© Adrien Williams

阿德里安·威廉姆斯

架构师提供的文本描述。伊索运用了一种独特的销售哲学。专业的身体护理产品，它发展了各种复杂的空间概念结合简单和精致，与每个城市的建筑师合作，增加了一个具体的地方叙事的场馆。以空间的方式处理企业身份意味着一定程度的抽象。建筑中的具象叙事总是以某种方式导致民俗化的引用，给解释和沉思的自由留下了很小的空间。我们认为建筑应该是解释性的，而不是发号施令的。

Text description provided by the architects. Aesop applies a singular sales philosophy. Specializing in body care products, it develops a variety of sophisticated space concepts combining simplicity and refinement, with the collaboration of each city’s architects that adds a specific local narrative to the venues. Working on a corporate identity by means of space implies a certain degree of abstraction. A figurative narrative in architecture always leads somehow to folkloric citation, leaving very little space for freedom of interpretation and contemplation. We believe architecture should be interpretative, not dictating.

Text description provided by the architects. Aesop applies a singular sales philosophy. Specializing in body care products, it develops a variety of sophisticated space concepts combining simplicity and refinement, with the collaboration of each city’s architects that adds a specific local narrative to the venues. Working on a corporate identity by means of space implies a certain degree of abstraction. A figurative narrative in architecture always leads somehow to folkloric citation, leaving very little space for freedom of interpretation and contemplation. We believe architecture should be interpretative, not dictating.

© Adrien Williams

阿德里安·威廉姆斯

© Adrien Williams

阿德里安·威廉姆斯

对于在特定北美文化结构中企业的首次冒险，我们建议在其社区的身份的关键部分：与水的联系。通过这一手段，我们的设计建议寻求建立文化身份、空间和时间之间的隐喻界限。

For Aesop Westmount, a first venture for the enterprise in a specific North American cultural fabric, we proposed to look back at key components of the identity of its community: its link with water. By this mean, our design proposal seeks to establish a metaphorical bound between cultural identity, space and time.

For Aesop Westmount, a first venture for the enterprise in a specific North American cultural fabric, we proposed to look back at key components of the identity of its community: its link with water. By this mean, our design proposal seeks to establish a metaphorical bound between cultural identity, space and time.

© Adrien Williams

阿德里安·威廉姆斯

作为一种物质，水成为思考的工具的能力是有趣的。在像我们这样的北方国家，它也是一种变化的物质：从液体变成固体，从夏天的深蓝色到冬天的黑色。这一特点一直是伊索书店的主要特征。通过在一半的空间上使用黑色的玻璃，我们沉溺于一种沉思的情绪中，补充了伊索提倡的缓慢的消费文化。黑色玻璃，作为冰冻水的隐喻，复制了空间，创造了新的视角，并给场地的物理边界以深度。

As a material, water is interesting in its capability to become a tool for contemplation. In the Northern countries like ours, it is also a changing material: it goes from liquid to solid, from a deep blue during summer to a dark black during winter. This characteristic was kept the main characteristic of the Aesop store. By using a black glass on a half of the space, we indulge the occupant in a contemplative mood, complementing a slow culture of consumption promoted by Aesop. The black glass, as a metaphor of frozen water, duplicates the space, creates new perspectives and give depth to the physical boundaries of the venue.

As a material, water is interesting in its capability to become a tool for contemplation. In the Northern countries like ours, it is also a changing material: it goes from liquid to solid, from a deep blue during summer to a dark black during winter. This characteristic was kept the main characteristic of the Aesop store. By using a black glass on a half of the space, we indulge the occupant in a contemplative mood, complementing a slow culture of consumption promoted by Aesop. The black glass, as a metaphor of frozen water, duplicates the space, creates new perspectives and give depth to the physical boundaries of the venue.

© Adrien Williams

阿德里安·威廉姆斯

一个由艺术家PascalGrandmaison设计的视频装置，以空间的入口为背景，复制缓慢的水上运动，并与场景的冥想氛围和反思性进行对话。

A video installation, designed by artist Pascal Grandmaison, set at the entry of the space, duplicates a slow aquatic movement and enters in dialogue with the setting’s meditative ambiance and reflective qualities.

A video installation, designed by artist Pascal Grandmaison, set at the entry of the space, duplicates a slow aquatic movement and enters in dialogue with the setting’s meditative ambiance and reflective qualities.

对于这种说法，我们反对人的存在及其改变景观的能力。工业园区在某种程度上一直是我国发展的一个关键因素，甚至“自然”的概念也发生了变化。制浆业就是这方面的标志性人物，有很大一部分土地被工人的劳动所转化，他们通过在河流上形成巨大的漂浮平台，切割、分组和拖曳大量木材到大型磨坊。我们选择了在垂直于空间的模式下设置一个原木地板，以模仿这些漂浮在内陆黑暗水域之上的木平台。就像一个雕塑元素，三棵桦树骄傲地站在空间的中央，在视觉上引用了这场关于自然的戏剧。

To this narrative, we oppose the presence of man and its capability to alter the landscape. The industrial area has been to some extend a key factor of development in our country to a point that even the notion of “nature” has been altered. The pulp industry is an iconic figure of this, with large portion of the land transformed by the labor of raftmen cutting, grouping and dragging large quantities of wood logs to large mills by forming huge floating platforms on rivers. We’ve chose to set a log-like wood floor in a pattern running perpendicular to the space in order to mimic these wooden platforms floating above the dark waters of the inlands. Like a sculptural element, three birch trees stands proudly in the middle of the space and acts as a visual reference to this play on nature.

To this narrative, we oppose the presence of man and its capability to alter the landscape. The industrial area has been to some extend a key factor of development in our country to a point that even the notion of “nature” has been altered. The pulp industry is an iconic figure of this, with large portion of the land transformed by the labor of raftmen cutting, grouping and dragging large quantities of wood logs to large mills by forming huge floating platforms on rivers. We’ve chose to set a log-like wood floor in a pattern running perpendicular to the space in order to mimic these wooden platforms floating above the dark waters of the inlands. Like a sculptural element, three birch trees stands proudly in the middle of the space and acts as a visual reference to this play on nature.

© Adrien Williams

阿德里安·威廉姆斯

主要的水池是AESOP经验的关键，在这些经验中，客户被邀请直接在顾问的帮助下测试不同的产品，从店面向空间伸出。它促致的漂浮效应使感觉在某种程度上接近水，因为它在我们的身份景观中呈现出来。

The main water basin, that is key to the Aesop experience where customers are invited to test different products directly with the aid of the consultants, is cantilevered from the storefront into the space. The floating effect that it procures perpetuates the sensation of being somehow close to water as it presents itself in our identity landscape.

The main water basin, that is key to the Aesop experience where customers are invited to test different products directly with the aid of the consultants, is cantilevered from the storefront into the space. The floating effect that it procures perpetuates the sensation of being somehow close to water as it presents itself in our identity landscape.

最后，这个冗长的叙述是给谁可能接受它，或不接受。每个用户都持有自己的解释。

In the end, this long narrative is given to who might be receptive to it, or not. Each user holding its own interpretation.

In the end, this long narrative is given to who might be receptive to it, or not. Each user holding its own interpretation.

Architects Alain Carle Architecte

Location Westmount, QC, Canada

Area 55.0 m2

Project Year 2015

Photographs Adrien Williams

Category Store

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