“材料的美学，物体与空间的关系，灯光效果以及严格简化的规则是在当今时代下我们设计的基础。” – Pierre Jorge Gonzalez 和 Judith Haase，Oberpollinger杂志2016年秋冬版。

“The aesthetics of material, relation of objects to space, effects of light, and strictly reduced order serve as the basis for our designs up to this day.” – Pierre Jorge Gonzalez und Judith Haase, Oberpollinger Magazine, Autumn/Winter 2016

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慕尼黑奢侈品百货商场Oberpollinger委托极简主义建筑师John Pawson为其店铺做综合总平面设计，改变其原来的形象，跟上时代潮流。作为概念的一部分，Gonzalez Haase AAS被选来为3600平方米的低层区域进行设计，这里主要经营童装和玩具，最近城市服装和饰品也在该区开业。

John Pawson, a known minimalist among architects, was commissioned by the Munich luxury department store Oberpollinger to design a comprehensive master plan for an up-to-date reimagining of the department store. As part of the concept, Gonzalez Haase AAS was selected to design the 3,600 sq. meter lower level to house the Kids Wear and Toys department as well as a newly created Urban Wear and Accessory department.

▼楼层全景，简洁帅气的风格，overall view of the floor in simple and cool style

Gonzalez Haase AAS于2003年开始为全德国的Andreas Murkudis进行概念店设计，将艺术展示空间的设计方法运用到零售空间之中，以简单的灯光和由低廉材料制成的自然展台创造出容易识别的清晰空间。这些设计元素结合形成简洁现代的空间，形状优雅，构造精密，空间色调经过严格挑选，体现出柏林的特色，更成为了Gonzalez Haase AAS的代表色，获得“柏林风格”之称。

Gonzalez Haase AAS, who in 2003 began designing the first concept stores for Andreas Murkudis all over Germany, in these spaces transferred the classic parameters of an art space onto retail spaces: clearly readable spaces with simple lighting and raw, almost improvised surfaces constructed from inexpensive materials. The combination of these factors created cool spaces, elegant in shape and with a detached precision, while stimulating in their choice of color — a tone that suits Berlin and that Gonzalez Haase AAS has characterized as the so-called ‘Berlin style’.

▼灯光和体块独特的展台创造出清晰空间，lighting and the unique display table create clear space

Oberpollinger不仅需要建筑师提供一个设计概念，还希望通过整个设计体现出一种态度，让消费者在店内感受到柏林充满活力的氛围特征。楼层的基本结构暴露在外，人们可以直接看到水泥和天花下的各种管道。与之相对，混凝土柱四周被高反射材料围合，如同巨大的螺母套在螺丝上，并没有将柱身完全覆盖，强调出了光滑材料与粗糙混凝土之间的碰撞。地面铺以粉色和烟灰色的瓷砖，依据楼层的平面布局标识出走道，并将开放空间划分为不同的区域。与都市相同，Oberpollinger也随时代变迁改变着自身的特征，从奢华闪亮变得更为低沉现代，与慕尼黑冷硬的都市风格相呼应。

Oberpollinger did not merely ask for an architecture and design concept but rather for a certain attitude that could be experienced via the overall design and that would enable the customer to identify with a rough and energetic atmosphere characteristic of Berlin. The basic structure of the story has been left raw, the cement untreated, and the ceiling ducts and ventilation left visible. In contrast, reflective surfaces in the form of screens and oversized bolts are placed around the concrete columns: never to completely disguise them, but always as a clearly visible collision of the polished and the raw. Set into the ground are pink and anthracite-colored tiles, marking the layout of the floor plan, defining aisles, and differentiating the open space into distinct zones. Similar to a metropolis, Oberpollinger shifts from one quality of life to another, from a world of gleaming luxury to a darker, contemporary, and for Munich, less familiar form of urbanity.

▼平面图，粉色地砖标示出交通流线，plan, pink tiles define the circulation

▼服务台，不同颜色的铺地划分出走道和展区，柱子被包成螺母形，the info desk, path is defined by different-colored tiles, reflected surfaces around the column like oversized bolts

▼电梯前的铺地图案变化，the tile pattern changes in front of the elevator

▼天花管道外露，混凝土柱面包裹高反射材料，the exposed ceiling with visible ducts, the concrete column is covered by high reflected materials

城市服装边的童装区内，烟灰色的铺地被白色替代，并在上方设置了白色金属网吊顶。材料由橡胶和铝变成了瑞士松和软木，柱子则由红色和蓝色的镜面材料包裹。两个区域中一个明亮，一个阴暗，二者给人的感觉截然不同，但却由相同的设计原则紧密联系在了一起。Gonzalez Haase的设计里，不同的层次根据特定的编排穿插在一起，不分主次，每一层都展现着自身的特征。在研究了建筑的环境和主体后，Gonzalez Haase AAS将不必要的部件移走，以减少表面数量，得到纯粹的空间。灯光对于设计师来说和支撑结构同样重要，而在这样纯粹的空间中，灯光成为了用来划分区域的设计元素。选择展台、隔墙和家具的材料和颜色是设计的最后一步。在最终的成果里，每个区域的元素都剥离了自身特性，成为了物理空间网格中的部件，共同组成了一幅三维拼贴画。

In the Kids Wear department, which borders Urban Wear, the anthracite-colored tiles are swapped out with white, and the ceiling is dropped via a white metal mesh construction. Materials switch from rubber and aluminum to Swiss pine and cork, and the columns are covered with red- and blue-mirrored surfaces. As different as the two areas appear – one with a bright feel, the other exhibiting a darker atmosphere – they are closely related via the same creative principle: Gonzalez Haase’s design is put together by the interaction of different layers that follow a certain choreography yet remain unhierarchic and distinguishable as individual. First analyzing the essence and context of the building, in the next step Gonzalez Haase AAS reduces the surfaces by removing all that seems unnecessary. Due to their spatial purity, light — which to Gonzalez Haase AAS is as significant as the support columns of a building — becomes the space-defining design element. Selection of the material and color of displays, partitions, and furniture are made in a final step. In the end, each project functions as a kind of three-dimensional collage that rids the elements of their qualities, becoming components of a network of relationships in physical space.

▼不同的展台，various display spaces

▼试衣间，changing booth

▼不同形状的展台如同立体拼贴画一般散落在空间中，various display tables in one space like a 3D collage

Title:
 Oberpollinger Department Store – The Storey

Design Team:
 Chief executives: Judith Haase / Pierre Jorge Gonzalez

Project manager: Lea Lin Böhmer / Michal Igla

Architects: Carolina Fiuza de Matos, Mathias Gramoso, Kitty Lamboij, Brieuc Larsonneur, André Silva Oliveira

Location:
 Neuhauser Straße 18, 80331 Munich, Germany

Status: completed

Year of design / completion: 2015-2016

Building type:
Basement floor of a department store

Size:
 4000 sqm management, 3600 sqm full design

Client:
 The KaDeWe Group

Collaboration: 
John Pawson architect, London (Partner) Licht Kunst Licht AG (Lighting consultant) Vitra Retail GmbH (Manufacturer)
Ganter Interior GmbH (Manufacturer)

Category: 
Design, Lighting, Retail / Commercial

Photographer:
Thomas Meyer, OSTKREUZ

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