架构师提供的文本描述。我们上海旗舰店位于上海淮海路华石广场左侧。2016年，东仓建筑被UR集团委托对该店进行装修，这是UR中国商店的第一次洗浴，对集团来说是非常重要的。在此之前，UR商店已经运营了五年，并取得了良好的利润。得益于今年淮海路的商业繁荣，政府还打算将这条街改造成中国第一条商业街，其核心部分是UR所在的华石广场(Huashi Square)。

Text description provided by the architects. UR Shanghai flagship store is located in the left of Huashi Plaza, Huaihai Road, Shanghai. In 2016, DOMANI Architectural concepts Dongcang Construction was entrusted by UR Group to renovate this store, This is the first bath of stores of UR China and it is very Important for the group. Prior to that, UR Store have been operating for five years and making good profit. Benefiting from this year's boom in Commerce on Huaihai Road, the government also intends to turn the street into China's first commercial street, the core section of which is the Huashi Square where UR is located.

Text description provided by the architects. UR Shanghai flagship store is located in the left of Huashi Plaza, Huaihai Road, Shanghai. In 2016, DOMANI Architectural concepts Dongcang Construction was entrusted by UR Group to renovate this store, This is the first bath of stores of UR China and it is very Important for the group. Prior to that, UR Store have been operating for five years and making good profit. Benefiting from this year's boom in Commerce on Huaihai Road, the government also intends to turn the street into China's first commercial street, the core section of which is the Huashi Square where UR is located.

 © Feng Shao

冯绍

翻修只是时间问题。淮海路是一条商业样板街。街道两旁人烟稠密，路边绿油油的。不同季节对建筑表面的影响不同。在小区环境比较复杂的场地研究和设计过程中，设计人员观察到不同的邻里建筑对项目主体的影响是不同的。虽然它位于核心地段，但它面临着极其严格的市政管理条件。

The renovation is just a matter of timing. Huaihai Road is a commercial specimen street. The bustling lanes are densely populated on both sides of the street, and the side of the road has lush green. It has different effects on the building surface in different seasons. In the process of site researching and designing with a relatively complex neighborhood environment, the designer observed that different neighborhood buildings have different effects on the main body of the program. Although it is located in the core section, but it faces extremely strict municipal management conditions.

The renovation is just a matter of timing. Huaihai Road is a commercial specimen street. The bustling lanes are densely populated on both sides of the street, and the side of the road has lush green. It has different effects on the building surface in different seasons. In the process of site researching and designing with a relatively complex neighborhood environment, the designer observed that different neighborhood buildings have different effects on the main body of the program. Although it is located in the core section, but it faces extremely strict municipal management conditions.

 © Feng Shao

冯绍

在项目的各个方面，对于20世纪80年代设置的装饰广场建筑的改造水平存在着巨大的争议：一方面，政府希望保持建筑的风格和原貌，并与当前的商业需求保持平衡。另一方面，业主和商户对外墙和环境改造也有不同的考虑和要求。事实上，旧楼改造问题显然不是从理论和概念上来的，它实际上是从不同的事件角色和不同利益相关者的具体利益叠加起来的。这让设计师扮演了一个艰难的角色。

In all aspects of the project, there is a huge controversy about the level of renovation of the Decorativeism square building set in the 1980s: on the one hand, the government hopes to preserve the style and original appearance of the building and balance with current demand of business. On the other hand, Property owners and Commercial Lessee (UR) also have different considerations and demands for external walls and environmental transformation. As a matter of fact, the problem of the renovation of the old building obviously does not come from the theoretical and conceptual aspects, it actually stacks from the various event roles and the specific interests of different stakeholders. Which bear the designer in a difficult role.

In all aspects of the project, there is a huge controversy about the level of renovation of the Decorativeism square building set in the 1980s: on the one hand, the government hopes to preserve the style and original appearance of the building and balance with current demand of business. On the other hand, Property owners and Commercial Lessee (UR) also have different considerations and demands for external walls and environmental transformation. As a matter of fact, the problem of the renovation of the old building obviously does not come from the theoretical and conceptual aspects, it actually stacks from the various event roles and the specific interests of different stakeholders. Which bear the designer in a difficult role.

 © Feng Shao

冯绍

2017年年中，设计师在经过各方权衡后获得了准确的设计条件，即外观的范围可以限制在原有的建筑窗口轮廓上。

In mid-2017, the designer obtained accurate design conditions after weighing by all parties, that is, the scope of the appearance can be limited to the original building window contour.

In mid-2017, the designer obtained accurate design conditions after weighing by all parties, that is, the scope of the appearance can be limited to the original building window contour.

 © Feng Shao

冯绍

商业设计的出发点必然是在设定明确的设计目标的基础上，解决问题，更重要的是要有远见地引入潜在的问题。在这个项目中，设计师面临着一个相当有趣的桎梏：需要融入和谐的社会语境，也要完成商务语境的跳跃；既要保持对资本和商业业绩的尊重，又要实践上海，一个多元文化的城市，在一种综合文化及其当前的目标受众(年轻人)的影响下，对时尚导向的商业品牌有一个明智的解读和一个有效的品牌印象。

The starting point of commercial design necessarily curing condition based on setting clear design goals in addition to solve problems, and more important have vision to introduce potential questions. In this project, the designer is faced with a rather interesting shackle: the need to integrate into the social context of harmony, but also to complete the business context of the jump; both need to maintain a respect for capital and business performance, but also need to practice Shanghai, a multicultural city under the influence of a composite culture and its current target audience (young people), has a sensible reading of fashion-oriented commercial brands and an effective brand impression.

The starting point of commercial design necessarily curing condition based on setting clear design goals in addition to solve problems, and more important have vision to introduce potential questions. In this project, the designer is faced with a rather interesting shackle: the need to integrate into the social context of harmony, but also to complete the business context of the jump; both need to maintain a respect for capital and business performance, but also need to practice Shanghai, a multicultural city under the influence of a composite culture and its current target audience (young people), has a sensible reading of fashion-oriented commercial brands and an effective brand impression.

 © Feng Shao

冯绍

废弃旧红砖作为集合的主要材料，在一夜之间，建筑表面或窗口有不同程度的手势集合后，简单的形式不能说明我们需要在复杂的环境中建设的深度，建筑中材料的基本能量远远超出了形式。

Discard old red brick as the main material of the set is not achieved overnight, after building surfaces or windows with varying degrees of gestures set, a simple form cannot state the depth we need to build in a complex environment, and the essential energy of materials in architecture goes far beyond form.

Discard old red brick as the main material of the set is not achieved overnight, after building surfaces or windows with varying degrees of gestures set, a simple form cannot state the depth we need to build in a complex environment, and the essential energy of materials in architecture goes far beyond form.

 © Feng Shao

冯绍

上海有着丰富的建筑形式历史。在浏览地图上的周边社区时，我们发现建筑物的顶部显示出一种统一的砖红色。这是20世纪80年代初建筑风格的痕迹。同时，由于苏淮地区砖瓦的丰富历史，设计师参观了该地区已不多的老砖厂，发现了这一历史上仅限于装饰材料的一般砌体建筑材料的质感和丰富的材料气质。

Shanghai has a rich history of architectural forms. During the browsing of the surrounding neighborhoods on the map, we found that the top of the buildings showed a uniform brick red. This is the trace of the architectural style of the early 1980s. At the same time, due to the rich history of bricks and tiles in the Suhuhuai area, the designer visited old brick factories which aren’t many left in the area and found pure and rich material temperament is found in this historical general masonry building material which is now limited to decorative materials.

Shanghai has a rich history of architectural forms. During the browsing of the surrounding neighborhoods on the map, we found that the top of the buildings showed a uniform brick red. This is the trace of the architectural style of the early 1980s. At the same time, due to the rich history of bricks and tiles in the Suhuhuai area, the designer visited old brick factories which aren’t many left in the area and found pure and rich material temperament is found in this historical general masonry building material which is now limited to decorative materials.

 © Feng Shao

冯绍

回到建筑表面的问题设计范围，当外观有了一定的局限性时，退却外观的外观似乎是一段充满灵感的通道。除了建立一个灰色空间来排挤人群外，一个功能模糊的空间将是说明品牌地位和态度的最佳场所。幸运的是，设计者的观点得到了UR的绝对支持。在一寸土地的商业环境中，一个两层高的空间从建筑物内部墙壁的后部向外消耗了三米，以承载精美的艺术主题，这是一个需要远见的商业决定。

Back to the question design range of the building surface, when the appearance has established limitations, it seems that the appearance of the retreat exterior is an inspired passage. In addition to establishing a gray space to drain the crowds, a functionally ambiguous space will be the best place to account for brand positions and attitudes. Fortunately, the designer's point of view is absolutely supported by the UR. In an inch-land business environment, a two-storey space consumed three meters from the retreat of the building's interior walls to carry fine art themes is a business decision that requires vision. 

Back to the question design range of the building surface, when the appearance has established limitations, it seems that the appearance of the retreat exterior is an inspired passage. In addition to establishing a gray space to drain the crowds, a functionally ambiguous space will be the best place to account for brand positions and attitudes. Fortunately, the designer's point of view is absolutely supported by the UR. In an inch-land business environment, a two-storey space consumed three meters from the retreat of the building's interior walls to carry fine art themes is a business decision that requires vision. 

 © Feng Shao

冯绍

我们创造了一个“峡谷”，“峡谷”是一个接口，提供了一个抽象和断断续续的部分，在一个直截了当的商业洪流。在这个自由的时刻，设计师想要展示的是一个感叹号和一个问号。鱼带墙两侧的翅膀使光线在这里复杂地反射。通过矩形窗孔进入峡谷的光线被弯曲的墙软化，旧红砖的粗糙纹理在投影和机制之间形成了视觉印象。

We created a “Canyon” The “canyon” is an interface that provides an abstract and intermittent segment in a straightforward business torrent. In this free moment, designers want to show is a exclamation point and a question mark. The fish-belt wall wings on both sides make the light reflect here complexly. The light entering the canyon through the rectangular window hole is softened by the curved wall, and the rough texture of the old red brick forms a visual impression between the projection and the mechanism.

We created a “Canyon” The “canyon” is an interface that provides an abstract and intermittent segment in a straightforward business torrent. In this free moment, designers want to show is a exclamation point and a question mark. The fish-belt wall wings on both sides make the light reflect here complexly. The light entering the canyon through the rectangular window hole is softened by the curved wall, and the rough texture of the old red brick forms a visual impression between the projection and the mechanism.

 © Feng Shao

冯绍

在考虑旧传统红砖的方法和比例之后，我们选择了传统砖工艺中两种和四种“截割”的组合。通过使砌体接缝后退以加强纹理来形成结皮机构。

After considering the method and proportion of the old traditional red bricks, we chose the combination of two and four “cut” in the traditional brick process. The skinning mechanism is formed by retreating the masonry joints to strengthen the texture. 

After considering the method and proportion of the old traditional red bricks, we chose the combination of two and four “cut” in the traditional brick process. The skinning mechanism is formed by retreating the masonry joints to strengthen the texture. 

 © Feng Shao

冯绍

大面积砖砌块烧蚀的加工和实施完全归功于老工匠使用的填缝工具。

The processing and implementation of the large-area brick caulking ablation is entirely due to the caulking tool used by the old craftsmen. 

The processing and implementation of the large-area brick caulking ablation is entirely due to the caulking tool used by the old craftsmen. 

 Canon Area Elevation

佳能面积高程

建筑中的原始艺术装置“废墟”是这个项目创作中值得描绘的另一个故事。它以UR提供的产品为基本材料，由艺术展览设计品牌A创建。

The original art installation ‘Ruins’ presented in the building is another story worthy of depiction in the creation of this project. It uses the products provided by UR as the basic material and is created by the art exhibition design brand A&V. The ruins in its creative context have attracted countless shots and attention as symbolic works of fashion.

The original art installation ‘Ruins’ presented in the building is another story worthy of depiction in the creation of this project. It uses the products provided by UR as the basic material and is created by the art exhibition design brand A&V. The ruins in its creative context have attracted countless shots and attention as symbolic works of fashion.

 © Feng Shao

冯绍

它所描述的反叛和质疑正是设计师们认为时尚的核心价值。原始建筑立面的矩形窗洞投影到峡谷内侧的窗口中，从传统几何到解构几何的符号变化是设计上下文中审美符号的变化的隐喻。

The rebellious and questioning it describes is precisely the core value that designers consider fashion. The rectangular window hole of the original building facade is projected into the window of the inner side of the canyon, and the symbolic change from the traditional geometry to the deconstructed geometry is a metaphor for the change of the aesthetic symbol in the design context.

The rebellious and questioning it describes is precisely the core value that designers consider fashion. The rectangular window hole of the original building facade is projected into the window of the inner side of the canyon, and the symbolic change from the traditional geometry to the deconstructed geometry is a metaphor for the change of the aesthetic symbol in the design context.

 © Feng Shao

冯绍

 1F Plan Layout

1F平面布局

 © Feng Shao

冯绍

UR旗舰店的室内空间以25%的灰色色调为基础，与“峡谷”间隔空间的节奏进行了比较，与“峡谷”部分的空间节奏进行了对比，并重点研究了由建筑物柱间模量分解形成循环流的货架支撑模量。顶部的金属幕布保持原有建筑物最高的空间高度，并能够通过行人的视线水平适当地阻塞原来的固定管道。

The interior space of the UR flagship store is based on 25% gray tone as the base, forming a comparison with the rhythm of the 'canyon' interval space, to have contrast with the rhythm of the space in the 'canyon' section and also focused on the shelf props modulus that is decomposed by the modulus between the columns of the building to form a circulation flow. The metal curtain on the top maintains the original building with the highest degree of spatial height and the ability to properly block the original fixed pipeline through the pedestrian’s eye level..

The interior space of the UR flagship store is based on 25% gray tone as the base, forming a comparison with the rhythm of the 'canyon' interval space, to have contrast with the rhythm of the space in the 'canyon' section and also focused on the shelf props modulus that is decomposed by the modulus between the columns of the building to form a circulation flow. The metal curtain on the top maintains the original building with the highest degree of spatial height and the ability to properly block the original fixed pipeline through the pedestrian’s eye level..

 © Feng Shao

冯绍

在20世纪80年代的立柱网设计中，设计人员在狭窄的梁网中找不到足够的尺度来架设二楼的楼梯。同时，它受施工条件的制约，不能对原建筑进行任何结构改造。因此，只有一米五的物理宽度使阶梯成为室内空间设计中最大的困难。设计人员利用视觉错觉建立阶梯的心理尺度，钢延展结构将阶梯的起始位置加宽到2米。

In the column net design of the 1980s, the designer was unable to find a sufficient scale in the narrow beam network to erect the stairs to the second floor. At the same time, it is subject to construction conditions and cannot carry out any structural transformation of the original building. Thus, the physical width of only one meter and five makes the step ladder the biggest difficulty in the design of interior space. The designer sets up the psychological scale of the step ladder by means of visual illusion, and the steel extension structure widens the starting position of the step ladder to two meters.

In the column net design of the 1980s, the designer was unable to find a sufficient scale in the narrow beam network to erect the stairs to the second floor. At the same time, it is subject to construction conditions and cannot carry out any structural transformation of the original building. Thus, the physical width of only one meter and five makes the step ladder the biggest difficulty in the design of interior space. The designer sets up the psychological scale of the step ladder by means of visual illusion, and the steel extension structure widens the starting position of the step ladder to two meters.

 © Feng Shao

冯绍

直径7米的月亮位于商店的主墙上，这是导流阶梯的侧面。如莫名其妙的少年梦，或有意的象征现实。这是继“峡谷”之后的另一个令人兴奋的空间。这是目前该国最大的印刷月亮。为二楼商业空间提供有效的客流引导.

The seven-meter-diameter moon is located on the main wall of the store, which is the flank of the diversion step ladder. Such as the inexplicable juvenile dream, or the intentional symbol of the reality. This is another exciting space after the “canyon”. It is currently the largest printed moon in the country. It also guidance efficient passenger flow guidance for second-floor commercial space.

The seven-meter-diameter moon is located on the main wall of the store, which is the flank of the diversion step ladder. Such as the inexplicable juvenile dream, or the intentional symbol of the reality. This is another exciting space after the “canyon”. It is currently the largest printed moon in the country. It also guidance efficient passenger flow guidance for second-floor commercial space.

 © Feng Shao

冯绍

Interiors Designers DOMANI

Location 668 Huaihai Middle Rd, HuaiHai Lu ZhongDuan, Huangpu Qu, Shanghai Shi, China

Lead Architect Ann Yu

Interior Design Ann Yu

Installation & Exhibition A&V

Area 1500.0 m2

Project Year 2018

Photographs Feng Shao

Category Showroom

Manufacturers Loading...