Asymptote

话题依旧有关毕业的最终企划案——新加坡的PRADA旗舰店设计案。这是在学院中表达自己理念的最后机会。半年的时间来全力攻克一个虚拟训练的终极任务，时 间过半，概念与方向终于在脑中被定稿。工作进度在确定乐施工地点，空间范围，功能配置等基础事项后，终于提升至一个稳步渐进的阶段。在此做一个备忘，也是 对设计进程的一个记录。很多人认为搞设计是一种被技术化的艺术。其实，设计更体现为一种理论性与逻辑性。由概念的出发点衍生出的关键词，被具体与合理化。 需要解答的问题不仅限制在概念在空间上的体现，概念与品牌的衔接，空间对品牌的展示上，最重要的，是对受众的本位思考。

即使美感与创意是一个成功的 设计的生存必然。然而，设计并不是纯艺术。并不是追逐单纯的美感与感性品位，它是一套严谨而理性的法则。而设计师正是制定这一全套法则的人。为一个商业品 牌做空间设计，需要平衡商家与顾客的需要，这是一个需要深邃思考的课题，是设计案中贯穿始终的一个重要因素。从概念的出发，到方案的制定，一直到最后的成 品。

建筑与空间设计，由于其工程类别的特殊性，使得设计师在工作中历经的步骤繁多，它们有其规范的序列，是一套极端严肃的科学。计算与实验，推翻，重建，再被推翻，一直被最终认可。

方法论，是所有设计师需要掌握的钥匙。我的概念的生成路径或许可以成为一个抛砖引玉的简例。某些段落英文陈述，因为我会用在设计报告中被呈交。

在选题的时候，我经历乐一番抉 择。其实，我是乐于设计新住宅空间与办公空间，但是这些空间在功能上并不能突出展示设计。于是我想到来设计博物馆或图书馆，又始终觉得无法把握。出于对时 尚的喜好，我决定来设计一家规模巨大的时装店。在众多时尚品牌中，我一直对意大利服饰情有独钟，于是我在脑中翻乐一遍意大利的成衣时尚品牌，GUCCI高 调耀眼，FENDI奢华古典，GIORGIO ARMANI诚实稳重，D&G张扬浮华，VERSACE诡异莫测。我始终最喜爱PRADA。

我开始悉心研究PRADA的 时尚成衣与单品，反复揣摩这个品牌的历史与文化。MIUCCIA PRADA的作品总是包含着智慧及深思熟虑的探索，这从她颠覆常规的设计天赋，她促使我们挑战传统的，带来惊喜不断的能力，以及将从生活和环境的观察中品 味出的意念融入到作品中的才华，便一目了然。

PRADA不追求常理的认同和刻意的愉悦，相反总是试图挑战和反叛固有教条，甚至几乎是反愉悦的，试图引导并探索一种通常表现乐她的创意风格的对比的美学原则。我喜欢这种激进创新的探索，睿智的风格和丰富的技术手段。

以此，我对概念的培养生成为几个关键词：

Variety, variety among stores. "shops should not be identical."

Variety, a variety of spaces within a store. "Prada can be big in small spaces. Nike can only be big in large spaces."

Exclusivity, "space is a marketing tool." a brand can convey a sense of exclusivity "by the perception of its store in the host city."

Changeability, "60% of a business identity remains constant while 40% changes continually."

Service, maintaining the intimacy of a small company.

Non-commercial, the introduction of non-commercial typologies. "cultural events could be hosted in stores." "activities other than shopping could take place after store hours."

作为基本的出发点，我将思维衍生至奢侈品的定位上：

在整个世界都在不断的购物当中，Mcdonalds，7-11，Wal-mart...购物是一切。那么，什么是奢侈？

奢侈不是购物。

LUXURY= attention, "rough", intelligence, "waste", stability.

Attention,

as the noise level increases (see times square), the demands on our nervous systems - to differentiate, to decide, to shop accelerate.

the ultimate luxury is focus and clarity.

museums are popular, not for their content, but for their lack of content: you go, you look, you leave. no decisions, no pressure.

our ambition is to capture attention and then, once we have it, to hand it back to the consumer.

Rough,

the smooth and the "rough"

if everywhere is smooth, art becomes that which maintains a quality of roughness.

common is smooth, unique is rough.

recorded is smooth, live is rough.

commercial is smmoth, art is rough.

typical is smooth, invention is rough.

in this future, luxury must be rough.

Intelligence,

As the brand expands, the danger is that we capitalize on the prada name by applying it to products without improving them - takingwithout giving in return.

Applying intelligence to an object - intelligent choices that reflect the values of the designer - is the only way to pull ahead of the general onslaught of quality in manufacturing. intelligence is an altruistic gesture of adding value to an object (so that the followers have something new to copy?).

Intelligence often takes the form of innovation - improving things - but doesn't need to. it can also mean making good decisions about what should be saved, and what should be made obsolete. there is no generosity without intelligence. and luxury is generosity.

Waste,

In a real estate context where every square meter counts, the ultimate luxury is waste space. space that is not "productive" - not shopping - affords contemplation, privacy, mobility, and luxury.

Stablility,

massive change makes stability exciting.

In order to incorporate stability into a system of continuous innovation, adopt a model of dynamic equilibrium, maximizing both dimensions to realize paredoxical ambitions.

the more stable the brand, the more you change.

以此催生出的基本概念就是：震中。

EPICENTER, the point on the earth's surface vertically above the focus of an earth quake.

由EPICENTER，推出四个基本关键词：collapse, discorder, subvert, regeneration.

塌陷-混乱-颠覆-重生。

由此，方法与路线被确定，以下工作便进入更加切实的规划与整理工作。以概念来链接到具体的平面及空间中，从基础的形态，色彩，灯光与材质出 发。由此便只能用设计语言来表现。期间的其他研究工作包括对全球其他PRADA旗舰店的位置，面积，功能划分，人群等各项数值的分析与对照，新材料与新技 术的发布等等，在同时进行中。使得最终的设计企划更具说服力与优越性。