設計方? 衡建筑

合作設計? Raumplus德祿設計團隊

項目地址? 江蘇南京

建設時間 2024年10月

建筑面積? 3200平方米

本文文字由衡建筑提供。

老裝飾城的重生

賞庭在南京經營超過30年，是最早深耕意式生活的家居集合品牌，其在本地老牌的石林裝飾城擁有著一間面積超過3000平方米的展廳。隨著近幾年地產業(yè)的發(fā)展放緩，傳統(tǒng)的家居賣場無可避免地受到沖擊。原本集中化帶來的價格優(yōu)勢和購物便捷，也因線上渠道的崛起被逐一消解。傳統(tǒng)賣場展廳的意義由此不斷被思考。

Someting has been operating in Nanjing for over 30 years and is one of the earliest brands to delve into Italian-style living and home collections. It has a showroom of over 3000 square meters in the local landmark, Shilin Decoration Mall. In recent years, as the real estate market has declined, traditional home furnishing malls have inevitably faced challenges. The advantages brought by centralized pricing and convenient shopping have gradually diminished due to the rise of online channels. The significance of traditional showroom spaces is being re-evaluated.

再造體驗將重拾展廳作為陳列容器的第一性意義。沉浸式的展陳無疑是從運營困境中突圍的一味解方。設計師以“建一座美術館”的思維來改造裝飾城，把傳統(tǒng)的銷售場景轉換為重視儀式和感受的展覽。針對每個品牌搭建相應調性的場景，家具將像藝術品一樣被正確適當地組合和對待，商業(yè)銷售的訴求悄然融入到展覽敘事之中。人們在產品之間游逛巡覽，無意間被空間感染，完成一次次對生活美學的練習。

Recreating the experience will restore the primary purpose of showrooms as exhibition spaces. Immersive displays have undoubtedly become a breakthrough solution for overcoming operational difficulties. The transformation of the decoration city into "a gallery" will convert the traditional sales environment into an exhibition that values ceremony and sensory experience. For each brand, corresponding themed settings are created, and furniture is treated and combined like artwork. The commercial goals are subtly integrated into the exhibition narrative. Visitors casually wander between products, inadvertently absorbing the ambiance, and engage in repeated exercises of appreciating life aesthetics.

以水為形的“美術館”

相較于商業(yè)展廳，造一個美術館意味著更具某種精神性，與歷史和記憶有著更深刻的連接，也更懂得城市的氣質。水是南京城的根骨。長江與秦淮，一者浩浩湯湯，一者溫婉旖麗。泛舟江渚上，浩渺水面如一幅丹青畫卷徐徐展開，霧氣蒸騰間回蕩著行船號子，遮蔽住江上的喧囂繁忙。水亦是意大利的印記。古羅馬的引水渠在大地上犁出溝壑，威尼斯的醉夢搖曳也自不必講。奔流不息的波濤是東西方共同的文化意象。因此，“以水為形”成為賞庭立面形象的核心概念。

In comparison to commercial showrooms, creating a gallery means a stronger spiritual connection, with deeper links to history and memory, and a better understanding of the city’s character. Water is the essence of Nanjing. The Yangtze River and the Qinhuai River—one vast and powerful, the other gentle and graceful. Drifting on the river, the expansive water surface unfolds like a scroll painting, with the mist rising and the sound of boatmen singing, drowning out the bustling noise of the river. Water is also the mark of Italy. Ancient Rome's aqueducts plowed furrows in the earth, and Venice's drunken dreams of swaying need not be told. The continuous flow of water is a shared cultural symbol in both Eastern and Western traditions. Therefore, "water as form" became the core concept behind the design of Someting’s facade.

于是，設計師用膜結構表皮擬態(tài)水霧，為“美術館”披上一層帷幔，如氤氳朦朧的煙波般遮蔽著裝飾城的陳舊立面。其純粹形式表達著現代主義的簡潔準確，仿佛是筆力雄渾的畫者于長卷上一氣呵成的線條，寫意地捕捉山形水勢，張弛延展間透顯著幽長的東方氣韻；亦如意大利藝術家Lucio Fontana在空白畫布上隨性的一刀割痕，創(chuàng)造出與宇宙相連的全新維度。

The designer used a membrane structure to mimic mist, draping the "gallery" in a veil that obscures the old facade of the decoration city. The pure form expresses modernist simplicity, as if a powerful brushstroke on a scroll captures the shape of mountains and rivers, extending the calm elegance of Eastern aesthetics. It's also like a casual slash on a blank canvas by Italian artist Lucio Fontana, creating a whole new dimension of connection to the universe.

“美術館”以水景劃定出領地邊界，敘說著其與裝飾城之間不言自明的差異。與城市街道間，以一條懸挑小橋建立起物理的連接。步行過收狹的通路進入“美術館”，行為已然成為儀式，對應著場域精神的跨越。從展廳內部投射出的光線透過膜結構彌漫開來，如迷霧中搖曳閃爍的燈火。水中倒影、懸挑小橋、迂回路徑和輕紗幔帳共謀了一場東方含蓄之美的空間演繹。人們駐足于面前，未入其中就已然有了關乎美的期待。

The "gallery" is defined by water, marking a clear distinction from the surrounding decoration city. A small cantilevered bridge connects the structure to the street, creating a physical link to the city. Walking through the narrow path into the "gallery" transforms the act into a ritual, embodying a spiritual transition into the space. Light emanates from within the showroom, filtering through the membrane structure, casting a gentle glow like flickering lights in the mist. The water’s reflection, the cantilevered bridge, winding paths, and draperies all collaborate to create a spatial narrative imbued with the subtle beauty of Eastern aesthetics. Visitors, even before entering, are filled with an anticipation of beauty.

“家具的理想城市”

城市是人力可及最復雜的造物，隨茫茫人潮的匯聚，歷史便在此發(fā)生。而展廳即是家具的城市，一座毫顛細微都被設計的理想城市。

Cities are the most complex creations of man, where history takes place with the convergence of a vast number of people. The showroom is a city of furniture, an ideal city where every detail is designed.

邁過疊石汀步進入“美術館”內部，在一層設計師置入了一段清水混凝土的“城市遺址”，如隱匿在老南京的明代城墻，也如中世紀城堡的角樓。被厚重墻體包裹的空間內保證了私密感以做洽談溝通的場域。“遺址”面向入口做輕微的偏轉，打破原有柱網所構成的秩序感變得流動且有機。當人們依循其前行，時間維度的永恒穿透過空間讓心得以沉靜。

Entering the "gallery" through a stone-paved pathway, the designer introduces a section of exposed concrete, resembling an "urban ruin"—echoing the ancient city walls of Ming Dynasty Nanjing, or the corner towers of medieval castles. The thick walls within this space create an intimate setting, conducive to private discussions. The "ruin" slightly deviates from the entrance, breaking the original grid structure, creating a sense of flow and organic order. As visitors follow the path, the timeless dimension of space allows for a quiet, meditative experience.

二層廣闊的平面置入了橢圓形廣場。其形式的向心場所精神對人們的感召效應，從米開朗基羅的卡比托利歐廣場起就一直被反復印證。設計師用半透明的帷幔沿著其邊界將圍合起來。若隱若現間，將園林的影像記憶移植入其中，以現代性的方式消解掉空間的莊嚴與紀念性。桿件帷幔之間留出了可進入的開口，人們步入若有邊界的區(qū)域中，高低不一的展臺上安放著如同雕塑般的家具，觀展的儀式至此達成。

On the second floor, a large elliptical plaza is introduced. The evocative effect of the spirit of centripetal place in its form on people has been repeated since Michelangelo's Piazza del Capitolio. The designer uses semi-transparent curtains along the edges to enclose the space. In a subtle and almost imperceptible way, the design integrates memories of a garden, using modernity to soften the formality and monumentality of the space. Between the curtain rods, openings are left for visitors to enter the space, where sculptural furniture pieces rest on elevated platforms. The act of viewing the exhibition becomes a ceremonial experience.

帷幔與周遭自然形成一條環(huán)形閉環(huán)的游覽主線。它與通往各房間的旁線共織起如水系綿密延展的路徑。人們靜靜徜徉在彎曲的回廊中，無數次被門后的不同品牌珍藏的關乎美的故事所牽引進入，既可以在講解陪伴中依次巡覽，也可信馬由韁隨意漫步，而無需擔憂迷失其間。產品瀏覽滲透在穿往復間悄然進行，它將藝術與商業(yè)空間結合，指向性明確的商業(yè)行為轉化為柔性的對文化和藝術的享受。

The curtains and surrounding elements create a circular flow, linking the main path with side routes leading to individual rooms, forming a fluid network similar to a water system. Visitors can leisurely wander through the winding corridors, drawn into different brand stories hidden behind doors. Whether they follow a guided tour or freely explore, they can immerse themselves without fear of losing their way. The browsing process merges art with commercial space, turning straightforward commercial actions into a softer enjoyment of culture and art.

設計圖紙 ▽

完整項目信息

項目名稱：Someting家居展廳

項目地址：江蘇南京

設計方：衡建筑

設計團隊：張思羿、周楠、李宗澤、楊竣博、周睿哲

建筑面積：3200平方米

設計時間：2023年5月—2023年9月

建設時間：2024年10月

材料：法拉利膜、混凝土預制板、藝術涂料、石材、布藝、旭格幕墻

施工方：南京瑾瑤裝飾有限公司、Serge Ferrari施工單位

燈光：南京光維設計顧問有限公司

合作設計：Raumplus德祿設計團隊

攝影：朱潤資、Howie

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