DOMANI东仓建设 | 峡谷之墟

UR上海旗舰店位于上海市淮海路华狮广场左翼。2016年，DOMANI东仓建设受UR集团之托对其进行改造，这是UR中国的首批店铺，对于该集团而言情怀丰厚。

UR Shanghai flagship store is located in the left of Huashi Plaza, Huaihai Road, Shanghai. In 2016, DOMANI Architectural concepts Dongcang Construction was entrusted by UR Group to renovate this store, This is the first bath of stores of UR China and it is very Important for the group.

在此之前，UR店铺已运营五年，盈利向好。受惠于淮海路今年的大兴商业，且政府亦有意向将该街道打造为中国商业第一街，核心段即UR所在的华狮广场。

Prior to that, UR Store have been operating for five years and making good profit. Benefiting from this year's boom in Commerce on Huaihai Road, the government also intends to turn the street into China's first commercial street, the core section of which is the Huashi Square where UR is located.

改造之举，恰逢时机兼备情怀。

The renovation is just a matter of timing.

淮海路是一条商业标本街。车道熙攘，两侧临街楼面大小品牌密集，路肩侧市政绿荫丰茂，它将在不同的季节对建筑面产生不同的影响。

Huaihai Road is a commercial specimen street. The bustling lanes are densely populated on both sides of the street, and the side of the road has lush green. It has different effects on the building surface in different seasons.

在相对复杂的街区环境进行考察与设计过程中，设计师观察到不同的邻里建筑面对方案主体存在不同的影响。其虽地处核心路段，却面临极其严苛的市政管理条件。

In the process of site researching and designing with a relatively complex neighborhood environment, the designer observed that different neighborhood buildings have different effects on the main body of the program. Although it is located in the core section, but it faces extremely strict municipal management conditions.

项目涉及的各个方面，对于八十年代设定的Decorativeism广场型建筑的改造程度存在巨大争议：一方面政府希望保留该建筑的风格与原貌，获得既满足当下商业环境诉求又保持原建面与街区平衡的成果。另一方面华狮物业方与商业承租方（UR）亦存在对外墙及环境改造方面不同的考量与诉求。

In all aspects of the project, there is a huge controversy about the level of renovation of the Decorativeism square building set in the 1980s: on the one hand, the government hopes to preserve the style and original appearance of the building and balance with current demand of business. On the other hand, Property owners and Commercial Lessee (UR) also have different considerations and demands for external walls and environmental transformation.

事实上，建筑旧改题材的问题显然不尽来自理论与观念层面，它实际上堆叠自各个事件角色和不同利益方具体的角逐。设计方则在其中承担着艰难的角色。

As a matter of fact, the problem of the renovation of the old building obviously does not come from the theoretical and conceptual aspects, it actually stacks from the various event roles and the specific interests of different stakeholders. Which bear the designer in a difficult role.

设计师在2017年中旬获得经各方权衡后准确的设计条件，即对外观可改造范围局限于原建筑窗洞轮廓以内。

In mid-2017, the designer obtained accurate design conditions after weighing by all parties, that is, the scope of the appearance can be limited to the original building window contour.

商业设计的起点必然基于一定固化的条件，清晰的设计目标设定除了解决问题的远景常谈之外更基本与重要的是通过分析提出问题。

The starting point of commercial design necessarily curing condition based on setting clear design goals in addition to solve problems, and more important have vision to introduce potential questions. 

在这个项目中，设计师面临的是一个相当有趣的枷锁：既需要融入社会语境之和谐，又需要完成商业语境之跳跃；既需要保持对资本与商业绩效的理解尊重，还需要实践在上海这样一个复合文化浸染下的多元化城市及其时下目标受众（年轻人）对时尚类商业品牌的感性阅读与有效的品牌印象更新。

In this project, the designer is faced with a rather interesting shackle: the need to integrate into the social context of harmony, but also to complete the business context of the jump; both need to maintain a respect for capital and business performance, but also need to practice Shanghai, a multicultural city under the influence of a composite culture and its current target audience (young people), has a sensible reading of fashion-oriented commercial brands and an effective brand impression.

废弃旧红砖作为主体材料的设定并非一夕而就，在对建筑面窗洞进行不同程度的比划与设定之后，单纯的形式无法言尽我们需要在复杂环境中建立的干净的厚度，而材料在建筑中的本质能量某种程度上远超越形式。

Discard old red brick as the main material of the set is not achieved overnight, after building surfaces or windows with varying degrees of gestures set, a simple form cannot state the depth we need to build in a complex environment, and the essential energy of materials in architecture goes far beyond form.

上海历史丰厚建筑形式多样，在地图上对周遭街区的浏览过程中我们发觉建筑群顶部呈现较为统一的砖瓦红色。这是海派八十年代建筑对早期半殖民时期建筑符号的沿袭痕迹。

Shanghai has a rich history of architectural forms. During the browsing of the surrounding neighborhoods on the map, we found that the top of the buildings showed a uniform brick red. This is the trace of the architectural style of the early 1980s.

同时由于苏沪淮地区历史盛产砖瓦，设计师考察了该地域的所剩无几的老砖工厂后，在这种如今被限定为饰面材料的历史通用砌筑建材中寻获纯粹而丰厚的材料气质。

At the same time, due to the rich history of bricks and tiles in the Suhuhuai area, the designer visited old brick factories which aren’t many left in the area and found pure and rich material temperament is found in this historical general masonry building material which is now limited to decorative materials.

回到建筑表面设计范围的问题，当外观存在既定局限时，将外观内退似乎是神来一笔。除了建立一个灰空间对广场人流进行引流之外，一个功能含糊的空间将是交代品牌立场与态度的最佳场所。

Back to the question design range of the building surface, when the appearance has established limitations, it seems that the appearance of the retreat exterior is an inspired passage. In addition to establishing a gray space to drain the crowds, a functionally ambiguous space will be the best place to account for brand positions and attitudes.

很幸运，设计师的观点得到UR方面的绝对支持，在寸土寸金的商业环境中，消耗自建筑内墙退位三米的双层空间去承载纯艺题材是需要眼界的商业决策。

Fortunately, the designer's point of view is absolutely supported by the UR. In an inch-land business environment, a two-storey space consumed three meters from the retreat of the building's interior walls to carry fine art themes is a business decision that requires vision. 

建立一个“峡谷”。

We created a “Canyon”“峡谷”是一种界面，在直白的商业洪流中提供一个抽象与间歇的片段。而在此游离的片刻，设计师希望呈现的是一个叹号及一个问号。

The “canyon” is an interface that provides an abstract and intermittent segment in a straight forward business torrent. In this free moment, designers want to show is a exclamation point and a question mark.

两侧鱼腹型墙翼使得光线在此进行复杂反射，通过矩形窗洞进入峡谷的光线被弧形墙体柔化，并通过旧红砖的粗糙表皮形成投影与机理间的观感对冲。

The fish-belt wall wings on both sides make the light reflect here complexly. The light entering the canyon through the rectangular window hole is softened by the curved wall, and the rough texture of the old red brick forms a visual impression between the projection and the mechanism.

在对旧式传统红砖进行工法与比例上的考量后我们选择传统劈砖工艺中两刀与四刀的模数进行组合与砌筑。并对其砌筑缝做内退处理来强化材料比例形成的表皮机理。

After considering the method and proportion of the old traditional red bricks, we chose the combination of two and four “cut” in the traditional brick process. The skinning mechanism is formed by retreating the masonry joints to strengthen the texture. 

大面积砖体填缝退位的工法处理与落实，完全得益于老工匠手作的填缝木模工具。

The processing and implementation of the large-area brick caulking ablation is entirely due to the caulking tool used by the old craftsmen. 

建筑内所呈现的原创艺术装置‘墟’是这个项目创作中另一件值得描绘的故事。它将UR提供的产品作为基础素材，由艺术陈列设计品牌A&V担纲创作。其创作语境中废墟作为时尚题材的符号性作品吸引了无数镜头与注目。

The original art installation ‘Ruins’ presented in the building is another story worthy of depiction in the creation of this project. It uses the products provided by UR as the basic material and is created by the art exhibition design brand A&V. The ruins in its creative context have attracted countless shots and attention as symbolic works of fashion.

它描述的叛逆与质疑恰是设计师认为时尚的核心价值。

The rebellious and questioning it describes is precisely the core value that designers consider fashion.

原建外立面的矩形窗洞投射进峡谷室内侧的窗洞发生符号性变化，由传统几何到解构几何的投射是设计语境中关于时代审美符号变迁的暗喻。

The rectangular window hole of the original building facade is projected into the window of the inner side of the canyon, and the symbolic change from the traditional geometry to the deconstructed geometry is a metaphor for the change of the aesthetic symbol in the design context.

UR旗舰店的室内空间由25%灰调作为基底，形成与‘峡谷’区间空间节奏上的对比同时其重点在于通过建筑柱间模数分解成的货架道具模数，并以此形成主要人流动线的组织与引导。顶部的金属帘令原建筑保持最大程度的空间高度表现力同时适当通过人行透视线对原建固定管线进行遮挡。

The interior space of the UR flagship store is based on 25% gray tone as the base, forming a comparison with the rhythm of the 'canyon' interval space, to have contrast with the rhythm of the space in the 'canyon' section and also focused on the shelf props modulus that is decomposed by the modulus between the columns of the building to form a circulation flow. The metal curtain on the top maintains the original building with the highest degree of spatial height and the ability to properly block the original fixed pipeline through the pedestrian’s eye level..

在八十年代的柱网设计中，设计师无法在狭窄的梁网中找到一个足够的尺度进行通往二层的楼梯架设。同时亦受制于建设条件而无法对原建筑进行任何结构改造。于是，仅一米五的物理宽度令步梯成为室内空间设计中的最大难点。

In the column net design of the 1980s, the designer was unable to find a sufficient scale in the narrow beam network to erect the stairs to the second floor. At the same time, it is subject to construction conditions and cannot carry out any structural transformation of the original building. Thus, the physical width of only one meter and five makes the step ladder the biggest difficulty in the design of interior space.

设计师通过视错觉的方式来架设步梯心理尺度，钢制延展结构令步梯起步位拓宽至两米五。

The designer sets up the psychological scale of the step ladder by means of visual illusion, and the steel extension structure widens the starting position of the step ladder to two meters.

七米直径的月球位于主体店铺的正立面，即引流步梯的侧翼。如莫名昭示的少年梦境，或者出离现实的意向符号。这是继峡谷之墟后的另一记空间振奋。它是目前国内最大一轮月球。亦为大面积的二层商业空间带来高效客流引导。

The seven-meter-diameter moon is located on the main wall of the store, which is the flank of the diversion step ladder. Such as the inexplicable juvenile dream, or the intentional symbol of the reality. This is another exciting space after the “canyon”. It is currently the largest printed moon in the country. It also guidance efficient passenger flow guidance for second-floor commercial space.

项目名称 | UR旗舰店 – 峡谷

Name | UR Flagship Store – Canyon

项目面积 | 1500㎡

Area | 1500㎡

项目地点 | 中国上海

Location | Shanghai,China

项目业主 | URBAN REVIVO

Client | URBAN REVIVO

建筑设计 | 余霖 东仓建设

Architectural Design | Ann Yu DOMANI

室内设计 | 余霖 东仓建设

Interior Design | Ann Yu DOMANI

装置与陈列 | 桉和韦森

Installation & Exhibition | A&V 

协作设计 | 王润维 东仓建设

Cooperative Design | Rex DOMANI 

施工单位 | 上海焕佳装饰工程有限公司 

Construction Side | 上海焕佳装饰工程有限公司 

UR Flagship Store – Canyon 

图纸呈现

UR Flagship Store – Canyon 

主创介绍

余霖 / Ann Yu

  Representative Works 

-代表作品-

1 WOR中國旗舰 

SKY CLUB HOUSE / 时代天荟会所

UR China Flag Store / UR中国旗舰店

SKY EXHIBITION HALL / 时代天荟销售中心

ACC SHOP

UR Collection

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供稿 / DOMANI 東倉建设