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


The designer creates a unique landscape in the space with vivid expression and bold outline. Located at the coast of the East China Sea, Zhongshuge has interpreted the culture of the times in the city, Ningbo. Walking close to zhongshuge, you will see that the symbolic glass curtain wall is embedded in the thick stone facade. The concise base sends forth power and the charms of the bookstore is quietly displaced. Two or three chairs lean against the wall, extending to the coffee area. Walking through the huge glass door, you will see a different space, the light-color and fine grid book wall comes into view. Sofa chairs and private leisure seats are scattered among them. The warm and white light in front of the sofa seat quietly decorates, enlightening the readers in this elegant space. It seems that people and books have become more fresh and vivid among the atmosphere. The other side of the facade glass is really another grand view. The walnut color and black walnut color bookshelves stand overlap with each other, forming a masterpiece like towering rocks long washed by running water. The designer integrates the rock texture drawing onto the bookshelves, adding more force and exquisiteness to the view and creating a charming landmark. The bookshelves are arranged in high and low order while the ceiling cabinets scattered, providing an interesting picture and more fun of exploration visually. The ingenious composition seems instantly folds readers into giant landscape paintings, presenting the visual aesthetics of blending design and nature, and displaying the unrepeatable cultural heritage. A ladder emerges from the tranquility and if you walk up to the second floor, you will find that the landscape of the concept area extends from the first floor to here. The multi-dimensional stacking of large bookshelves not only aims to create the artistry of the whole space, but also reflects the designer’s careful thinking on the shape and functions of the bookshelves. In view of the lower storey height of the second floor, the mirror features of zhongshuge work again. The effect of reflection and inversion broadens the visual experience of the limited space. With the sight line going down, different blocks can be seen endowed with different functional attributes. On one hand, the bookshelves are used to display book. On the other hand, they are integrated into the storage cabinets. Those at lower level are used as seats set up against the steps. Under the warm light, the elegant and quiet reading atmosphere is set off, which perfectly condenses the readers’ concentration. It is under this special atmosphere that the value of people’s time increase, and the operation of the bookstore is also revitalized. Considering the vertical height of the forum area, the designer creates a double lecture hall that is “high in the middle, low on both sides”. The high spot of the hall provides a bird'seye view of the whole space while book walls standing at both ends, which effectively satisfies different demands of readers and maximizes the space utilization rate and practicability. In the cafe on the second floor, bookshelves are arranged in an orderly manner. What’s new is that the shelves are built with “windows” in-between for readers. The partition provides privacy while not wasting the space. Instead, the space layout is optimized. Under the mirror ceiling, the storey height is visually doubled, and the virtual and real extension of windows, people and books in the scene is all captured in the frame view. In the leisure time, the sight floats to the distant through the window and settles between the bookshelves and the window. It seems that people are appreciating the scenery and the scenery is staring at people too. The clean and simple teaching auxiliary area provides a temple-like space. The facade wall of arch shape extends to the corner of the conference room on both sides. The retro European style sublimates the reading experience and ritual feeling to the extreme. The children-style composition depicts the aesthetic feeling of children’s area. The reading table inspired from rattle drum skillfully combines with the desk to add a touch of interest. The stepping-up ladder and wall partition also provide more seats. Music scores along with the zither and Pipa-shaped bookshelves presents symbols of etiquette inheritance, all of which originate from the designer’s rich feelings towards traditional culture, aiming to form an ideal growth environment for children. If the existence of bookstores is to prove its significance, Ningbo zhongshuge, as a cultural and creative space full of aesthetic creativity, has activated the cultural vitality of the city.


The building is located at the corner of a busy intersection where office towers and lower residential units meet. The small scale of the volume compared to the surrounding buildings invited to create a design simple and in the same time conspicuous. The building just kept the structural elements of the previous construction and its now hosting a bar and restaurant. The regular volume of the building alternates solid and semi-transparent surfaces aligned with the neighbour delimitation. Only a dark steel box protrudes out to sign the entrance. With a mirrored approach, internally the functions and circulation are arranged around a play of solid boxes and carved out spaces. The façade design controls the privacy of the interior space by alternating wood louvres with solid white stone while the steel box of the entrance hides a secret Japanese garden that trespass the slab on the second floor. On the ground floor, the space is arranged around three main material volumes: the steel box of the entrance and the Japanese garden, a white terrazzo box that hosts the restroom and the access to the service area and finally a wood cube that separates the whiskey bar from the reception area. The boxes are detached from the ceiling which is the bare concrete slab of the second floor. The soft seating area enjoy the privacy provide by the louver façade but it still has a view on the streetscape. A small garden in between the louver and the glass façade enrich the corner of the lounge while increasing physical distance to the busy street. The bar is placed inside a wooden box to increase the privacy one level more. Comfortable seats and a low counter convey a relaxed environment. The second floor instead follow the spatial organization of two concentric cubes: an inner core in wood which host the kitchen and the dining rooms of the Sushi Restaurant and an outer volume in white stone as the façade that distributes the circulation of the costumers to reach the sushi bar and the VIP room. Another Japanese garden is an unexpected treat for the guest of the Sushi Bar. From inside, the view enjoys the beauty of the garden as well as the busy cityscape filtered by the wood louver of the façade.


Astet의 목표는 유기체와 기술, 단순함과 풍부함, 형태와 사용 등 모든 것들이 프로젝트 안에서 조화롭게 균형을 이루는 것이다. 단순히 유행을 좇는 것이 아닌 몸과 마음이 필요로 하는 프로젝트를 지향하며, 아름다움을 형성할 수 있는 지적인 아이디어를 추구한다. 스튜디오는 고객을 최우선으로 생각하며, 이들의 경험을 향상하기 위해 노력한다. 질감, 음영, 재료 등 디테일에 주목하는 스튜디오의 방식은 프로젝트를 더욱 풍성하게 만들며, 시대를 초월한 디자인과 내구성을 완성한다. 스페인 마드리드의 Lobito de Mar는 바다의 분위기를 그대로 재현한 레스토랑이다. Malaga 해변의 푸르름과 모래의 부드러움은 공간을 형성하는 주요 모티프가 되었고, 두 개로 분리된 1층의 공간 모두 바다와 강하게 연결되어 있다. 첫 번째 공간인 The Bar Resalao는 전형적인 어시장의 모습을 재료와 질감의 신중한 선별을 통해 현대적인 느낌으로 새롭게 탈바꿈한 곳이다. 스틸, 화강암, 호두나무, 테라조, 화이트와 블루 컬러의 교차 등 차갑고 따뜻한 소재를 번갈아 가며 사용해 공간을 장식했다. 벽에는 낚시 그물을 모방한 흰색 천이 덮여 있는데, 밤에는 네온 불빛으로 반사되어 라운지 같은 분위기가 연출된다. 두 번째 공간은 Shipyard room으로, 첫 번째 공간과 매우 대조적인 분위기를 지니고 있다. 맞춤형 세라믹 타일은 주변 재료와 조화를 이루어 따뜻한 느낌을 조성한다. 청백색의 물고기 조각과 스테인리스 스틸의 벽과 같은 현대적인 요소들로 인해 이질적으로 느껴질 수 있지만, 이들 모두 바다의 다양성을 표현한 재료들로 의도된 대조를 엿볼 수 있다. 화장실은 생선 도살장을 그대로 가져온 듯한 독특한 분위기를 보여준다. 공업용 커튼으로 화장실과 부엌 출입구를 구분했으며, 오래된 콘크리트로 만든 싱크대는 공간의 존재감을 더해준다. 레스토랑의 외관 역시 내부 인테리어와 동일한 콘셉트를 이어간다. 테라스 구조물에 나무와 유리를 더 하고 지붕에는 짙은 청색의 반투명 천을 둘러 바다의 물결을 표현해냈다. 원목 가구의 자연스러움과 해안을 연상케 하는 컬러감으로 여유로우면서도 세련된 공간을 완성했다.


The Commons Saladaeng is the second development from theCommons family. It is a venue for various F&B outlets alongwith other services and activities. The project is nestled in avibrant Bangkok neighborhood called “Saladaeng” whichmeans a red pavilion. The neighborhood is being called that way because of the strong presence of a small train stationwith a red gabled roof that stood distinctly in the middle ofthe rice field a hundred years ago as part of the first railwayline of the country. The Commons Saladaeng은 The Commons 그룹의 두 번째공간으로, 다양한 F&B 브랜드와 서비스, 활동이 결합되는 공간이다. 사이트는 붉은 정자(亭子)를 의미하는 Saladaeng에 위치했다. 백 년 전, 태국 최초의 철도 노선의 일부였던, 논밭 사이에 독특한 분위기를 풍기던 붉은 지붕의 기차역을 떠올리게 하는 이름이다. 붉은 골철판은 독특한 색상과 소재의 물성 덕에 주재료로 선택됐다. 그 물결 모양이 과거 이곳의 지붕이 어떠했었는지를 단적으로 드러내주고 있기 때문이다. 과거에 비해 큰 규모로 작은 여덟개의 테이블은 특별히 설계된 M자형 지붕 구조로 실내 공간에 대한 새로운 요구를 수용할 수 있게 되었다. The best feature of the site is the large 15-meters-high ficus in the front. The building facade forms a concave curve receding away from thetree to minimize disturbance to its branches and roots and at the same time emphasizes the tree itself as the main focal point of the space.The building middle volume that is carved out as an open-air public space is oriented towards the tree as the main point of interest. 이 사이트의 가장 큰 특징은 15 m 높이의 대형 피쿠스다. 피쿠스는 태국에서 흔히 볼 수 있는 나무의 일종으로, 건물 정면은 나무에서 멀어질수록오목한 곡선을 형성, 나뭇가지와 뿌리로 인한 시야의 방해를최소화함과 함께 나무 자체가 공간의 주인공이 될 수 있도록 꾸몄다. 동시에 나무는건너편으로부터의 시야를 차단하며 건물에 프라이버시를 더했다. “The Platform” is a new concept space adopting the sharing economy approach as a driving force for the space planning and theinnovative operation. Rather than dividing up the “space” for different functions, “The Platform” dividing up the “time” of a singlespace instead. With careful architectural design for this highly flexible space, various programs ranging from cooking classes, cheftable, bar, exercise and yoga classes, children’s art workshops, movie screenings, parties, to a small jazz venue can happen indifferent time slots throughout the day and the week within this single space. The Commons Saladaeng이 제공하는 것은 잘 갖춰진 멋진 ‘상업 공간’이라기보다는, 하나의 플랫폼에 가깝다고 볼 수 있다. 이 소규모 공간은 공유경제라는 개념을 채택해 공간의 계획과 운영에 있어 혁신을 이끌어냈다. 서로 다른 기능의 공간이 이 안에서 나뉘는 것이 아니라, 하나의 플랫폼이 시간에 따라 갈리는 것이다. 이 유연성을 위해 Department of Architecture는 세심한 설계를 위해 노력했고,이에 따라 요리교실, 바, 요가교실, 트레이닝, 예술 워크숍, 영화 상영회, 파티, 재즈 공연이 같은 공간 안에서 진행될 수 있도록 애썼다.


이탈리아 Padua에서 태어난 Maurizio Lai는 건축가 겸 디자이너로 베네치아와 밀라노의 폴리테크닉에서 건축학을 공부했다. 그는 주요 명품 브랜드 매장의 콘셉트 및 디스플레이, TV방송사의 세트 디자이너로 활동을 시작했으며, 1998년 자신의 스튜디오 LAI STUDIO를 밀라노에 설립했다. 스튜디오는 건축가와 디자이너로 구성되어 표현의 시너지를 촉진하는 독창적인 방식으로 디자인 프로세스에 접근한다. 소매 및 상업 공간뿐만 아니라 주거 프로젝트 등 다양한 건축 개발에 영향을 미치는 건축과 설계 개념을 구축했다. 자신만의 관점으로 현대 미학의 해석을 매력적으로 표현하는 그는 본능적인 접근방식으로 프로젝트를 전개하는데, 이는 조명에서 가장 강하게 나타난다. RBDA for Best Lighting UK & International, WIN Awards 2018에서 최우수 인테리어 사례로 선정되는 등 국제적 대회에서 수상한 바 있다. MOYA는 1,000 m2의 면적을 자랑하는 컨템포러리 아시아 요리 레스토랑이다. 수직 및 경사로 이루어진 알루미늄 조명 설비가 두 층으로 나누어진 널찍한 공간을 압도하며, 건물의 최대 높이까지 전개된 화려한 수직 조명은 입구에서부터 압도적인 볼륨감과 경이감을 선사한다. 1층에는 15m 길이의 커다란 창문으로 프라이빗한 정원을 감상할 수 있는 방이 마련되어있다. 바닥의 경계선에는 유리 조명을 설치해 일종의 칸막이 역할을 하는 동시에 심미성을 극대화했다. 빛을 발산하는 유리와 물결 무늬의 매끄러운 세라믹 바닥은 내부 전체에 분산되며 더욱 극적인 시각 효과를 가져온다. 알루미늄 파사드의 모듈식 설계는 파이프 모형의 조명과 수평을 이루며 레스토랑 전체를 아우르는 대칭성을 강조한다. 에메랄드빛 래커(lacquer)와 백라이트 유리 패널로 둘러싸인 내부는 신비로운 느낌을 자아낸다. 계단을 따라 촘촘하게 장식된 조광 포인트는 측면을 덮는 어두운 거울에 반사되어 실내 인테리어를 그대로 반영하고, 이는 손님을 압도하는 화려한 배경으로 변신한다. Maurizio Lai는 이러한 효과를 통해 공간의 연속적인 확장성을 표현하고자 했다. 크리스탈과 원목, 과감한 조명의 움직임은 자연에서 영감을 받은 요소들로 강한 색채 대비를 주며 넓은 공간에 조화롭게 풀어냈다. 여기에 유리로 맞춤 제작한 벽 램프를 시공해 노스탤지어 감성을 부각했다.


Beijing welcomes Oh Yeah Brewing to the fold with its new local brew on a grand scale. The city has always been the heart of the growing craft scene in China, the largest beer consuming market in the world. Oh Yeah Brewing is nestled in the centre of Beijing’s business district of Guo Mao, amongst architectural landmarks such as the CCTV tower and the China World Trade Centre. With Beijing’s financial hub as its neighbouring clientele, the brewery looks to attract the up-and-coming affluent Chinese who seek a relaxed yet more modern social environment. The well-travelled Chinese founder wanted to develop a new atmosphere that would challenge the hard-surfaced, grungy, industrial garages of your typical craft beer bar. They wanted to create a comfortable space where people could sit back with friends for hours-on-end, enjoying delicious bites and uncomplicated, easy-to-drink, fresh beer. hcreates was selected for the project due to their reputation for bar and restaurant design of some of China’s most iconic brewing experiences, including Liquid Laundry, Boxing Cat Brewery and Little Creatures. Formerly the site of an aviation parts factory, Oh Yeah Brewing makes full use of the building’s impressive height. The double-height brewery, the centre piece of the space, spans two levels and presses up into the ten-meter high ceiling. The challenge for the design was always going to be how to bring intimacy to the space and cater to different dining preferences. To manage this, the space seamlessly integrates three distinct areas – a sun-drenched indoor pizza garden, a main beer hall nestled between a band-ready stage and double-height brewing tanks, and a more intimate and cosy drinking lounge upstairs. On the exterior, the large font lettering of “Oh Yeah Brewing” stamps the façade, a crisp stainless-steel box contrasted against the earthy beige textured finish. Hannah Churchill, the design director of hcreates, really enjoys this aspect of the space. “You enter the brewery through this silvery box and are instantly transported away from the concrete grey of the urban surroundings into a flourishing garden oasis”. The designers carefully selected different elements such as the Terracotta tiling, concrete plastered walls, earthy-coloured large-format terrazzo flooring and hanging plants, to create a calming yet grand space in natural tones. The far end of the garden features a beautiful terracotta pizza oven, where wooden oak frames conceal stainless steel planter boxes, surrounding the seating and bringing more greenery to the space. Floor-to-ceiling windows flood the space with natural light. Custom-printed blue fabrics were created to add extra subtle detailing to the bench seats and to compliment the more traditional outdoor garden-styled furniture. The main beer hall is separated from the pizza garden by a raw steel staircase backed by a huge LED screen and stage. The opposite side of the under stairs houses a take-away fridge where patrons can easily take their favourite brew to go. With its grand ten-meter high ceiling, the double-height brewery is the emphasis of the space. Spanning across one wall, its stainless steel tanks gleam under a ceiling of custom-made lanterns. The bar is broken-up and designed to give unobstructed views into the brewery, so patrons are fully witnessing the production process. Above the open kitchen, a mural of stylised gold-leafed fish and a “Fresh As” slogan dominates the length of the hall, bringing a splash of colour and artistic touch. Stone flooring and chunky solid oak furniture draw from the traditional tap house aesthetic. Large steel-framed windows look out on the outdoor patio area, providing plentiful daylight and green views. For the second level mezzanine lounge the designers wanted to create a more intimate space that overlooks the beer hall and forms a separate VIP area. To distinguish from the more traditional tiles in the rest of the space, the designers chose to use a mix of Oak and Walnut in chevron for the floor. A more refined touch is introduced into the space using a curved dark blue and deep red velvet bench seating. The custom-printed silk wallpaper and wall-mounted globe lights create an intimate lounge space. In the process of redefining the modern brewery, hcreates has created a contemporary eating and drinking space that playfully mixes traditional textures and surfaces to create craft brewing on a grand scale. Whilst the industrial brewing tanks are the centre piece of the brewery, it’s the subtle and creative use of different surfaces throughout that creates a clever and harmonious 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.


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.


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


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.


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.


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.


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.


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.


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.


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.


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.