module shows visitors the multi-faceted nature of the emotional planet: the pioneering experiment of the smiling coin, the ambiguous dialogue of the interstellar blind box, the freehand tension of the pocket forest, in the context of the brutalism, “Collecting”, every emotional roller coaster.

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第三幕

THIRD ART

暢游：情緒廣場(chǎng)中轉(zhuǎn)艙

宇宙本體的空寂浮于表面，而自此生出的大千無(wú)量世界卻皆由能量轉(zhuǎn)化。中轉(zhuǎn)艙穹頂如同停泊在浩瀚星際的飛行器，在玻璃鏡面與不銹鋼“輕”與“重”的對(duì)峙中完成一次能量的輸送。

The emptiness of the universe itself floats on the surface, but the infinite world that has emerged since then is transformed by energy. Like a spacecraft moored in the vastness of space, the dome of the transit capsule delivers energy in a confrontation between glass and stainless steel, “Light”and “Heavy.

微笑發(fā)光裝置的空間“介入”，在情感內(nèi)核和人文關(guān)懷間如同機(jī)器轉(zhuǎn)譯帶給訪者新的希望、能源。墻柱、弧線片廊、異形橫梁等不同形態(tài)形成穿插關(guān)系，讓暢游之旅多了份詩(shī)意的想象。

The space of the smiling light-emitting device “Intervenes”between the emotional core and the humanistic care as the machine translation brings the visitors new hope and energy. Wall columns, curved corridors, shaped beams and other forms of interspersed with each other, making the trip more poetic imagination.

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第四幕

FOUR ART

洄游：情緒販賣返回艙

每一次星際探索的返航，既代表結(jié)束，亦昭示著新的開始。正如Kim Stanley Robinson在《火星三部曲》寫道：“沙丘頂部隱沒在陰影中，紐扣一般大小的太陽(yáng)沉入西邊無(wú)盡的深沉。”在新世界與古文明的交替之中，屬于空間的洄游如太陽(yáng)般將照常升起、照常落下。

Each return of interstellar exploration is both the end and the beginning of a new era. As Kim Stanley Robinson writes in the Mars trilogy, “The tops of the dunes recede into Shadow, and the Sun, the size of a button, sinks into the deepest depths of the west.”Amid the alternation of the new world and ancient civilizations, the migration of space, like the Sun, will rise and fall as usual.

情緒販賣返回艙作為微笑星球的希望BANK，亦是本次探險(xiǎn)之旅的終點(diǎn)。螺旋式鏡面管道組合如同時(shí)空結(jié)點(diǎn)將宇宙外部與星球本體鏈接，用微笑幣兌換后的星球限量禮物成為本次旅途的紀(jì)念印章。

The mood sells the capsule as the smiling planet’s Hope Bank and the end of the expedition. The spiral mirror tube combination is like a space-time node linking the outer universe with the planet itself. The limited gifts of the planet after being exchanged with the smiling coin are the commemorative stamps of this journey.

上個(gè)世紀(jì)，阿蘭·德波頓在探討建筑與人文關(guān)系時(shí)發(fā)現(xiàn)：物質(zhì)的建筑與人居的幸福之間，存在著密不可分的關(guān)系，空間的“美”在很大程度上主導(dǎo)著我們情緒的變化。溫州旭輝微笑空間站，這座以情緒回應(yīng)建筑的城市地標(biāo)，在時(shí)空穿梭中啟迪著美好人居生活……

In the last century, when Alan de Botton discussed the relationship between architecture and the humanities, he found that there was an inseparable relationship between material architecture and the happiness of human settlements, the “Beauty”of space dominates our mood to a large extent. The Wenzhou Xuhui Smiling Space Station, a landmark of the city that responds to architecture with emotion, is inspiring the beautiful life of living in the time and Space Shuttle...

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項(xiàng)目信息

Project Information

項(xiàng)目名稱：溫州旭輝快閃店、溫州旭輝商業(yè)包裝

Project Name:Wenzhou CIFI pop-up shop?、Wenzhou CIFI commercial packaging

項(xiàng)目地點(diǎn)：浙江溫州

Project Location:?Wenzhou, Zhejiang

溫州旭輝快閃店設(shè)計(jì)范圍：約300㎡

Wenzhou CIFI ?pop-up shop? Design Scope: About 300?㎡

溫州旭輝商業(yè)包裝設(shè)計(jì)范圍：約700平方米

Wenzhou CIFI commercial packaging?Design Scope：About 700?㎡

委托方：旭輝地產(chǎn)-東南區(qū)域

Client:CIFI properties-south-east region

設(shè)計(jì)機(jī)構(gòu)：宇合光年

Design Institute: Fun Connection Design

主設(shè)計(jì)師：張耀天

Chief Designer: Zhang Yaotian

設(shè)計(jì)團(tuán)隊(duì)：陳彥周、秦子涵、劉欣

Design Team:?Chen Yanzhou、Qin zihan、Liu Xin

深化設(shè)計(jì)：黃靖耘、劉明偉

Deepening Design:?Huang Jingyun、Liu Mingwei

平面設(shè)計(jì)：駱聰毅、凌靜怡、沈蕓軒、陳瑩、汪蔚磊

Graphic Design:Luo Congyi、?Ling Jingyi、Shen Yunxuan、Chen Ying、Wang Weilei

溫州旭輝快閃店燈光設(shè)計(jì):胡曉偉

Wenzhou CIFI pop-up shop Lighting Design: Hu Xiaowei

攝影師：1988攝影工坊

Photographer：1988 photography workshop

撰稿文案：設(shè)計(jì)紀(jì)元

Script Edition:?Design Epoch

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