The existence of emptiness varies from person to person.It is a contradictory title.To be exact， I don‘t know what kind of theme to put in the final space.Of course， this does not mean that I have no idea about my design， but I do not like to arrange so many stories to the design intention that can be expressed simply and clearly， like a literati saying something. In order to put on a gorgeous coat for a originally “deceived” photo， it seems that a design description will lost its meaning without an “introduction”. however， the viewer on the other side always spend more time on the picture than on the text.
In order not to be criticized that I have no idea about my design， I will explain it.Is “non” a negative word or affirmative word？ It will come to different conclusions from different perspectives and different views. It is opposite to “yes”. For example， “yes and no” means wrong. It echos “no”. For example， in the sentence non-success is not necessary， it means necessary.“Emptiness” can be the emptiness of the space. With the original meaning of room， it is the indoor space or the space in other areas， the space-time， the space of the universe； it can be the spiritual emptiness. It also refers to the empty name， empty box， empty space， not hollow and not full. Trueness is the falseness.As the saying goes： “The existence of emptiness varies from person to person. If believing the existence of hidden objects， there is emptiness； if seeing is believing， there is no emptiness”.Non-emptiness is the offline version 3.0 exhibition hall we created for “Yimeng Baisheng”， a top brand of mahogany furniture. The reason why it is the version 3.0 is that this is a further design invitation after the owner invited us to renovate the old exhibition hall on the basis of the original venue in the end of 2017. This interval is less than two years. Unlike the last design， we need to overthrow our own previous design and then carry out the upgrade and reconstruction.
▲展厅改造前Before the reconstruction of the exhibition hall
The version 1.0 exhibition hall is an offline exhibition hall that the owner simply renovated in the early days of start-up. The problem faced at that time was the disorder of space lines， disorder of product display， shortage of any color and light modeling and the serious lack of design sense. With the improvement of the product and customer quality， a better space became the most urgent need at that time. The owner got to know us through the Internet in December 2017， so he sent out an invitation to us. UGD carried out the first upgrading and reconstruction of his exhibition space after understanding the details introduced by the owner. In addition to acquiring a completely new look， we also need to reuse the “old things”. Therefore， we used a large number of old grids and old screens， and adopted design strategies such as corridor-shaped lines and open ceilings in the first upgrading and reconstruction. In the end， we achieved relatively unexpected results to the owner with relatively little investment.
▲首次升级改造后After the first upgrading and reconstruction
The exhibition hall after reconstruction and upgrading provides a better display carrier for product sales， and also fulfills the design goal that design helps business growth. As the owner’s product quality and customer group made another leap forward， the upgraded 2.0 exhibition hall can no longer meet the new sales requirements. Therefore， in August 2019， the owner sent out an invitation to us again， hoping that we can conduct a further upgrading and reconstruction based on the version 2.0 exhibition hall.
To overthrow our own design means that we have to overthrow our setting of the space in the previous upgrading and reconstruction process， starting from zero. From the perspective of operation and investment， we did not completely dismantle it， we retained the core position of the old exhibition hall to the greatest extent.
“Emptiness” is the space location jointly confirmed by the owner and us. It means that we will give up the striking color in the old space， and give up the screen partition to cater to the Chinese style， in order to make the space more simple and straightforward， so that the dimension， color and modeling all make way for the product ， allowing the radiance of mahogany furniture itself to tell their own words in this space.This bunch of red is the original color of the old space. With this as the standpoint， we allow the conversation between the new space and old space. Its standing corners connect the corridor area with the independent space of the inner part. The arch is a little bit of fun that we set in the square in addition to seeking changes.
“Non” is a little selfishness that we have saved， hoping that there is a little fun in the space in addition to white. When these little surprises appear， people can jump out of the thickness and tradition of mahogany furniture while standing in the exhibition hall. For a moment， the space itself suddenly shifted from the back to the front， performing different harvests with each person‘s different observation points in modern and tradition.We did not deliberately create light， in the hope that it would meet with others in the form of light. When the light passes through this row of cut T-shaped windows， it forms a light shadow， which is another joy we harvest outside the “emptiness”.
Arch， in the form of three arrays， is really not acceptable by the owner. We always image what we already have in the mind. The so-called creativity is nothing more than the search for the right clothes to put on an already immutable body from a seething sea of all sorts of strange ideas. They are perplexed that no matter whether it is the new Chinese style or the Chinese style， no design language has ever appeared in such a form， so it is equally perplexing to us. In this white space with no accessories， neither lattice windows nor crescent doors are possibly the most suitable forms. There has never been a form that must be correct， or must be wrong. What you and I are looking for is common “compromise”. Moving to the left or moving forward， the things in our eyes can’t avoid the antique-and-curio shelves in the middle.
Different from the original open zigzag lines， we chose a complex pattern this time to make the line more circuitous， in order to create more possibilities for staying while avoiding interference between products. The owner required to retain the original light and suspended ceiling， and a lot of small square boxes were built in the large space to become a carrier defining interior space. The partially enclosed suspended ceiling and the original open roof of the large space form another kind of contrast between empty and full. The cambered guide angle cleverly became a way of guiding in the square， pointing to another space. It is possible that he and she meet here from different directions.
项目设计 & 完成年份：2019.07 / 2019.10
主创及设计团队 ：祝年微， 江伟，罗玉春，夏佩雯
摄影师：Shengsu Architectural Photography