造一座庙宇，让情绪和记忆游离其中···
Build a temple where emotions and memories can wander

-关于主题 -
ABOUT THE THEME
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日常思绪总会将设计师带入智者所构建的，有关普世价值的造物“景观”之中，我们从中窥见场所，氛围，记忆的表现途径，感受到关于神秘性和仪式感的情绪张力。
Everyday thoughts always bring the designer into the "landscape" of creation about universal values constructed by the wise, from which we can see the expression of place, atmosphere and memory. Feel the emotional tension about mystery and ritual.

种种造物个案及现象似乎都指向人对其所在天地及时间的感知与本能反应。

All kindsof creation cases and phenomena seem to point to peoples perception and instinctive reaction to the world and time in which they are located.

受造物景观的启发，设计师试图将这个转瞬即逝的会展场地雕刻成带有永恒感的空间装置，去汇聚能量，制造场地的可能性。

Inspired by the creation landscape, the designers tried to carve this fleeting exhibition venue into a spatial installation with a sense of eternity, to gather energy and create the possibility of the site.

-设计策略-
DESIGN STRATEGY
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深圳时尚家居设计周SZCW展会主办方提供的是一块长21米宽14米比较方正的矩形场地，三面紧邻公共过道，设想它被拉伸一定高度便是一个立方体的形态。雕塑家擅长将方正或者异形的原材料经过雕刻磨砺赋予形体新的生命与意义，这给设计师提供一个视角，抛开惯用的空间设计手法，采用“雕塑”的方式去处理这个场地，植入功能进而完成MUUSA品牌的展示与推广。
The exhibition organizer SZCWprovided a square rectangular space, 21 meters long and 14 meters wide, adjacent to the public corridor on three sides. It is supposed to be stretched to a certain height to form a cube. Sculptors are good at giving new life and meaning to the shapes by carving and honing the raw materials that are square or irregular. This provides designers with a perspective to dispose of the site in the way of "sculpture" and implant functions to complete the display and promotion of MUUSA brand.

-空间框架-
SPACE FRAME
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首先在这个立方体的轴线上切出一块面向西面长8米宽3米的空间作为展厅的入口，它是展馆公共空间与展厅之间的过渡空间，看上去虽浪费但至关重要。通道两侧切出四个角位空间，内退，以设置橱窗展示界面。南北两侧公共过道人流有限且紧邻对面展厅的门面，立面只开设两个竖向缝隙以吸引行人的注意力。
First of all, a space of 8 meters long and 3 meters wide facing the west is cut out on the axis of the cube as the entrance of the exhibition hall. It is the transition space between the public space of the exhibition hall and the exhibition hall, which seems to be wasteful but crucial. Four corner Spaces are cut out on both sides of the channel, which are retreated inside to set up the window display interface. The public corridors on the north and south sides have limited flow of people and are adjacent to the facade of the opposite exhibition hall. Only two vertical gaps are opened in the facade to attract the attention of pedestrians.

-幽暗的意义-
THE MEANING OF DARKNESS
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展馆的光环境由自然光和工程照明组成，它们混在一起形成一种失控混杂的光环境。设计师为扭转这种不利状况在通道上方天花形体中开了一条缝隙，使得环境光在这个狭长的通道中投下一道微弱的光线。两边对称分布的地脚灯不仅强调了过道的纵深感，还放慢抵达的节奏，幽暗静谧的过道与明亮的橱柜区形成强烈的反差，让进入的体验性得以加强。

The light environment of the exhibition hall is composed of natural light and engineering lighting, which mix together to form a kind of out of control hybrid light environment. In order to reverse this unfavorable situation, the designer opened a gap in the ceiling above the channel, making the ambient light cast a weak light in this narrow channel. The symmetrical footlights on both sides not only emphasize the depth of the aisle, but also slow down the pace of arrival. The dark and quiet aisle forms a strong contrast with the bright cabinet area, which enhances the experience of entering.

-自然材质 -
NATURAL MATERIAL
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任潮流更迭，自然材料经工匠之手越发彰显它的独特和魅力。MUUSA品牌自创立伊始便聚焦到对自然材料的偏好，家具主材采用包括意大利橄榄木等优质木材，欧洲进口优等牛皮，天然水晶，甄选来自全球范围内的稀有矿山石材，以及点缀少量的陶瓷及腐蚀纯铜工艺材质。
As the tide changes, natural materials become more and more unique and attractive through the hands of craftsmen. Since its inception, MUUSA has focused on the preference for natural materials. The main furniture materials include high-quality wood such as Italian olive wood, excellent core-hide imported from Europe, natural crystal, rare mining stone selected from around the world, as well as a small amount of ceramic and corroded pure copper craft materials.

▲材质与细部

在设计师看来，极简并非意味着形式，材质及色彩的技术上的统一，极简是一种经验视角，它可以打破简约与繁复的界限指向某种潜在的丰富性和包容性，在观念的干预下，一切视觉要素得以平衡，柔软地共存。
From the designer's point of view, minimalism does not mean the technical unity of form, material and color. Minimalism is an empirical perspective, which can break the boundary between simplicity and complexity and point to some potential richness and inclusiveness. With the intervention of concept, all visual elements can be balanced and coexist softly.

MUUSA始终与国内当下市场主流家居趋势保持适当距离，试图借丰富的自然材料，高水准的设

计研发和制造体系去演绎“恒久性”美学内涵，持续输出带有人文温度的，并经得起时间考验的家居设计。

MUUSA has always kept a proper distance from the current domestic market mainstream home furnishes trend, trying to deduce the aesthetic connotation of permanence by virtue of abundant natural materials, high-level design, research, development and manufacturing system, and continue to output home furnishes with humanistic temperature and stand the test of time.

在设计师看来，似乎有另一个没有物理刻度的“时间性”的存在，一些被无数讨论过的的字眼（如古典，未来，传统，当代）在本质上其实没有什么区别，“复古未来主义”这个重构词汇便可以把以上词组意涵都囊括在内。
From the designer's perspective, it seems that there is another "temporality" without physical scale. Some words (such as classical, future, traditional, contemporary) that have been discussed countless are essentially no different. "Retro futurism", a reconstructed word, can include the meanings of the above phrases.

设计师精心挑选的风格各异的物件和饰品让场景极富趣味性，它们给参观的人提供了丰富的阅读性。

The designers carefully selected objects and ornaments of different styles make the scene very interesting, and they provide visitors with a wealth of reading.

对于此次展位的表达，从空间氛围对于此次展位的表达，从空间氛围到陈列设计，于细枝末节中聚焦到对于这种“时间性”的关注。设计师擅长将熟悉的物件和装置经重新组合之后形成一种带有陌生感的整体印象，让人在其中停留，探索，收获灵感和喜悦。

For the expression of the booth, from the space atmosphere to the display design, the attention to this "temporality" is focused on the details. Designers are good at recombining familiar objects and installations to form an overall impression with strangeness, where people stay, explore, gain inspiration and joy.陈列设计，于细枝末节中聚焦到对于这种

-结语 -
CONCLUSION
━ 
设计师力图在这个场所中，去整理材质、器物、家具和空间之间的关系，让这些要素既相互独立，同时又形成一个相辅相成的整体。与其说是一个临时的展厅设计，更像是设计师进行的一场蓄谋已久的观念“游戏”的视觉呈现，借助具体的场所及人的参与，于有限中构建无限...
The designertries to arrange the relationship between materials, utensils, furniture and space in this place, so that these elements are independent of each other and form a complementary whole at the same time. Rather than a temporary exhibition hall design, it is more like a visual presentation of a long-planned conceptual "game" by the designer. With the help of specific places and people's participation, the infinite is constructed from the finite...

项目信息
Information
━
项目名称：MUUSA 慕萨馆
Project Name: MUUSA
设计公司：FILLSTUDIO
Design Unit: FILLSTUDIO
总设计师：杨跃文
Chief Designer: Yang Yuewen
执行设计：吴瑾
Executive Design: Wu Jin
参与设计：赵骏业、李心莹
Participated in the design: Zhao Junye, Li Xinying
项目摄影：花觉影像 fafa
Project Photography: FEASTVISION fafa
文字记录：杨跃文
Transcript: Yang Yuewen
项目施工：上域展览
Project Construction: Codomain Exhibition
项目地址：中国深圳
Project Address: Shenzhen, China
完成时间：2022.07.25
Completion time: 20220725

杨跃文 
Fillstudio创始人

Fillstudio是一家新锐跨学科设计工作室，由杨跃文先生于2017年创立，业务涵盖室内设计，产品设计与咨询，及家居类企业艺术和设计总顾问。工作室近些年获得诸多国际权威奖项的认可包括:德国IF设计奖，亚洲设计奖最高荣誉Grand Awards，英国FX设计奖，德国国家设计奖等等殊荣。艺术与技术，亦即想象与现实本体之间的高度契合是工作室在日常事务中遵循的首要原则。工作室尝试以当代的视角，结合多样性的工作方式去践行空间设计美学，力图赋予每个项目以独一无二的感官体验，舒适性和艺术性。

Fillstudio is a cutting-edge interdisciplinary design studio founded in 2017by Mr. Yang Yuewen, specialized in interior design, product design and consulting，and the general consultant of art and design for home furnishing enterprises. In recent years, the studio has received a number of prestigious international awards , including:German IF Design Award，Asia Design PrizeGrand Awards，British FX International DESIGN Award，German National Design Award and so on.It is the primary principle of the studio to reconcile art and technology, imagination and reality to the highest standard in its daily practices. Studio try to manifest the aesthetics of space design with a contemporary perspective and a diversity way of working, striving to give each project a unique sensory experience, comfort and artistry.

图片版权 Copyright ：Fillstudio