多么工作室 | Chic Camélia女装店，上海 | Hi设计

一处没有花朵的空间，包裹着花朵般的内心。

A space devoid of flowers, enveloping a heart that blooms.

如果花不是一朵捧在手中的美物，而是一处能走入的空间，当踏入后，你看到的会是自己的内心。女装品牌Chic Camélia寓意为山茶花，让人容易联想到每一位女性独有的内在气质。而项目地址位于城市干道旁一栋商务楼的首层转角商铺内，因此我们思考如何在一个规整的内部物理空间中塑造一个与外部环境相反的场所——它抵消了城市表征中均质、直白的一面，试图达到品牌释义里一个犹如内心般平和、柔软、私密的空间品质。

If a flower is not merely a beautiful object held in hand, but a space one can step into, then upon entering, what you see is your own inner self. The women’s clothing brand Chic Camélia, named after the camellia flower, evokes the unique inner temperament inherent to every woman. The project is located in a corner shop on the ground floor of a commercial building next to a city thoroughfare. Therefore, we contemplated how to shape a space within a regular, structured interior that contrasts with the external environment—one that counteracts the homogenizing, straightforward aspects of urban representation and strives to achieve the tranquil, soft, and intimate spatial quality akin to the inner self, as conveyed by the brand’s essence.

从场地而来的启发Inspiration Derived from the Site

场地形态呈规整的“L”型，近半米高的入口处高差，将整个基地抬起，俯视着过往的人流。除了与入口平台相接的切角玻璃面外，空间中另有三处窗洞，离入口最近的是唯一一处沿街橱窗，它吸收了过往的目光，也吐露了内里的热络，它是与外界互动的媒介。第二个窗洞是在另一面朝向内街的墙上，浓郁的植被直接扑向了窗口，在午后的时光里，大量的光线伴随着窗外饱满的生机肆意地投射进了室内，这份涌入的自然柔化了柱网建立的秩序。由于建筑结构的特殊性，比邻的第三个窗洞，被它近处8米长的剪力墙遮挡，而在墙面的居中位置，又切割出半高的门洞，于是，光线裹挟着静谧闯入这片阴影内，又将人的视线引入阴影背后的私密。我们发现在这原本均质的柱网空间内，却蕴藏着如此丰富的异质性元素，因此，我们试着将功能性空间和陈列流线结合场地的特质一一嵌入进这个场所内，空间的雏形就出现了。

The site features a regular L-shaped layout, elevated by a nearly half-meter height difference at the entrance, overlooking the passing pedestrian flow. Apart from the chamfered glass facade connected to the entrance platform, the space includes three window openings. The one closest to the entrance is the only street-facing display window, which absorbs the gazes of passersby and hints at the warmth within, serving as a medium for interaction with the outside world. The second window opening is on another wall facing the inner street, where lush vegetation presses directly against the window. In the afternoon, abundant light, accompanied by the vibrant life outside, floods freely into the interior, softening the order established by the column grid. Due to the unique architectural structure, the third adjacent window opening is partially obscured by an 8-meter-long shear wall nearby. At the center of this wall, a half-height doorway is carved out, allowing light, carrying tranquility, to intrude into this shadowy area while drawing the gaze into the intimacy hidden behind the shadows. We discovered that within this originally homogeneous column-grid space lies such a rich array of heterogeneous elements. Thus, we sought to embed functional spaces and display circulation into the site, aligning with its unique characteristics, and the initial form of the space began to take shape.

延续场地中的力Continuation of Force in the Site

我们重新整理了地台轮廓关系，化解了原本急促的台阶步数，将室内地面浅色莱姆石铺地延伸至室外雨棚起始处，通过材质变化用塑木平台过渡了街道界面，并在最深处种植了一株山茶花树。放缓后的入口空间一改之前的傲居姿态，静候着客人的到来。拾级而上，一个由柱网构成的室内空间呈现在面前。

We reorganized the layout of the platform, mitigating the originally steep staircase steps by extending the light-colored limestone flooring from the interior to the starting point of the outdoor canopy. Through material variation, a composite wood decking transitions the street interface, while a camellia tree is planted at the farthest end. The redesigned entrance space, now more gradual, sheds its previous aloof posture and quietly awaits the arrival of guests. Ascending the steps, an interior space defined by a column grid unfolds before you.

我们再次从场所中得到启发，空间中像是有股力，它先是依附于框架结构，从顶部出发，向下传递，近300多平方米的场地中随着进深方向被划分出前、中、后三大区域，接着又向水平方向延展，将人的视线在梁柱、窗口、门洞彼此对位关系的引导下，获得了一种感官上的平和。我们思考如何使空间中所要增加的功能性要素都能显明这股场地中的力。

Once again, we drew inspiration from the site itself. It was as if an invisible force permeated the space—first clinging to the framework structure, emanating from the top and flowing downward. Across the over-300-square-meter area, the depth of the space was divided into three main zones: front, middle, and rear. Then, this force expanded horizontally, guiding the gaze along the alignment of beams, columns, windows, and doorways, evoking a sense of sensory tranquility. We contemplated how to ensure that every functional element added to the space would express this inherent dynamism of the site.

我们在高度方向上构建了一层新的水平面域，它先亟待解决暴露在空中的繁杂管线。这个面域与管线最低点保持一段距离，它先是在橱窗区附近向上隆起，一颗球形灯像是随意地落入了这个倒置的弹力织物里，停留在对应于下方的前台和沙龙桌的间隔中；在第二个窗口前，光线掠过两个对称伫立的试衣间后，映在了像是受悬挂衣物拉伸渐渐下沉的顶面，光影赋予其饱满的体量感，空间的重心也随之放低，这里是陈列流线的起始；面域接着平缓地跨过中部的主梁，再次像鱼腹般跃起，这里来到了陈列的中区，此处唯一的光线从剪力墙上的门洞内逃逸出，倾洒在地面后又被对应在门洞上方像勺口般的顶面聚拢，点亮了步入窗前VIP区的仪式感；随着三联试衣间在空间尾部从墙面涌出，面域也在其顶部开口处向上拱起，就此停止在流线的尽端。新增的面域覆盖了整个顶面，每一处形变的起止都暗示着区域的边界，空间被再次还原成前、中、后三大区域，原先可见的结构形式遮蔽后被勾勒成线条般的力流，平静地流淌在整个场地内。

We constructed a new horizontal plane in the vertical dimension, primarily to address the exposed and complex pipeline systems overhead. This plane maintains a certain distance from the lowest points of the pipelines, first curving upward near the display window area. A spherical light appears as if casually dropped into this inverted, elastic fabric-like form, hovering in the space corresponding to the gap between the reception desk and the salon table below. In front of the second window, light grazes past two symmetrically positioned fitting rooms, then casts onto the ceiling, which seems to sink gradually under the weight of hanging garments. The interplay of light and shadow imbues this area with a sense of volume, lowering the spatial center of gravity—marking the starting point of the display circulation. The plane then gently spans the main beam in the central area, arching again like the belly of a fish. This section corresponds to the middle zone of the display, where the only light escapes from the doorway in the shear wall, spills onto the floor, and is then gathered by the spoon-like ceiling above the doorway, illuminating the ceremonial sense of entering the VIP area by the window. As a triple fitting room emerges from the wall at the rear of the space, the plane arches upward at its top opening, concluding at the endpoint of the circulation. This newly added plane envelops the entire ceiling, with each deformation marking the boundaries of different zones. The space is once again simplified into three main areas—front, middle, and rear—while the originally visible structural elements are concealed, outlined only as linear currents of force, flowing calmly throughout the site.