△ Cello Suite No. 1 in G Major, BWV 1007 : I . Prélude 马友友演奏巴赫传世之作《G大调第一无伴奏大提琴组曲》。他在访谈里说“巴赫写的是生命的模版，你可以把自己的任何故事放进去。这是马友友从4岁那年花了42天就学会这首曲子却用了58年才得出的感悟。”（马友友，WeLens访谈，2018年）。Cello Suite No. 1 in G Major, BWV 1007: I. Prelude. Yo-yo Ma playing Bach’s masterpiece Cello Suite No. 1 in G Major. “What Bach composed was actually a template of life, and you can put almost any story you want into it. It took me only 42 days at the age of four to learn the étude, but 58 years to understand this.” He said in an interview. (Yo-Yo Ma, WeLens Interview, 2018).
意形回溯 Meaning Backtracking 趋势正反的两极性，当空间回归物性本质，且同时空间向观念展开。空间通过思想潜在的对话流动，实现叙事转向段落华彩起伏的交响性，填补了阵营对立的缝隙。当趋势审美单一走向同一统合，意义便逐渐消亡。Subject to the principle of polarity, i.e., the positive and negative trends of all things, when space returns to its physical nature, its conceptual construction starts. Through invisible dialogues with the mind, space flows and narrates, like playing a magnificent symphony that soothes resistance between the opposites. But once the monotonous aesthetic trends start to converge and unity, the meaning will gradually die away.意义的产生不只是一个线性的、内在的、必然的进程，不单一特定指向自某个初始内核逐渐展开。意义是对惯性安稳和潜存颠覆的双重期待，这被看成了某种意义上的反抗和自我重建，即意义的回溯性：实现意图与意识相交，使隐微义的层次，向诗学式的意义展开。Meaning is generated not just through a linear, internal, and inevitable process, nor is it simply developed from a specific core initially. It is a contradictory expectation for both sticking to and possibly, breaking away from routine. In a certain sense, it can be interpreted as a struggle for self-reconstruction, that is, the backtracking nature of meaning: to unify purpose with subconsciousness and upgrade implicit meaning to magnificent poetical significance.
△ Liszt: La Campanella S. 141 No. 3 《帕格尼尼大练习曲，S.141-3. 钟》 李斯特，19世纪欧洲音乐史中浪漫主义代表钢琴艺术家。他把音乐创作钢琴物理发挥到极限。大众被他过于锋芒的技巧所吸引称他为「超炫技」流派，以致于忽略他创作背后的艺术价值及影响远超他的疯狂技术本身。Liszt: La Campanella S.141 No. 3. As a representative romantic-era piano virtuoso in the 19th century in the European music history, he took the musical creation with the physical piano to its limit. The public was so drawn to his edgy technique that they called him a master with “transcendental skills”, and that they ignored the artistic value and impact of his creation, which actually, went far beyond his transcendental skills.
LAK木地板，作为秉承欧洲高端制造工艺传统的先锋品牌，十年间在国内重点城市发展其商业版图，先后完成30+线下门店的发展迭代，专注独特工艺品质内核价值和环保产品力理念。PONE普利策设计应邀为其全新概念店创作展陈空间"观念的解构"，以展开对物料展览空间的设计实践，呼应品牌对物料本质探索与基因实现互联与突破。LAK Wood Flooring is a leading brand adhering to traditional high-end manufacturing technology of Europe. Committed to the core value of unique technology and quality, and the philosophy of eco-friendly product capacity, LAK has expanded its business to key cities in China in the past decade, establishing and upgrading more than 30 physical stores. PONE Architecture was entrusted to curate the exhibition space “Conceptual Deconstruction” of LAK’s new concept store, and carry out design practice in a material exhibition space to showcase the LAK brand’s exploration of material nature and gene interaction for breakthroughs.项目所在地为亚洲500强Louvre Art Center广州罗浮宫艺术商圈，拥有15万㎡多品牌集聚的场域条件、业态资源特征及辐射105个国家及地区的商业潜力。如何帮助LAK品牌从多赛道扩张的全球竞争中实现战略突围，践行工艺制造纲领型品牌的新商业布局和创新愿景，成为设计的破题关键。The project is sited in Louvre Art Center, Guangzhou. Ranking among the Asia Top 500 brands, the 150,000 ㎡ center gathers various brands, business forms and resources, with the potential to exert business influence over 105 countries and regions. Therefore, how to help LAK achieve a strategic breakthrough amidst numerous global competitors and accomplish its new business blueprint and innovation vision as a leading brand of manufacturing technology is the key to the design.策略 Strategy
项目以空间体验和哲学性思考作为基点。从十九世纪德国思辨哲学教父黑格尔的绝对精神中正反合推论，载入当下国际营商环境的激荡与优化中的空间交响性实验与建构研究。辩证逻辑从主体基点不断变形，贯穿LAK品牌工艺与质感语境。设计从三部分展开思考动机发展：
01 品牌策略定位的递进与抵达
02 观念的进化路径 与 趋势正反
03 空间的交响性 与 非决定性对立协奏
Taking spatial experience and philosophical thinking as the initial consideration, the project integrates the dialectics in the Philosophy of Absolute Spirit of Hegel, the German godfather of speculative philosophy in the 19th century, into the symphonic space experiment and construction research in the context of a torrent yet constantly improving international business environment. The dialectical logic keeps evolving and varying from the initial consideration, but always in alignment with the LAK context of brand, technology and quality. The design considers the motivation for development from three aspects:01 Upgrading and fulfilling strategic brand positioning 02 Conceptual refinement and the dialectics 03 Space symphony and non-conclusive opposition in harmony
△ Chopin - Prelude in D-flat major ("Raindrop")
前奏（Les Préludes）
门、轴、岛、孔，四要素构「序」。场地引入全开放、无主入口、无主路径的设定。建构内退出灰空间，间隔细分出门和廊，巷与间。并平移以增量强调秩序定向。「轴」，顶部弧型的坠落感，分离阵列建构切割，门轴与支点在对抗中取得支撑。相邻维度的展陈与预设，合轴共构意识阔值。The door, axis, island, and opening are four elements constituting the「prelude」. The venue features a fully open setting without either the main entrance or the main circulation route. Grey spaces are withdrawn from inside the building, enabling the further division into doors and corridors, passages and rooms. The paralleling duplication enhances the sense of order and orientation. The「axes」, with a sense of parabolic downfall at the top, dissects the matrix and realizes division, while the door shaft and the fulcrum realize mutual support through resistance. The axes shared by adjacent exhibitions and displays jointly define the limen of consciousness.
△门轴与支点 Door axis and pivot point
△进入方式 Entry
门户开合正反，完成平面关系指向空间进深关系的切换，相对公共向相对内部的转化。Every opening and closing of doors in opposite directions signals a switch from the planar relationship to spatial depth, and a transition from the public to relatively internal space.起始暗淡，转到中央大厅明亮回暖。完成物理空间的灰度属性向观众心理预期过渡。主动调度，空间小调引出空间大调舒展。贯穿其中的公共回路，启发积极的心理暗示。The initial dimness immediately switches back to the warm and bright tone at the central hall, completing a transition from gray physical space to the one anticipated by visitors. The minor space, actively leading the way, introduces the relaxing major space, while the circulating public route running throughout the space gives positive mental inspiration.外立面一侧，内嵌三角结构，尽端的光轴和横向贯穿木柱。纵横虚实交叠，形成对进入场地之前的观念正反辩证合题。On the façade, a triangular structure is embedded, with a light axis at the further end and a round timber placed horizontally. The interlaced horizontal and vertical elements, as well as the overlapped voidness and solidness, create the theme of conceptual dialectics before visitors enter the venue.
闭合 Closing
「墙」平图的均质关系，化约至二维静定图式。门轴与光孔构序对内部的喻示。同义反复，旋律横向扩充并延时期待。The homogeneous「wall」plan is reduced to a two-dimensional static graph. The door axis and the light opening construct the prelude to the interior. As the tautology repeats, the melody expands horizontally and delays expectations.
绝对精神恒自内在否定深刻揭示，扎根于深厚的诗化哲学文脉调性：潜含观念连续性建构模式，是思想进论在挣脱价值失范中演化确立，对既定僵化教条的突破和检验，重构范式。重奏偏离暗示自由、解放为旨归，为主体动机塑造先导提供条件。旋律曲体要义同构，使空间交响性具有隐微潜力。The Absolute Spirit, which originates from constant internal negation, takes root in the profound and poetic philosophic, context and tonality. It contains the underlying mode for continuous conceptual construction, which is the development and establishment of ideological evolution in breaking away from the anomie of value, the breakthrough and test of the established rigid dogma, and the reconstruction of paradigm. The deviation of the ensemble signifies the pursuit of freedom and liberation, and provides conditions for motivating the making of a leader. Key meanings are repeated in the melody, endowing the space symphony some implicit potential.空间通过情绪调度、抽象性内在赋型。调性对峙倾向，在协和与不协和拉扯之间获得动力，生成丰富动机和功能扩充多义性，潜存空间独特听感。空间主旋律主题变形，细节和声主干回旋，渐进离调形成空间交响诗。The space is so styled to manipulate emotions in an abstract manner. The conflicting tonality derives power from between the concord and discord, generates strong motivation and varied functions, unwittingly creating a unique musical sense of the space. As the main melody of the space varies, the harmonic details resonate, gradually deviating into a space symphony.
中央大厅顶部以反向倒置收拢的三角光体，滤光结构形成虚拟天窗引入光线，控制光线流出的路径。光从中间主轴向两边方向淡出，通过调节光的照度和色温变化，为展厅提供适宜的照度。The ceiling of the central hall is mounted with inverted triangular lighting fixtures, with light filter to simulate daylighting from real skylights and control the path of light flow. Light fades out from the central axis to both sides, and provides appropriate illumination for the exhibition hall through proper adjustment of illuminance and color temperature.
光，作为空间的秩序定向。光轴勾勒空间脊梁，轻盈纤细的骨感，赋予弥漫扩散的基调。神圣感和崇高纪念性，成为中央大厅的焦点，物理结构下行，精神上行的感受洗礼，两者相互渗透获得更深刻反向弥补。Light gives order and orientation to the space. The light axis, which outlines the space ridge, delivers a sense of lightweight and neatness while setting a diffusive tone. This divine, sublime and monumental scene makes the central hall the focal point, where the downward trend of physical structure and upward trend of spiritual baptism are even more significantly enhanced through mutual penetration.
连续体量，靠光线的反向造就明暗的交替。骨感和通透，接近线性的框架。单个杆件组合，强调杆件与元素之间的等级制和秩序。The continuous volume generates the alternation of light and darkness through light reflection. In a neat and transparent manner, individual rods are combined into an almost linear frame, highlighting the hierarchy and order between the rods and elements.节点要素 空间旋律 Key Notes of Space Melody
空间规划采用从-主-从对称的回旋式结构布局，以局部决定整体，细节为空间带来丰富的表情。细部比喻为空间五线谱里的音符附点，构成场所旋律和声的基础要素。既让旋律在和谐里分裂，也使和声在协同中侵扰。旋律与节拍，索引与离合，细部在拉扯之间对抗，基面流变。使空间从平和转调，对弈和协同。让空间显映玄秘变奏，成为镶嵌细部情绪的空间织体。The space is planned in a secondary-primary-secondary symmetrical and repeated structural layout, where parts define the whole and details bring rich expressions to the space. The details, like notes in the space stave, constitute the basic elements of the melody and harmony of the place, allowing melody to split in harmony and harmony to be interrupted in melody. Melody and beat, index and clutch, are details attracting and opposing each other, creating base surface rheology. The calm space is then transitioned to opposition and coordination, creating mysterious variations, like a spatial texture inlaid with emotional details.
再现古典精神 Recreation of Classical Spirit
古典性 结构性的理性主义 Classic Structural Rationalism
古典建筑的纪念性 Monumentality in Classic Architecture不同的古典传承 Classic Inheritance in Varied Forms
源于纪念性诉求的古典建筑秩序，表现为线性和向心性的空间秩序。不同古典时期有其对应的空间观念。维持空间主轴关系，重现古典秩序，建筑中寰宇性的精神信仰。The classical architectural order in pursuit of monumentality is represented by linear and centripetal spatial order. Different classical periods are accompanied with corresponding spatial concepts. The relationship with the main spatial axis is maintained to recreate classical order and universal spiritual belief in architecture.
长桌在中世纪是分级和集权、信任和团结的象征性符号。社会地位分配链和政治权力结构会在长桌上得到深刻体现，并创造出互相依存的关系。围绕长桌，张扬或伪装，恭顺或抵制，论资排辈或攀比高低，产生决策或制造混乱。In the Middle Ages, the long table, as a symbol of hierarchy and power, trust and unity, profoundly reflected the chain of social status and the structure of political power, and nourished their interdependent relationships. Around the long table, people displayed or disguised, complied or resisted, ranked or compared, made decisions or confusions.
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