▲ 项目视频 ©PONE普利策设计
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.
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.
▲ 概念示意图 ©PONE普利策设计
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15万平方米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.
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:
Upgrading and fulfilling strategic brand positioning
Conceptual refinement and the dialectics
Space symphony and non-conclusive opposition in harmony
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.
▲ 平面动画 ©PONE普利策设计
▲ 轴测分析图 ©PONE普利策设计
▲ 分析图 ©PONE普利策设计
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. 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.
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.
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.
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.
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.
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.
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.
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.
▲ 概念示意图 ©PONE普利策设计
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.
▲ 空间示意动画 ©PONE普利策设计
▲ 构件分析图 ©PONE普利策设计
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.
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.
▲ 最后的晚餐 供图：PONE普利策设计
Here the long island table in the central hall is rendered as a spatial symbol for centralized communication, and a centerpiece signifying unity and distribution.
The island table, which can store and display more than 100 product samples, has a strong capacity for centralized storage, with pull open display. By turning the handle, the table top can be pulled apart and expanded for a multi-functional meeting, and the drawer handle is embedded with metal rubbing of the LAK logo. The horseshoe-shaped table bases are set in parallel to provide support. Handle features are highlighted to realize the transition from traditional functional focus to meaning construction.
▲ 轴测示意动画 ©PONE普利策设计
A cylinder-shaped wooden drawer with a pull-out metal frame is designed for displaying 90-degree wood splices of the stairs. The cube and the cylinder sheathed in it present a contrast, with the depth, weight and size all concealed. The steel handle is made in a much exaggerated size to draw focus to this pre-set tension area, more to demonstrate its symbolic significance than to meet its functional purpose.
▲ 概念示意图 ©PONE普利策设计
▲ 设计示意动画 ©PONE普利策设计
The structure, rather than being expressed merely through the basic meaning, is combined with spatial creation, while order and hierarchy are established at the same time. "Centralization" and "unit integration" , two most basic forms of spatial organization, run throughout the architectural prototype: the aba-alternating sequence, the primary-secondary spatial organization strategy, and the biaxial symmetry of the central spatial pattern. Emphasis is thus given to material properties and the expression of the structural system, the order of space and form combination, manifesting a transcendental recreation of the classical spirit. At the macro level is a symmetrical and balanced whole, while at the micro level are contrasting and contradicting details.
The exhibition space is composed of 10 symmetrical triangular islands loaded with hundreds of types of European wood flooring in LAK’s catalogue, and this exhibition system allows for expansion and replacement. The cut surfaces, which face internally to the central hall, are placed in symmetry opposite each other. They display the interface in multiple directions, creating and filtering out random lines and exhibition routes leading to the possible remaining destinations.
A series of wooden boxes, like stage props, are integrated for the exhibition. Each single piece of the flooring is a centralized window for specific sales. After customization and tailored cutting, it can better showcase the inherent quality and resilience of each wood flooring, and in this way, promote subsequent sales scenarios.
▲ 设计示意动画 ©PONE普利策设计
The T-shaped lamps made of solid steel and the wooden boxes for exhibition are connected via rabbets to provide extra illumination for the exhibits. The connectors joining different units and interfaces and the juxtaposed arrays of light matrix interpret the poetic details of internal extension to the external.
Furniture, in essence, is to provide support for the human body. The prototype, secured by a solid triangular base, highlights thickness, weight, stability, and neat details, which together constitute the key features of furniture. The folded surface is expressed by misplaced structures, and structural details are created via rabbets to express the balance and unity of the fulcrum, and each detail is given maximum independence. Furniture structure and space construction complement each other and individually, they constitute the overall space quality, fulfilling the translation and regression of essential functions.
The stool, with a broad range of diversified structures nowadays, still maintains its original function as the prototype, that is, to provide the basic support for the human body. Though in respect of thickness proportioning, material composition and detail construction, it has been continuously upgraded.
The triangular stool base and the T-shaped stool body form solid structural support. This minimal style of structural construction signifies an escape from stereotyped concept, and demonstrates the sustainability and re-creation of the original function.
A unique textural language defines the space, where thin wires trigger an interconnected network of space order and create a light and harmonious context in response to the solemn classical spirit. The neat thin lines serve as the axes for space division and segmentation. They extend and transform, running throughout the space unheeded. They lead and guide movement in the classical space, and gives meaning to speculative thinking.
The intrinsic properties, which have two contradictory aspects, are driven by conflicts. Subject to the principle of polarity, i.e., positive and negative, when space returns to its physical nature, its conceptual construction starts. Space soothes the resistance between opposites. And the importance of negation in the process is its subversion and negation of the previous stage. In this way, a non-repeating yet infinitely expanding trend of quantitative energy is established.
▲ 设计示意动画 ©PONE普利策设计
Instead of adopting the traditional form of bar counter, which existed independently, the bar is designed with bridging components for space connection. It extends horizontally and connects the pantries on the left and right sides. The opening in the pantry wall breaks the boundary limit and realize visual connection.
▲ 设计示意动画 ©PONE普利策设计
The seat is an inverted cone supported by a solid three-leg pyramid. The multi-layer figure ground and the cross section of positive and negative shapes are cut and spliced into a highly integrated golden fulcrum.
The O+ square lattice +V shapes are design for mutual complementation. Glass counter, stainless steel V frame, Foreso board, and the supporting system with the alternation of light and heavy volumes create a structural system in strong contrast, while ensuring the loading capacity, texture contrast and visual transparency.
The universal nature and human purpose have confounded the general idea of relationship, subject to the limitation of absolute division, exclusion, and opposition. Dialectics is never intended for completion or conclusion, but for backtracking, for a critical reversion to stimulate and expand the inner potential of all things, and to realize the internal symbiosis and non-conclusive opposition of all things. Impartial to either opposite side, it allows for the potential coexistence of all.
The dialectical process is never intended to realize anything absolute by disconnecting it with others, such as the split between randomness and rigor, the chasm that separates phenomenon from ideas, or any absolute opposition and separation subject to no prior experience or supplementation. The inevitability of the underlying logics can only be sublimated in the interaction of contingency events. The only thing absolute to adhere to is the original reality, that is, to explore possible conditions abstracted from reality and reconstruct them on a rational to perceptual basis.
To break away from restriction and limitation of the stereotyped architectural construction methodology, the space design integrates philosophical wisdom into classical music creation to recreate the symphony of space melody and harmony. On the basis of rational sublimation from classical structure, a symphonic poem is created by the rhythm and melody of the space. The inheritance and innovation combine to enable a pioneering practice of conceptual deconstruction.
PONE designed HOY's new collection of furniture with LAK's Foreso board as the main material. Foreso board, as an eco-friendly micro-solid material made of solidified wood scraps and mixtures, revives the vitality of discarded wood chips. The series is listed as one of PONE’s original furniture design patents of 2022.
Product design goes hand in hand with project creation. When products return to their physical nature, its conceptual construction starts. The supporting function is taken as the starting point, and developed into a symbolic new subject of the project.
▲ 渲染图 ©PONE普利策设计
▲ 透视图 ©PONE普利策设计
▲ 轴测图 ©PONE普利策设计
▲ 轴测图 ©PONE普利策设计
▲ 开闭状态示意 ©PONE普利策设计
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