虛構(gòu)考古學(xué)， 將我們當(dāng)下所見(jiàn)的投射到未來(lái)， 想象千年后的考古現(xiàn)場(chǎng)， 來(lái)思考過(guò)去、現(xiàn)在和未來(lái)。 Fictional archaeology, Project what we see now into the future, Imagine an archaeological site a thousand years later, Think about the past, the present and the future. —— Daniel Arsham

△ 項(xiàng)目視頻 △ Video of The Project

有時(shí)人們會(huì)因?yàn)闀r(shí)間的流逝而望洋興嘆，它的每分每秒都在無(wú)聲無(wú)息中流走，不能捕捉、不被支配。因此，人們總是熱衷于以各種形式手法來(lái)表達(dá)對(duì)時(shí)間不斷流逝的特殊情結(jié)。本項(xiàng)目部位于北京朝陽(yáng)區(qū)工體內(nèi)，業(yè)主是兩位日本留學(xué)服裝設(shè)計(jì)師，長(zhǎng)年生活在日本受當(dāng)?shù)匚幕挠绊懀貒?guó)發(fā)展的他們找到了DPD希望做一家不一樣的買(mǎi)手店，結(jié)合他們自己的設(shè)計(jì)信念詮釋于空間之中。 People sometimes feel helpless because of the passage of time. When they do things , they feel helpless because of the lack of strength or conditions. Every minute of it flows away silently and can't be captured and controlled. Therefore , people are always keen to express their special complex about the continuous passage of time for various forms . This project was located in Works Stadium , Chaoyang District, Beijing . The owners are two Japanese fashion designers studying abroad. They have lived in Japan for a long time. So they are influenced by the local culture, they are back to China and start to develop their industry and found DPD. They hope to be a unique buyer's shop and interpret it in the space with their own design beliefs.

△ Daniel Arsham作品 / Daniel Arsham的Instagram賬號(hào) △ Project By Daniel Arsham / Instagram by Daniel Arsham 時(shí)間所塑造的世界 Time Created This World 美國(guó)當(dāng)代藝術(shù)家Daniel Arsham善于重現(xiàn)過(guò)去、現(xiàn)在、未來(lái)的永恒時(shí)刻，讓堅(jiān)固、穩(wěn)定的建筑體用時(shí)間詮釋著時(shí)間所塑造的世界。尋求一個(gè)存在于現(xiàn)實(shí)中的時(shí)間點(diǎn)——一個(gè)大家既能接受的，但又存在一定異常的廢墟世界。 An American artist of Daniel Arsham, his good at reproducing the eternal moments of the past, the present and the future, so that solid and stable buildings can interpret the world shaped by time. Looking for a time point existing in reality -- A world of ruins that is acceptable to all, but with some abnormality.

設(shè)計(jì)師對(duì)空間的靈感來(lái)源是受到美國(guó)當(dāng)代藝術(shù)家Daniel Arsham的未來(lái)考古風(fēng)影響，在設(shè)計(jì)上保留原建筑效果，打造出開(kāi)裂的墻壁，它在空間中表達(dá)出考古空間的同時(shí)，將一道道墻壁視作為阻擋，斑駁的墻體被一種牽引力肆意地撕扯，當(dāng)連接著天花板和地板之間的墻壁裂開(kāi)，泥石崩塌，另一個(gè)不同世界將慢慢呈現(xiàn)出來(lái)，仿佛這是一個(gè)開(kāi)裂的廢墟世界，也是空間與空間之間的交接間點(diǎn)。 The designer's inspiration is coming from an American artist of Daniel Arsham，also they are influenced by Arsham's ancient style. They are keeping original architectural effect on the design, they also create a cracked wall, While expressing the archaeological space in the space, it regards one wall as a barrier, and the mottled wall is torn by a kind of traction force. When the wall connecting the ceiling and the floor cracks, the debris collapses, another different world will display in slowly in orderly, as like this is a cracked world of ruins, it also the intersection point between space to space.

整個(gè)空間被一種無(wú)形的牽引力撕扯而裂開(kāi)，當(dāng)墻面被上下扯裂開(kāi)時(shí)，中間形成一個(gè)維度空間，這是一個(gè)特殊的多重維度空間。設(shè)計(jì)師希望這個(gè)空間是充滿(mǎn)來(lái)力量感的，正因?yàn)榱α看嬖谟诖瞬诺靡孕纬删S度，從而把維度的概念在空間中滲透貫穿始終。 The whole space is torn apart by an invisible traction force. When the walls are torn up and down, a dimensional space is formed in the middle, which is a special multi-dimensional space. Designers hope that this space is full of a sense of power. It is because of the existence of power that the dimension can be formed and the concept of dimension can be permeated through the space.

△ 設(shè)計(jì)分析圖 △ Analysis Chart

△ 慢慢走近，人們從被撕扯開(kāi)的墻縫中窺探出一個(gè)新的廢墟世界 △ Slowly approaching, people peep out a new world of ruins through the torn cracks in the wall

△ 運(yùn)用各種簡(jiǎn)約的線(xiàn)條方式，把空間的所有事物都串聯(lián)起來(lái) △ Use a variety of simple lines to connect all things in space 整個(gè)空間的設(shè)計(jì)基于在各種實(shí)地考察和調(diào)研分析，最終結(jié)合創(chuàng)作構(gòu)思而得出設(shè)計(jì)。設(shè)計(jì)師從商品中提取設(shè)計(jì)靈感，“解構(gòu)”手法并運(yùn)用在空間的不同區(qū)域之中?？臻g的設(shè)計(jì)調(diào)性圍繞著暗黑、潮流、冷清、質(zhì)感，把黑、灰、白、木相結(jié)合應(yīng)用到空間中。 The design of the whole space is based on a variety of on-the-spot investigations and analysis, and finally combined with the creative ideas. Designers extract to design inspiration to commodities and use deconstruction in different areas of space. The design tonality of the space is around dark, trendy, cool, texture and pure, and also combination of black, gray, white and wood are applied to the space.

△ 為了達(dá)到理想的效果，墻面的設(shè)計(jì)制作特別邀請(qǐng)了中央美院優(yōu)秀雕塑團(tuán)隊(duì)制作 △ In order to achieve the ideal effect, the wall designed and produced specially invited the outstanding sculpture team of Central Academy of Fine Arts to produce

△ 鏡面與斑駁的墻相結(jié)合，仿佛裂開(kāi)的時(shí)空隧道，空間與空間之間的交接 △ The combination of the mirror and the broken wall is like a split space-time tunnel and the connection between space to space

△ 寬敞的落地玻璃，很好地將室外的美景引入室內(nèi)，使得內(nèi)外空間充分交融，讓每一格櫥窗都像獨(dú)一無(wú)二的藝術(shù)場(chǎng)景 △ The spacious floor glass well introduces the outdoor beauty of the interior, making the internal and external space, fully blend, making each window look like a unique art scene 發(fā)掘時(shí)空中的未來(lái) Explore The Future In Space-Time 考古一直以來(lái)都是一種確定性的科學(xué)，我們通過(guò)考古確定在哪個(gè)時(shí)間點(diǎn)發(fā)生了哪個(gè)事件。以這樣的角度塑造未來(lái)的故事，也就是說(shuō)我們現(xiàn)在的這些物件，在未來(lái)也可能成為一種虛構(gòu)的考古事實(shí)。通過(guò)這樣的做法，不僅模糊了我們對(duì)于物品被創(chuàng)造的時(shí)間的認(rèn)知，也模糊了我們作為觀(guān)眾所身處的時(shí)間。我們是否已經(jīng)向前邁進(jìn)、進(jìn)入了未來(lái)呢？ Archaeology has always been a kind of deterministic science, through which we can determine which event happened at which time point. In this way, the story of the future is shaped, that is to say, the objects we have now may also become a kind of fictional archaeological facts in the future. By doing so, we not only blur our understanding of the time when objects are created, but also blur the time we are in as viewers. Have we moved forward into the future?

整個(gè)空間與周?chē)沫h(huán)境“格格不入”，它們像廢墟一樣，但卻又如此與眾不同。它在精神上自我獨(dú)立，堅(jiān)定沉默。斑駁質(zhì)感的墻壁上下對(duì)稱(chēng)裂開(kāi)，兩者雖相隔卻成呼應(yīng)關(guān)系。人們可以在夾縫中窺探一切事物，仿佛能從夾縫中看到未來(lái)的世界。同時(shí)也是呼應(yīng)設(shè)計(jì)上想要呈現(xiàn)出業(yè)主和對(duì)應(yīng)的消費(fèi)群體，他們都有著獨(dú)特的審美、獨(dú)特的眼光，以及不一樣的角度來(lái)看世界。 The whole space is " Out of Place " with the surrounding environment. They are like ruins, but they are so different. It is spiritually independent, firm and silent. The walls of mottled texture split symmetrically from top to bottom. Although they are separated, they form a corresponding relationship. People can peep at everything in the cracks, as if they can see the future world from the cracks . At the same time, it is also in response to the design to show the owners and corresponding consumer groups, they all have a unique aesthetic, unique vision, and a different point of view of the world.

△ 墻與墻在不同的角度呈現(xiàn)不同的效果，相互對(duì)稱(chēng)相互交錯(cuò) △ Walls to walls present different effects on different angles, which are symmetrical and interlaced with each other

△ 在裂開(kāi)的時(shí)空中，人們展開(kāi)了考古探索和挖掘 △ In the split space-time people have carried out archaeological exploration and excavation

△ 時(shí)空中虛實(shí)結(jié)合，混沌而有序 △Deficiency and excess combine together in the space-time, chaos, but in orderly 設(shè)計(jì)師對(duì)項(xiàng)目的品牌以及消費(fèi)群體開(kāi)展深入研究，在安排人流動(dòng)線(xiàn)上有著特別的構(gòu)思。一樓主要展示YAMAMOTO山本耀司這類(lèi)著名服飾品牌，采用環(huán)形設(shè)計(jì)手法，形成小會(huì)客廳效果，四周為服裝展示為主，中間是試穿體驗(yàn)區(qū)，消費(fèi)者可以互相交流試穿體驗(yàn)、打卡傳播等，形成一個(gè)高端潮人選服購(gòu)買(mǎi)方式場(chǎng)景。 The designer carries out in-depth research on the brand and consumer groups of the project , and has a special idea of arranging the flow of people . The first floor mainly displays famous fashion brands such as YAMAMOTO . We use the method of the circular design is adopted to form the effect of the small meeting living room , the fashion display area as a mainly area all around the room , and also we can see the fitting area is in the middle , therefore , the consumers can make a conversation with each other to exchange some experience of fashion , at the same time here also is a selfie area etc . Thus , the space to forming a scene of high fashion selected section .

二樓是設(shè)定為兩位業(yè)主自己的品牌工作室，作為一個(gè)試驗(yàn)性服裝研創(chuàng)的空間，在這里他們可以盡情發(fā)揮創(chuàng)作，一件件仿如藝術(shù)品般的服裝將會(huì)在此誕生。 The second floor is set at the brand studio of two owners. As a space for experimental clothing research and creation, they can make full use of their creation here, and pieces of fashion like art will be born here.

△ 二樓整個(gè)空間同樣呼應(yīng)著一樓的環(huán)形方式，在提供創(chuàng)作空間的同時(shí)，促進(jìn)自身品牌的銷(xiāo)售 △ The whole space on the second floor also echoes the circular pattern of the first floor, which not only provides creative space, but also promotes the sales of its own brand

△ 服裝設(shè)計(jì)師可以在靈感創(chuàng)作區(qū)盡情發(fā)揮靈感創(chuàng)意 △ Fashion designer can give full play to their inspiration and creativity in this creation area 現(xiàn)在與過(guò)去的碰撞 Run Into Now And The Past 設(shè)計(jì)師很在意時(shí)間跟空間的對(duì)話(huà)關(guān)系，空間中用到的各種材質(zhì)和設(shè)計(jì)手法，不僅僅像在表達(dá)對(duì)空間的探索，更像是在我們朝著未知未來(lái)的猜測(cè)，對(duì)物質(zhì)存在的虛擬構(gòu)想。原木、水泥、金屬和洞石這些形象材質(zhì)，將會(huì)成為老化的媒介物品，它們并不只是在懷舊，還是時(shí)空游走于過(guò)去和未來(lái)之間。 Designers are very caring about the relationship and dialogue between time and space , in the space we can see many different technique of the material and skill of the design , they are not only expressing the exploration of space , more looks like we are forward to the unknown future we guess for it , and also imagine the exist substance . The log , cement , metal and cave stone will become the old fashion stuff in the media . They are not only nostalgic , they also wander between the past and the future.

△ 斑駁的肌理，墻面藝術(shù)涂料，設(shè)計(jì)材質(zhì)整個(gè)空間都是相統(tǒng)一的，地面為了保持原始水泥肌理的效果 △ The whole space is unified with mottled texture to art coating into the wall and the materials of design, and the ground in order to maintain the original cement texture effect 越來(lái)越多的當(dāng)代藝術(shù)家和設(shè)計(jì)師開(kāi)始喜歡廢墟美學(xué)，用廢墟的手法表達(dá)出的一種充滿(mǎn)歲月感的美；即使是外表斑駁，或是褪色暗淡，都無(wú)法阻擋的一種美。DPD早年就開(kāi)始對(duì)廢墟美學(xué)和現(xiàn)代主義手法有著深入研究并實(shí)踐在不同領(lǐng)域的項(xiàng)目之中，結(jié)合一些藝術(shù)家的元素利用自然的質(zhì)樸的物質(zhì)打造出獨(dú)特的空間，讓人重新認(rèn)識(shí)了現(xiàn)代質(zhì)感與古典樸素之美。 More and more contemporary artists and designers begin to like the aesthetics of ruins, which expresses the beauty full of years by means of ruins; even if the appearance is mottled or faded, it cannot be stopped by a kind of shocking beauty. In the early years, DPD began to study the aesthetics of ruins and modernism and put them into practice in different fields, also combining with the elements of some artists, using natural and simple materials to create a unique space, let people understand the modern texture and the classical and simplicity of beauty again.

△ 項(xiàng)目材質(zhì)圖 △ Material of The Project

林鎮(zhèn) Michael Lam 香港遞加設(shè)計(jì)（DPD）創(chuàng)始人／創(chuàng)意總監(jiān) DESIGN PLUS DESIGN FOUNDER | CREATIVE DIRECTOR 香港理工大學(xué)設(shè)計(jì)學(xué)碩士，后于英國(guó)皇家藝術(shù)學(xué)院進(jìn)修可持續(xù)設(shè)計(jì)。2012年創(chuàng)立「香港遞加設(shè)計(jì)(DPD)」后，相繼創(chuàng)立商業(yè)茶飲品牌 「HUNCHA 混茶」、生活品牌「?jìng)z」生活研究所和藝術(shù)板塊「WOOART」，并成為設(shè)計(jì)、商業(yè)、藝術(shù)復(fù)合模式的深度研究者。多國(guó)背景的海外求學(xué)經(jīng)歷和多年的商業(yè)實(shí)踐經(jīng)歷，既開(kāi)闊了他的藝術(shù)視野也令他對(duì)設(shè)計(jì)價(jià)值有更全面的認(rèn)知。近年來(lái)他實(shí)踐的藝術(shù)生活商業(yè)結(jié)合的作品包攬了包括德國(guó)IF AWARDS，Red Dot Awards, 意大利A‘DESIGN，美國(guó)Best of Year，韓國(guó)K-DESIGN，臺(tái)灣TINTA等數(shù)十個(gè)國(guó)際級(jí)最有含金量的獎(jiǎng)項(xiàng)，成為85后新銳設(shè)計(jì)師的領(lǐng)軍人物。 Polytechnic University, then studied sustainable design at the Royal College of art in the United Kingdom, and became the Ambassador of Barcelona University of Art in Guangzhou. After he created design plus design company in 2012, he keeps going to build a commercial brand of beverage called "HUNCHA" and brand of life called "DUO" life study lab and the other art module called “WOOART”, all combine together become a designer, commercial, art deeper studier. His overseas study experience and years of business practice experience not only broaden his artistic vision, but also enable him to have a more comprehensive understanding of the value of design. In recent years, his works of art, life and business combination have won dozens of international awards, including if awards in Germany, a 'design in Italy, best of year in the United States, K-Design in South Korea, and TINTA in Taiwan. He has become the leader of the post-85's new designers.

Gaby Teng 香港遞加設(shè)計(jì)（DPD）合伙人／設(shè)計(jì)總監(jiān) DESIGN PLUS DESIGN PARTNER | DESIGN DIRECTOR 畢業(yè)于新加坡 Raffles設(shè)計(jì)學(xué)院，畢業(yè)后留校任教室內(nèi)設(shè)計(jì)，后續(xù)移居加拿大，并負(fù)責(zé)家族企業(yè)的房地產(chǎn)開(kāi)發(fā)業(yè)務(wù)。常年游走于理性邏輯與感性表達(dá)之間，對(duì)高端豪宅和酒店設(shè)計(jì)擁有豐富的實(shí)操經(jīng)驗(yàn)，專(zhuān)研深化設(shè)計(jì)及效果表現(xiàn)，期望以高品質(zhì)的動(dòng)感設(shè)計(jì)推動(dòng)國(guó)內(nèi)設(shè)計(jì)市場(chǎng)的發(fā)展。以佛系感性的態(tài)度負(fù)責(zé)DPD加拿大分部有關(guān)豪宅、藝術(shù)酒店等設(shè)計(jì)業(yè)務(wù)與管理。 He graduated from the Raffles School of Design in Singapore. After graduation, he stayed in school as a teacher to teach interior design.He later moved to Canada and was responsible for the real estate development business of his family business. Wandering between rational logic and emotional expression all year round, he has rich practical experience in the design of high-end luxury houses and hotels. He specializes in deepening design and effect performance, expecting to promote the development of domestic design market with high-quality dynamic design. Responsible for the design business and management of luxury house, art hotel, etc.

△ 項(xiàng)目平面圖 △ Floor Plan