广州多睿诗展厅

DORIS CASA EXHIBITION HALL

可以说，在视觉化的图腾与身体感知的空间之间，所包含的是一段从精神到现实、从主观客体化到主观主体化相互映射与交织过程。

It can be said that between the visual totem and the space of physical perception, there is a process of mutual reflection and interweaving from spirituality to reality, from subjective objectification to subjective subjectification.

DORISCASADORIS CASA 展厅的设计，尔我第一次抛弃了复杂的概念游戏，诚挚地将空间一一剖开，以精神性为引导，凭借内敛和坦诚的叙事方式，由此展开一段内敛深邃却又确信不移的东方式空间寄托，达成品牌给消费者带来的浑然的信任，递进的铺陈的将端庄气质的品牌感受揉进空间的每一寸，完成我们从设计角度给予空间和品牌的感知引导。

The design of DORISCASADORIS CASA gallery, Erwo,for the first time, abandoned the complex conceptual game and sincerely dissected the space one by one, guided by spirituality, with an introverted and honest narrative, thus unfolding an introverted and profound, yet convinced Eastern spatial entrust, to achieve the brand to bring consumers a natural trust, progressively taking out the brand feeling of dignity and temperament into every inch of the brand. completing the perceptual guidance that we give and the brand from the design perspective.

图腾/自然主义最后的象征

Totem / the last symbol of naturalism

在多睿诗DORISCASA 空间中，图腾直接指向具有中心对称与轮式均衡特性的品牌 LOGO 。神秘的东方性与废墟感在这里初次隐现，它代表着自然主义最后的象征。

In the DORISCASADORISCASA space, the totem points directly to the brand logo with its central symmetry and wheeled balance. The mysterious orientalism and the sense of ruins first appear here, representing the last symbol of naturalism.

尽管从整个上来看，空间平面依据一种质朴的功能诉求而展开，即，最大程度地释放内部空间的容量，以此支撑展陈与选品的需求。但，空间却依旧可以在有效的结构和框架中做到均衡而有力量。这种现象，我们将其解释为一种从图腾到空间的映射关系。

Although the space plan as a whole unfolds according to a rustic functional requirement, i.e., to maximize the capacity of the interior space to support the needs of the exhibition and selection. However, the space can still be balanced and powerful in an effective structure and framework. We interpret this phenomenon as a mapping relationship from totem to space.

作为序的门厅，以弧面墙体的延伸为牵引，在中心区域制造虚实互补的图腾式镜面景观，使得平衡的结构关系得以外显。

The foyer as a prelude is drawn by the extension of the curved wall, creating a totemic mirrored landscape in the central area that complements the real and the imaginary, allowing a balanced structural relationship to emerge.

与此同时，积极地创造一种整体空间基调的感知方向，恰如某种神性在真实世界里的表达一般，神秘、遥远、坚定。

At the same time, it actively creates a perceptual direction of the overall spatial tone, just like the expression of some divinity in the real world, mysterious, distant and firm.

边界/物质与非物质的凝结

Boundary/blend of material and immaterial

空间由一个自由的平面展开，力道均匀，不为观念过度牺牲，只为构建纯粹的墙体关系，以此明确边界最原初的意义。

The space is unfolded by a free plane with even force, without excessive sacrifice for the concept, only to build a pure wall relationship, so as to clarify the original meaning of the boundary.

灵活的平面与清晰的结构是不可分割的。几何穿插折叠的边界，在微水泥与石材的大量延续中，呈现出类似于废墟状态下的体量关系，敦实厚重，细腻沉稳，增添了一种以几何为表现载体的力量之美。

A flexible plane is inseparable from a clear structure. The geometric interspersed and folded boundary, in the continuation of micro-cement and stone, presents a volume relationship similar to the state of ruins, solid and heavy, delicate and calm, adding a kind of power beauty with geometry as the carrier of expression.

将自然之物引进边界的构建中，形成新的空间阻断。与此同时制造层次与穿透的能力，在人在自由周折的动线游走中，

The natural objects are introduced into the construction of the boundary, forming a new spatial interruption. At the same time, the ability to create layers and penetration, In the free circumferential movement of people and in the wandering of the line

感受物质与非物质相生相息的互动状态。

The interaction between the material and immaterial is felt in the free flowing movement.

由此，空间从一开始就融合进了自然、开放、阔达、谦逊的特质，将空间的构成尺度隐藏进边缘化的线性力场中，以此完成整个空间的连续与分隔。

Thus, from the beginning, the space is integrated with the qualities of nature, openne,and the composition scale of space is hidden into the linear force field of marginalization, thus completing the continuity and separation of the whole space.

退隐/向内接纳的开始

The Seclusion/inward acceptance

越过秩序性的边界，空间迅速向后退却，以无调性的方式将内部空间释放出来，展示接纳的诚意，赋予展陈区域内最大的自由度与展品自我言说的可能性。

Beyond the border of orderliness, the space quickly retreats backward, releasing the internal space in a toneless way, demonstrating the sincerity of acceptance, and giving the exhibition area the greatest freedom and the possibility of self-expression of the exhibits.

更重要的是，空间形式一旦抛弃了意识形态的表达，将语言的组织与注意力的凝视，完全让渡给空间中的展品时，对平常生活的虔诚以及细腻的身体觉知，反倒能以更单纯的方式被空间的退让之举所唤起。

More importantly, once the spatial form abandons the expression of ideology and gives up the organization of language and the gaze of attention to the exhibits in the space, the devotion to ordinary life and the delicate bodily awareness can be evoked in a simpler way by the act of space concession.

在水平地面的延展中，则表现为一种向上或向下的微妙升降关系，让空间自我显现，创造动线与展示区域之间能被身体经验所感知的隐性分隔，暗示身体的进入，构建停留与沉浸的可能。

In the extension of the horizontal floor, it is expressed as a subtle upward or downward lifting relationship, allowing the space to reveal itself, creating an implicit separation between the moving line and the display area that can be perceived by the body's experience, suggesting the body's entry, and building the possibility of staying and immersion.

空间内部是家具展品的情境式围合，作为展示区隔边界的片墙，与顶部之间往往留有空间缝隙，暗示展览区域的存在。而及顶的墙面则是多为应家具形态或尺度关系的需求，营造家居的氛围感与真实的身体记忆。空间的自我表达由家具展品之间的互动所代替，颜色、材质、形态，皆以一种静态的语言所展开。

The interior of the space is a contextual enclosure of furniture exhibits, with a space gap between the wall and the top as the boundary of the display area, suggesting the existence of the exhibition area. The walls that reach the top are mostly for the needs of furniture form or scale relationship, creating a sense of home atmosphere and real physical memory. The self-expression of space is replaced by the interaction between furniture exhibits, colors, materials, and forms, all unfolding in a static language.

沉淀/万物静默如谜

Sedimentation / Everything is silent as a mystery

比起趣味性的空间探索与概念性的造型游戏，在多睿诗DORISCASA 展厅中，更重要的是人的沉淀。巨石、苔藓、金属等物质性的废墟意象在这里朦胧般筑起，时间停驻，万物静默如谜。

More important than the interesting spatial exploration and conceptual play of shapes, the DORISCASA gallery is a place of human sedimentation. The material ruins such as boulders, moss and metal are built up in a haze, where time stops and everything is silent as a mystery.

以现代性的感官去构建空间筋骨，在块面之间的对立依存关系中，纯粹的精神性从物质实体间逐渐腾升，一种触摸得到的情绪开始蔓延，安静、谦和、神秘而真诚。仿若东方的缩影，在未来之巅重返了现代文明。

The spatial bones are built with modern senses, and the pure spirituality gradually rises from the material entities in the opposing dependence between the blocks. It is like the epitome of the East, returning to modern civilization at the top of the future.

静谧，不可度量。如空间褪去了人为赋予的装饰和华彩，却依然可以出落得大方而沉敛，优雅而极具信赖。

Silence is immeasurable. As the space has lost its artificial decoration and splendor, it can still look generous and restrained, elegant and trustworthy.

空间的物质属性远比图像属性更重要。从图腾到空间物质实体的转译，是一次甘于内化的表达，一切均以低调的方式加以处理，而它的存在却如此实然而确凿，如一个等同的微缩世界在此降临。

The material properties of space are far more important than the pictorial properties. The translation from the totem to the material entity of space is a willingly internalized expression, all handled in a low-key manner, yet its existence is so solid and definite that it is like an equivalent miniature world descending here.

它就在那里，没有表现的欲望，在一帧一帧静态的影像中，归于静谧与安然。

It is there, without the desire for expression, in a still image frame by frame, in silence and peace.

项目地址 丨中国广州 . 罗浮宫家居艺术中心

Project Location 丨 Guangzhou, China . Louvre Home Art Center

项目甲方 丨多睿诗 DORIS CASA

Project Party A 丨 DORIS CASA

项目面积 丨300㎡

Project Area 丨300㎡

设计出品 丨尔我空间设计研究室

Design by 丨ErwoSpace Design & Research Office

设计总监 丨丁鹏文

Design Director 丨Ding Pengwen