简璞设计

2022年

简璞有幸在位于成都的富森美家居设计了两个逻辑截然不同的展厅。

一个是看不见产品的音响店；而另一个却是产品众多的卫浴集合店。

EOGO

英爵

看不见产品的产品展厅

The product showroom where you can't see the products

EXPERIENCE

体验

任何一个线下产品展示空间，都是为了更好的与消费者更近距离的产生互动，并营造出更加贴合产品特征的超体验空间。所以，体验的核心在于如何理解产品的特征，并运用将传统认知与产品最佳应用场景相结合的方式，呈现出最具产品辨识度的沉浸式空间。

Any offline product display space is designed to better interact with consumers at a closer distance and create a hyper-experience space that is more attuned to product characteristics. Therefore, the core of the experience lies in how to understand the characteristics of the product, and use the combination of traditional cognition and the best application scenario of the product to present the most recognizable immersive space of the product.

那么，作为一家音响产品售卖及整体影音解决方案的供应商。我们能在该展示空间里，提供怎样的试听体验，便是我们需要解决的关键问题。但声音的体验，并非是单一的场景营造便能解决的。于是，我们又将视野回归到我们的主力消费市场——家装。同时，在家庭装修的体系中，我们又因为对声音的不同需求，而细分出了开放式影音环境：如客餐厅、西厨、minibar等；半封闭式影音空间：如书房、雪茄吧、茶室等；以及封闭式影音空间：如专业级视听室、练歌房、游戏室等。因此，只有在有效的空间环境里，尽可能的营造出最为完整且舒适的视听环境，才能真正起来超体验的真实感受，并帮助我们的店面，完成更为高效的商业转换诉求。

So, as an audio product sales and overall audio-visual solutions provider. We can provide what kind of audition experience in the display space, is the key issue we need to solve. But the sound experience, is not a single scene can be solved. So, we returned our vision to our main consumer market - home improvement. At the same time, in the system of home decoration, we have subdivided into open audio-visual environment: such as guest dining room, western kitchen, minibar, etc.; semi-closed audio-visual space: such as study, cigar bar, tea room, etc.; and closed audio-visual space: such as professional-grade audio-visual room, practice room, game room, etc. because of the different needs for sound. Therefore, only in the effective space environment, as far as possible to create the most complete and comfortable audio-visual environment, in order to really up the real feeling of super experience, and help our stores, to complete a more efficient business conversion requirements.

EOGO

英爵

当我们解决了应用场景的划分之后，我们必须将目光回到产品本身上来。因为产品的特性，最终决定了空间营造的方式，及氛围的打造。但你很难想象，作为一款音响产品，英爵主打的却是隐藏式设备。也就是说，我们只能听见声音，却看不见产品。这无疑是为空间的具体营造带来了不小的难题。

Once we have solved the division of application scenes, we must return our attention to the product itself. Because the characteristics of the product, ultimately determine the way to create space, and the creation of the atmosphere. But you can hardly imagine that, as an audio product, Yingjue is mainly a hidden device. In other words, we can only hear the sound, but can not see the product. This is undoubtedly for the specific creation of space brings a considerable problem.

当我们无法从产品本身的物化特征去延展空间设计时，我们只能从品牌文化根源及产品卖点去强化空间视觉的呈现效果。于是，我们将从两个方面去延展开本案的室内设计。第一是来源于英爵的品牌文化。作为全球领先的隐形音响品牌，英爵与英国扬声器发展有着千丝万缕的联系，甚至于说，没有上世纪90年代英国DML分布式扬声器技术的诞生，就没有今天的英爵。

When we cannot extend the space design from the physical characteristics of the product itself, we can only strengthen the visual presentation of the space from the brand cultural roots and product selling points. Therefore, we will extend the interior design of this case from two aspects. The first one is from the brand culture of Yingjue. As the world's leading invisible audio brand, British Jennings has inextricable links with the development of British loudspeakers, even to say that without the birth of British DML distributed loudspeaker technology in the 1990s, there would be no British Jennings today.

所以在空间主调的营造上，我们将风格定调在英式中古的基础之上，并结合现代家居生活模式营造出了属于英爵的开放式会客厅、工作室、酒水吧，以及半封闭式的雪茄室，和全封闭的专业私人影院。第二个方面，则是来源于其隐形和扁平化的声音传播特性。所以在空间的营造上，我们有意的将大部分音响设备融合在空间之中，从而不刻意的去放大产品。让享受优质影音的同时，保留空间的纯粹性。这无疑是对于使用者、空间设计师都是极其友善的处理方式。同时，在装饰材料的选择上，也摈弃了传统影音空间各类声学材料堆砌的乱象。因其扁平化的声音传播原理，我们甚至没有在私人影院里设置任何的软包等声学材料，但我们依然能得到完美的影音体验。

Therefore, in the creation of the main tone of the space, we set the style on the basis of English Chinese ancient, and combined with the modern home life model to create an open parlor, studio, wine bar, as well as a semi-closed cigar room, and a fully enclosed professional private theater belonging to Lord British. The second aspect is derived from its invisible and flat sound transmission characteristics. Therefore, in the creation of space, we intentionally integrate most of the audio equipment in the space, so as not to deliberately amplify the product. Let enjoy the quality of audio and video while retaining the purity of space. This is undoubtedly an extremely friendly way for users and space designers to deal with. At the same time, in the choice of decorative materials, also abandoned the traditional audio-visual space of all kinds of acoustic materials piled up chaos. Because of its flat sound propagation principle, we do not even set up any acoustic materials such as soft bags in the private theater, but we can still get a perfect audio-visual experience.

MATERIAL

材质

正如综上所述，为了更加纯粹的展示隐形音响的产品特征，以及声学优势。我们在装饰材质的选择上，也尽量的扁平化和常规化处理。除了因英式中古风格基调必须的部分木质装饰以外，我们几乎没有使用任何的软性材质，更别谈专业声学材质的运用里。反而是与传统音响最不搭调的大白墙、玻璃、石材成为了空间装饰的主角。而这样的材质运用，不止是为了更为纯粹的视觉主题氛围呈现，更是为了营造出最为强烈和不常规的反差感，并通过这样强烈的反差，让我们的体验者，得到极佳的影音体验。这样的体验，也不仅仅是对于产品本身的信心，也是对于其自身物业的信心。因为对于大多数消费者而言，我们都很难拥有一个全封闭且专业的影音空间，但英爵在这一现状里，给出了近乎完美的解决方案。而消费者信心的建立，便是这一商业消费行为中，最为关键的存在因素。

As mentioned above, in order to more purely demonstrate the product characteristics of invisible audio, as well as acoustic advantages. We also tried to flatten and conventionalize the choice of decorative materials. In addition to the part of wood decoration necessary for the tone of the British style, we hardly use any soft materials, not to mention the use of professional acoustic materials. Instead, the most incompatible with the traditional acoustics of large white walls, glass, stone has become the protagonist of the space decoration. The use of such materials, not only for a more pure visual theme of the atmosphere, but also to create the most intense and unconventional sense of contrast, and through such a strong contrast, so that our experience, to get an excellent audio-visual experience. Such an experience is not only for the confidence of the product itself, but also for its own property confidence. For most consumers, it is difficult for us to have a fully enclosed and professional audio-visual space, but Ingo has given a near perfect solution in this current situation. The establishment of consumer confidence is the most critical factor in this commercial consumption behavior.

而这，便是我们给英爵交出的答卷。

And this is the answer we gave to EOGO.

ROSERY

玫瑰岛

BREAKTHROUGH

破局

当新的设计面对所谓的行业标准或者示范样本的时候。无疑是对设计最大的桎梏。所以，当我们接到玫瑰岛这种产品类别多样且姿态、大小各异的卫浴集合展厅设计任务时，第一个要解决的问题，便是新的展示形象如何搭建？但“新”并非指单一的视觉感受，而是在保证充分展示产品特色，营造更加合理的动线环境下，所构建的一个“新”的营销场所。因此，传统堆砌式的产品展厅和不尊重产品本身的“网红”展厅形式，都不是我们可以借鉴的方向。而我们所要构建的新模式，第一步，便是平衡。

When the new design is faced with the so-called industry standards or model samples. It is undoubtedly the biggest shackle to the design. Therefore, when we received the Rosery such a variety of product categories and posture, size of the bathroom collection showroom design tasks, the first problem to solve, is the new display image how to build? But "new" does not mean a single visual feeling, but to ensure that the full display of product features, to create a more reasonable dynamic environment, the construction of a "new" marketing place. Therefore, the traditional stacked product showroom and the "Netflix" showroom form that does not respect the product itself are not the direction we can learn from. And the first step of the new model we want to build is balance.

BALANCE

平衡

平衡的首要问题，是需要结合该展厅产品结构比重，以及功能用途、形象效果等多方面因素，合理的在有限物理空间里进行有节奏的区域划分。从而保障，各类别产品既能得到充分的展示，又能通过视觉节奏的带动，让消费者按照我们预设好的参观动线，全面的、自然的了解完我们所要展示的全品类产品。同时，我们结合参观动线。亦设置了合适的休息、签约区域，从而进一步的平衡了以销售为核心的展厅设计目的。而外观展示面的设计，同样遵循了平衡的设计逻辑，退后的门厅，不仅更加友善，同时，我们也将常规的接待台功能取消，而是将所有品类的产品，结合实际应用场景进行了有效的组合。不仅做到了极好的应用示范，也让消费者通过外观展示面的设计，快速了解到该展厅的营销内容。从而进一步促进销售的可能，满足最基本的商业逻辑。所以，平衡的目的，不仅仅是解决产品结构的规划、展示，也是在满足视觉美学与一切以营销为目的之间的平衡关系。

The primary problem of balance is the need to combine the proportion of the exhibition hall product structure, as well as functional use, image effect and other factors, reasonable in the limited physical space for rhythmic regional division. Thus, we can ensure that all kinds of products can be fully displayed, but also through the visual rhythm of the drive, so that consumers in accordance with our pre-determined visiting line, a comprehensive, natural understanding of the full range of products we want to show. At the same time, we combined with the tour route. We also set up suitable resting and signing areas, thus further balancing the purpose of the showroom design with sales as the core. The design of the exterior display surface also follows the same balanced design logic. The receding foyer is not only more friendly, but also we have eliminated the regular reception desk function and combined all categories of products with the actual application scenarios for an effective combination. Not only does it achieve an excellent application demonstration, but also allows consumers to quickly understand the marketing content of the showroom through the design of the exterior display surface. Thus further promoting the possibility of sales and satisfying the most basic business logic. Therefore, the purpose of balance is not only to solve the planning and display of product structure, but also to satisfy the balanced relationship between visual aesthetics and everything for marketing purposes.

MANIPULATION

手法

正因为我们前面所提到的，该展厅产品类别繁多，且都是空间主角。所以，在搭建这一展示场景时，炫技的表现方式显然不适宜于该空间。所以我们运用了大量的线条、结构关系，将形态各异的产品进行了有效的关联与统一。大面积的涂料成为主体材质，建筑化材质的特性，也让空间也显得更加纯粹。但质朴的涂料并非是唯一的质感表达，为了更好的氛围营造及凸显产品的特点，石材、岩板等卫浴空间里常见的元素，也被赋予在空间之中，旨在进一步提升产品品质张力。而在灯光的处理上，考虑到淋浴隔断的产品特性，我们将泛光源设置在了情景间内部，降低了外部环境光照强度，让光透过玻璃，呈现在消费者面前。再一步强化产品品质，提升消费者吸引力。

Just as we mentioned earlier, the showroom has a wide range of product categories, and they are all the main characters of the space. Therefore, when building this display scene, the showy way of expression is obviously not suitable for this space. So we used a lot of lines and structural relationships to effectively relate and unify the products with different forms. The large area of paint becomes the main material, and the architectural material characteristic also makes the space appear more pure. But the rustic paint is not the only expression of texture, in order to better create the atmosphere and highlight the characteristics of the product, stone, slate and other common elements in the bathroom space, is also given in the space, designed to further enhance the quality of product tension. In the processing of lighting, considering the product characteristics of the shower partition, we set the flood light source inside the scenario room, reducing the intensity of light from the external environment and allowing the light to pass through the glass and present in front of the consumers. Further strengthen the quality of the product and enhance the attractiveness of consumers.

RETURN

回归

所以，玫瑰岛成都展厅的设计，是一次对于商业本质的回归。是满足真实诉求下的一种尝试与平衡。

Therefore, the design of the Chengdu showroom of Rosery is a return to the essence of business. It is an attempt and balance to meet the real demands.