Lemaire 成都精品店 / F.O.G. Architecture

Lemaire Chengdu Boutique/F.O.G. Architecture
Lemaire 成都精品店 / F.O.G. Architecture

From the architect. Lemaire Chengdu Taikoo Li Boutique Store is located in Taikoo Li, Chengdu. Although the west side of the project is close to the Apple store and Fountain Square where many internet celebrities check in, tourists suddenly feel quiet when they walk to the project location. This kind of spatial feeling of "quietness amidst chaos" is not only the reason for project site selection, but also one of the starting points of design.
来自建筑师。Lemaire 成都太古里精品店位于成都太古里。虽然项目西侧靠近有众多网红打卡的苹果店和喷泉广场，但是当游客走到项目所在地时会突然觉得安静。这种“闹中取静”的空间感受即是项目选址的原因，也同时成为设计的起点之一。

© Wen Studio

Unlike the conventional design method that emphasizes "flat effect", this project sacrifices some indoor space by partially retreating the facade and using a landscape area as a buffer to connect the lively external space with the quiet internal space. The landscape area consists of two steps. Customers need to first step onto the entrance platform and then walk down the stairs to the interior. This "one up, one down" flow design not only enhances the sense of transition from outdoor to indoor space, but also gives a sense of ceremony when entering the interior.
与强调“平效”的常规设计方法不同，本项目牺牲了部分室内空间，将立面做部分退让，通过一个景观区域作为缓冲，来衔接热闹的外部空间和安静的内部空间。景观区域由两级台阶构成。顾客需要先踏上入口平台，再沿台阶下到室内，这种“一上一下”的动线设计，不仅强化了从室外到室内的空间过渡感，也同时赋予进入室内的仪式感。

© Wen Studio

'Everyday' is the design requirement of the brand (Lemaire). For urban life, plants generally appear in the form of potted plants at home. Therefore, the landscape design at the entrance adopts movable potted plants instead of fixed flower beds. In order to further adapt to daily life in Chengdu, the design did not use conventional flower pots, but instead used "sauce jars" to "hold" plants.
“日常性”是品牌方（Lemaire）的设计要求。对城市生活而言，植物一般是以盆栽的形式出现在家里。因此，入口处的景观设计采用了可移动的盆栽而不是固定花池。为了进一步贴近成都的日常生活，设计没有采用常规的花盆，而是用“酱缸”来“装”植物。

© Wen Studio

In terms of material selection, bamboo is widely used as a local material in Sichuan. The design not only uses tangible wood such as bamboo flooring and bamboo curtains, but also invisibly simulates the texture of bamboo woven walls through slender stone and concave convex textures. The interaction between "tangible" and "intangible" bamboo forms a narrative based on bamboo materials.
在材料的选择上，竹子作为一种四川在地材料被大量使用。设计不仅采用了竹木地板、竹帘等“有形”木材，外立面设计也通过细长石材和凹凸纹理来“无形”地模拟竹编墙的质感。“有形”与“无形”的竹材相互呼应，共同形成了的基于竹的材料叙事。

© Wen Studio

The "intangible cultural heritage" elements of Sichuan are also used in the design. The design adopts the Chalwa felt of the Yi ethnic group in Liangshan, Sichuan and the bamboo weaving of Sichuan Cizhu, and collaborates with artists and "intangible cultural heritage" craftsmen to create interior patterns that conform to the brand's visual image.
四川的“非遗”元素也被运用在设计中。设计采用了四川凉山彝族的查尔瓦被毡与四川慈竹竹编，并通过艺术家与“非遗”匠人合作的形式共同创作了符合品牌视觉形象的室内纹样。

© Wen Studio

The detailed structure that reflects local characteristics is also an important part of this design. In addition to local materials, the project extensively uses the Moroccan Bejmat bricks that the brand has always used. Due to its similar texture to green bricks, the design adopts traditional Chinese flooring methods to echo interior elements with Chinese characteristics such as bamboo weaving and Chalva felt.
体现本土特色的细部构造也是本设计的重要内容。除了在地材料外，项目大量沿用了品牌方一贯使用的摩洛哥 Bejmat 砖。由于其质感与青砖相似，设计采用中国传统的地面铺装方式，以呼应竹编与查尔瓦被毡等具有中国特色的室内元素。

© Wen Studio

In addition, the project focuses on the joints of different materials. Taking the skirting board as an example, the design referred to the treatment method of Du Fu's thatched cottage, where wooden strips were pressed down on the brick wall skirt, thus transforming the skirting board into a new material layer to integrate a series of interior elements such as thresholds and steps. The design also implies spatial elements through construction. For example, vertical panels are hidden in the door frame design, leaving "gaps" on both sides of the threshold to indicate their existence; At the same time, the lintel above the door protrudes and extends, making it a wooden "hanging strip" for clothing exhibitions.
此外，项目关注到不同材料的拼接处。以踢脚线为例，设计参考了杜甫草堂将木条下压在砖上的墙裙的处理方式，从而将踢脚线转化为一个新的材料层次，来统合门槛、台阶等一系列室内元素。设计还通过构造暗示空间元素。例如，门框设计中隐藏了竖板，在门槛两侧留出“缺口”以暗示其存在；同时，将门上方的过梁突出并延展，使其成为服装展陈的木质“挂条”。