建筑师：Karim Rashid地点：韩国首尔设计组：Juliette Hyunju Lee, Alex Loyer Hughes, Kamala Hutauruk, Mike Gibson, Mana Mohammadkhani总承包商：Kingsmen Korea面积：900 sqm年份：2013摄影：Lee Gyeon Bae 网址:的设计充分利用了作为聚会场所的空间、视觉地标的概念。它在这个空间内创建了一个鲜明的标志性场所，让人们在聚会、社交、就餐之时都能身处五彩缤纷的环境中。这些有机的“岛屿”不仅向空间注入了特色与当代审美思想，还成为重要的地标，人们围绕着柱子相识、聚会。形态自由的天花板将人们的视线引向了外部与上方，同时也提供了隐蔽的局部照明，方便就餐。这些岛屿以离心方式布置，引领客人相互交流、交际、沟通。这将创建一个生动活泼的动态环境，生成场所意识，最终将成功塑造空间。周边的墙体形态连绵起伏，墙上穿洞，为服务柜台提供视觉开口。小吃摊位“嵌入”周围墙体之中，为室内的人们创造了不容忽视的视觉焦点。地面的流线型花纹打造了强大的线框，在空间内形成了连续不断的动态效果。一面牢固的动态演示墙作为空间的背景，创建了一个视觉焦点，同时还遮住了公共空间的垂直交通流线。The islands are centrifugal in arrangement, inviting users to interact, communicate and socialize in the space. This creates a lively dynamic setting which generates a sense of place for gathering and will ultimately make the space successful. The undulating perimeter of the area is perforated to create visual openings for service counters. Snack locations are “carved” into the surrounding perimeter creating with strong visual highlights for the eye inside. The floor plays off the linear patterns of the perimeter wall creating a strong wireframe that creates a sense of continuous dynamism and motion within the space. A strong dynamic presentation wall serves as a backdrop to the space creating a visual focal point while concealing vertical circulation from the communal space.柔和而小巧的有机造型收银台将人们的目光吸引到了陈列的商品上，而非其背后的财会交易上。这些“水滴”点缀在空间内，增添了特色与色彩。它们不仅在设计策略上有智能化汇聚与分布顾客付款行动路线的作用，还成为空间内辨识度极高的地标，让人们购物与选择商品都更加便利。正如Gianfranco Zaccai曾说过的：“设计主要集中在视觉和触觉上，我们现在就做到了。”运动知觉、感觉器官、全方位体验：未来将由丰富的体验组成。数字时代创造了一种全新的超敏反应，更奇异的与人类感官的连接，以及万花筒一般的刺激、信息、生活、爱与幸福。设计总能找到新的语言，将我们这个时代镌刻在地球上，而这些“有机科技”作品在这里讲述的是我们所生存的这个时期，亦是将影响人性的一种新运动。As Gianfranco Zaccai once said, “Design has primarily focused on the visual and the tactile, but we are now.” The kinesthetic, the sensorium, the omni experiential: the future will be made up of an orgy of experiences. The digital age has created a new hypersensitivity, a more exotic connection with our senses, and a kaleidoscope of stimuli, of information, of living, loving, and well-being. Design will always find new languages and mark our time on the planet and these ‘Techorganic’ works here speaks about this moment in which we live, and speaks about a new movement that will shape humanity.我更喜欢某种毫无固定形体的柔软之感，使用新技术，有安抚人心的作用，我将之称为technorganic物体。别忘了，我们有时将设计看得太严肃了。设计开发的确很严肃，但消费者应该为了改善生活、让自己更幸福快乐，学着感受有趣的事物。幽默隐含在我们人类条件最重要的组成部分中――我认为万事万物都应该聪明、美好，并得到整体设计――这意味着作品具有实验和生态学性质，但我在一切作品中都注入了一些人类的幽默元素――因为它让被我们称为“生活”的过于严肃的事情变得轻松起来。I prefer a certain amorphous softness, soothing human forms, using new technologies, which I call technorganic objects. Don’t’ forget we take design too seriously sometimes. Design development is serious but the consumer should sense a playfulness to elevate their lives, to make them happier. Humor is the underlying most important part of our human condition �C I think everything should be smart and beautiful and holistically designed �C meaning it is experimental and ecological, but in everything I inject some human spirit of humor �C because it lightens up this overtly-serious thing we call 世界的真实意志是有机物与科技的碰撞，而Orgonomics，集商贸、有机体与人类工程学于一身，共同打造了一个产业天地，它性感、美丽，充满诗意，宽阔开敞，注重人性化设计。这圆润滑动的美感触动了我的生活，也带来了启发。Kapitol――Technorganic利用了这些概念，在周围的墙上引入了令人印象深刻的木纹图案。地板的花纹以两种色调微妙地交错。桌椅色彩浓烈，将空间点亮。灰色、橙色、粉红色和蓝色，与木纹一起形成了Technorganic特有的色彩组合。