889GLO 艺术空间 / SpActrum 谱观

889GLO Art Space/SpActrum Spectrum View
889GLO 艺术空间 / SpActrum 谱观

项目核心概念的独特视角：这个项目最令人印象深刻的地方在于其对“消费的风景”的深刻解读和创新运用。设计师没有停留在传统的建筑设计层面，而是将目光投向了被公众忽视的、支撑着大规模消费的底层社会现实。通过“材料库”的概念，利用建筑材料、物流设备，甚至防火材料等，将这些日常生活中被屏蔽的元素引入空间设计，旨在唤醒人们对消费行为背后庞大社会图景的认知和思考。这种设计手法不仅富有创意，更具有社会责任感，试图通过空间设计引发对社会议题的关注和讨论，这才是项目最核心的亮点和价值所在。

材料语言和空间体验的巧妙结合：项目在材料运用上展现出令人惊叹的创造力。设计师巧妙地将楼承板、砖机托板、卡车苫布等工业材料融入到家具和空间分隔中，并保留了前租户遗留的天花板色彩和原始混凝土，构建出一种独特的视觉语言。这种设计语言不仅体现了对材料本身的尊重和对时代信息的敏锐捕捉，也赋予了空间一种粗犷、原始的美感，与项目的主题完美契合。同时，开放、流动的空间布局也增强了空间的互动性和体验感，让参观者在不自觉中参与到对“消费的风景”的探索和思考中。

对商业设计流程的反思与创新：889GLO项目突破了传统商业设计流程的限制，展现出对形式塑造的深度思考。设计师以价值观判断为指导，选取具有物理和美学特性的材料，并以此构建新的空间形式，从而形成了材料与使用场景之间的“超链接”。这种设计路径颠覆了传统的“概念-功能-几何-材料”的流程，更注重材料本身的属性和与社会问题的关联性，促使设计不仅仅是解决问题，更重要的是引发思考。这种对设计流程的创新反思，以及对社会议题的关注，使得该项目超越了单纯的商业空间，成为一个具有深刻内涵和人文关怀的艺术空间。

889 Square, located in Caojiadu Center, Jing'an District, Shanghai, aims to reposition itself as a differentiated community commercial center in the fiercely competitive market of Shanghai. In mid-2024, the organizer Susan visited the newly built Shanghai office space of SpActrum. Based on her resonance and appreciation of the design language of SpActrum, she facilitated the 889GLO Art Space project, which aims to activate artistic and cultural exchanges, integrate scene displays, and promote diverse social activities within the community. So, Pu Guan got an opportunity to continue the research and presentation of invisible forces in construction, starting from Pu Guan's Shanghai office, in this city mall that is part of China's large-scale construction, in a project of nearly 1000 square meters, and to expand thinking and presentation to the commercial and consumer fields.
位于上海静安区曹家渡中心的 889 广场力求在上海竞争剧烈的市场中寻求差异化的社区商业中心的重新定位。2024 年中，主理人 Susan 拜访了 SpActrum 谱观刚刚建成的上海办公室新空间，基于对谱观的设计语言的共鸣和欣赏，促成了 889GLO 艺术空间这样一个立足于激活社区内艺术文化交流、融合场景展示、多元社交的创意空间项目。于是，谱观得到一个机会，在这个作为中国大规模建造的一部分的城市商场里，在接近 1000 平米的项目中，继续延展从谱观上海办公室开始的对于建造中的不为人所见的力量的研究和呈现，并将思考和展现拓展到商业、消费领域。

China's iron ore consumption is expected to reach 1.283 billion tons by 2025. The expected daily consumption of oil is 17 million barrels, and the consumption of cement is nearly 2 billion tons. In 2023, coal consumption has reached 5.72 billion tons, water consumption is 590.65 billion cubic meters, and there are approximately 33 million civilian trucks in the country. Behind this lies the ecological carrying capacity, the survival mode of the huge population who make a living from it, as well as the social organizations and technological inventions that arise around these, and many more... This design thus opens up a journey of exploration, using the support of socialized consumption that has been blocked from the public eye as a material library, to oppose neglect and awaken awareness and the soul. This is the origin of the 'landscape of consumption'. Along with the 'built scenery', the enormous social landscape that reveals and hides consumer behavior has attracted attention.
2025 年我国铁矿石预计消耗 12.83 亿吨。石油预计用量 1700 万桶/日，水泥消耗量近 20 亿吨。2023 年煤炭用量已达 57.2 亿吨，水用量 5906.5 亿立方米，全国民用卡车约 3300 万辆。这背后有生态的承载，以此为生的巨大人群的生存方式，还有围绕这些产生的社会组织和技术发明，以及远不止于此的种种…… 本设计就这样开启了以被社会化的从公众视野中屏蔽掉的消费的支撑物为材料库，开始反对忽视，唤醒觉知的感知与心灵的探索旅程。这就是“消费的风景”的由来。与“建造的风景”一道，揭示并对消费行为隐藏的巨大社会图景引起关注。

Courtesy of SpActrum

轴测分析图

Courtesy of SpActrum

The furniture in the space continues the long table based on building materials such as floor slabs and brick machine pallets, and introduces load-bearing frame units made of rapid concrete prefabricated formwork systems. Logistics is an important support for consumption, with containers for liquid objects, stacking platforms, and hanging baskets for solid minerals all becoming the backbone of furniture. The ventilation fans in the factory have been transformed into chandeliers, and the partition door curtains come from truck tarpaulins. As a factory fireproof curtain for space separation, a fireproof ventilation duct for seats, and a fireproof plastic film pasted on the wall, the space is filled with orange red color. This color is not intentionally created by the designer, but the natural color of the material possessed by the ready-made product under fire protection requirements. Color, as an aesthetic element, reflects the technological information of the times.
空间中的家具延续了以楼承板，砖机托板等建造材料为基础的长桌，并引入了以快速混凝土预制模板系统为材料的承载架单元。物流是消费的重要支撑，液态物体的容器，堆栈的货台，固体矿物的吊篮，都成为家具的支撑体。工厂的通风隔扇被改造成吊灯，隔间门帘来自卡车苫布。作为空间分隔的工厂防火帘，作为座椅的防火通风管道，贴上墙的防火塑料薄膜让空间充满橘红色，这种色彩不是设计者的刻意而为，而是防火要求下现成品具备的材料本色。色彩作为美学要素反映了时代的技术信息。

Courtesy of SpActrum

The envisioned 889GLO is a new cultural space that integrates a library, lifestyle, art sharing, and exhibition. After removing the partitions of the previous tenants, the facade of the building opened up to view the entire city from south to west, and the slightly elevated corridor connecting all the small rooms on the original ground was preserved. The colors of the ceilings painted by different tenants in the previous period, as well as the unpainted concrete in the original ceiling, have been preserved together. The transparent glass at the entrance of the space is integrated with a large balcony filled with potted plants. Starting from the space of the Cafe, passing through the partition walls covered with orange red fire-resistant plastic film, the gallery and theater space under two long tables and display shelves, the floral space with square gardening tables, all the way to the speech and sharing area surrounded by yellow iconic curtains. Further inside, passing through the gray curtain, I stopped in the library space composed of huge bookshelves. The entire space has no definite boundaries, flowing and breathing with each other.
构想中的 889GLO 是一个集合图书馆，生活方式，艺术分享与展示为一体的新型文化空间。在拆除了前租户的隔断后，建筑体从南到西观望整个城市的立面打开了，原地面连贯所有小房间的微微抬高走廊被保留下来。前任不同租户各自粉刷的天花板色彩和原本吊顶里无粉刷的混凝土一起保留下来。空间的入口透明的玻璃与充满盆栽的大阳台连为一体。以 Cafe 的空间开始，经过贴着橘红色的防火塑胶膜的隔间墙壁，两张长桌和展示架下的画廊和剧场空间，有着方形的园艺整理桌的花艺空间，一直到黄色的标志性帘子围成的演讲，分享的区域。再到最里面经过灰色帘子，停步在巨大书架组成的图书馆空间。整个空间没有断然的界限，彼此流动呼吸。

889GLO continues the recent exploration of formal shaping methods in spectral theory. The basic concept of value judgment guides the selection of materials, followed by material to meaning transformation based on physical and aesthetic characteristics. Finally, the material features form a new form, forming a certain kind of hyperlink between the social issues it responds to and the practical scenarios on site. Such hyperlinks constitute a ambiguous leap between materials and usage scenarios. This form of shaping path reflects on the traditional commercial design process of concept and function geometric operations material implementation.
889GLO 延续了谱观近期对形式塑造方式的探索。含有价值观判断的基本理念指导材质选取，再进行从物理特性和美学特征出发的材料转意，最后由材质特征构成新的形式，形成了所回应的社会问题与现场实用场景的某种超链接，这样的超链接构成材料与使用场景间若即若离的多意跳跃。这样的形式塑造路径对于概念和功能—几何操作—材质落地的传统商业化设计流程形成了反思。

The construction and consumption of scenery that is truly seen is the first step for the public to participate in social practice and make changes to the current situation. In this deliberately avoided defined space, flow and penetration are the themes. It's like returning to the pure joy of human childhood without industry boundaries or behavioral classification. Pu Guan has always believed that good design is not just about solving problems, but more importantly, about asking questions. Through sharing and interaction, these heterogeneous objects from the construction scene and the underlying support of consumption constantly arouse people's curiosity. Where do these objects come from? Why is it like this? What is the relationship with us? This design does not aim to change anything, but these curiosity may be the beginning of social issues attracting attention through spatial design.
建设和消费的风景如实被看见是大众参与社会实践和对现状做出改变的第一步。在这个刻意避免界定的空间里，流动和穿透是主题。仿佛回到没有行业界限，没有行为分类的人类童年的纯粹欢愉。谱观一直认为，好的设计不仅仅是解决问题，更重要的是提出问题，在分享的和互动中，这些来自建设场景和消费底层支撑的异质物体不断引起人们的好奇，这些物件从哪里来？为什么是这样？跟我们有哪些关系？这个设计不求能改变什么，但这些好奇或许就是社会议题通过空间设计引起关注的开始。