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當兩個或更多的立體結構和圖形交織在一起，且它們能夠彼此滲透，同時在形體語言上不存在相互破壞的情形時就展現了一種新的視覺形象的存在，這種新的視覺感知通常被解釋成有著透明的屬性。事實上，透明性暗含了透過某一遮擋物去了解其背后真實狀態的視覺動因，也呈現出透過表面去感知內在秩序的一種感觀能力。

When two or more three-dimensional structures and figures are interwoven, and they are able to penetrate each other without destroying each other in the language of form, the existence of a new visual image is revealed, and this new visual perception is often interpreted as having the property of transparency. In fact, transparency implies the visual motivation to see through an obscuring object to understand the real state behind it, and presents a perceptual ability to perceive the inner order through the surface.

透明的建立

Transparent Build-up

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相對于幕墻式物理的透明性，勒·柯布西耶尤其追求現象的透明性，因而在他看來，局部的長窗除了必要采光和視覺的通透，更重要是“窗戶就是限制與構成建筑的主要裝置”。這給臨街的本杰明·摩爾涂料展廳提供了一種外立面思考的范本，即：遮隱是為了更好地展示，局部的覺察反而是為了更好地擴展至整體。

In contrast to the physical transparency of the curtain wall, Le Corbusier particularly pursued the transparency of the phenomenon, so that in his view, in addition to the necessary light and visual permeability of the long partial windows, it is more important that "the windows are the main device that limits and constitutes the building". This provides a model for thinking about the facade of Benjamin Moore's paint showroom at the street level: concealment is for better display, and partial awareness is for better expansion into the whole.

通過打破、拆解和重構，原本各自獨立的上下層商鋪被改造為整體的展示體驗空間。新的外立面由不同尺度的矩形和呼應品牌標志的三角開口形體所構成，借助一條雖不可見卻顯然存在的中心軸線，建立一種非對稱的均衡感。這與周圍商業體的截然不同，吸引著不少過往行人的目光與停駐。

By breaking, dismantling and reconstructing, the originally separate upper and lower stores are transformed into an overall exhibition and experience space. The new fa?ade is composed of rectangles of different scales and triangular openings echoing the brand's logo, creating a sense of asymmetrical equilibrium through a central axis that is not visible but clearly present. This is a distinctive departure from the surrounding commercial buildings and attracts many passersby to look and stop.

幾何與“峽谷”

Geometry and "Canyon"

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如何突出并使品牌形象自然而然的與具體空間發生聯系，平面三角形的品牌logo轉譯成三維的錐形被倒置于挑空的入口，夸張的體量給空間帶來一定視覺上的壓迫感，同時具有強烈透視的幾何體創造了有趣的戲劇性，逐步放大的形體由水平朝向垂直方向發展。而底部適當高度的切口，使內部空腔成為了引發好奇的裝置。

How to highlight and make the brand image naturally relate to the specific space, the flat triangular brand logo translated into a three-dimensional cone is placed upside down in the hollow entrance, the exaggerated volume brings a certain visual oppression to the space, while the geometry with strong perspective creates an interesting drama, the gradually enlarged form from horizontal to vertical direction. And the cutout at the appropriate height at the bottom makes the interior cavity a device to provoke curiosity.

空間營造與音樂欣賞一樣，關乎節奏、韻律與情感，也關乎置身其中的具身體驗。作為靈活路徑的重要組成，入口緩沖區右側通道憑借自然光線的模擬，令一條狹長、窄小而又高挑的“峽谷”出現在訪客面前。一瀉而下的光暈染于不同的結構立面，凸顯穿插、咬合與拼接幾何形體的理性建構之美。

The creation of the space is as much about rhythm, rhyme and emotion as it is about the embodied experience of being there as it is about the appreciation of music. As an important component of the flexible path, the right-hand passage of the entrance buffer area simulates natural light, making a long, narrow and high "canyon" appear before the visitor. The light cascading down through the different structural facades highlights the rational construction of interspersed, occluded, and joined geometric forms.

能量的隱喻

Metaphor of Energy

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聚或者說匯集，一直是能量的表達方式。展廳內部以一層休閑區為重要的功能區域，滿足日常接待、洽談和商務的作用。于平頂的天花之中，三角形體燈膜構造的出現，再次強調了品牌的屬性，也形成呼應其他相應空間的形式語言，更是一種能量的匯聚之地，主次秩序的建立從而有利于場所從屬的識別。

Gathering or bringing together has always been the expression of energy. Inside the showroom, the first floor leisure area is an important functional area to meet the role of daily reception, negotiation and business. In the flat ceiling, the emergence of triangular body light film structure again emphasizes the brand attributes, and also forms a formal language echoing other corresponding spaces, which is a kind of energy convergence place, and the establishment of primary and secondary order is thus conducive to the identification of the subordinate places.

在去商業化標簽的設計策略指導下，過去單純產品展示的屬性變得不再重要，而產品本身則被直接的應用于空間之中，訪客更能直觀的感受材料的顏色表情、觸感肌理、適用范圍和工藝做法。以沉浸式體驗氛圍為營造方法和商業邏輯，這代表著新商業的流行趨勢和品牌自信意識的覺醒。

Under the guidance of the design strategy of de-commercialization, the past attributes of pure product display become less important, and the products themselves are directly applied in the space, so that visitors can intuitively feel the color expression, tactile texture, application range and process practice of the materials. With the immersive experience atmosphere as the creation method and business logic, this represents the trend of new business and the awakening of brand self-confidence.

櫥窗式雕塑

Window Sculpture

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作為主要的上下層連接器，極具雕塑的旋轉樓梯除了承擔著物理性的垂直路徑，更借助自身造型和顏色的魅力吸引訪客自發的由樓下走向樓上，起到合理的、恰當的、巧妙的引流作用。素雅凝練的空間里，突然一抹紅色展現出來，其個性張揚的奪目色彩和柔美曲線的細膩形體預示著主角的登場。

As the main connector between the upper and lower floors, the highly sculptural revolving staircase not only assumes the physical vertical path, but also attracts visitors from downstairs to upstairs spontaneously with the charm of its own shape and color, playing a reasonable, appropriate and clever role in attracting traffic. In the plain and condensed space, a sudden splash of red shows up, and its eye-catching color and delicate shape of soft curves herald the appearance of the main character.

以外立面的視角來看，櫥窗式景觀的置入也成為了街區的視覺焦點，結構上的退讓以框景的形式緩和了臨街界面的緊張感，因而形成一定想象的空間距離。暗示內外融為一體的自然原石點綴于室內外，與高低有別的綠植和苔蘚、蕨類等，構建了一組生動的景觀小品。

From the viewpoint of the facade, the window-like landscape has become the visual focal point of the neighborhood, and the structural concession in the form of framed scenery eases the tension of the street interface, thus creating a certain imaginary spatial distance. The natural stones suggesting the integration of inside and outside are dotted in the interior and exterior, together with green plants, mosses and ferns of different heights, building a vivid set of landscape vignettes.

自由的弧線

Arc of Freedom

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對于三維的場所來說，立面墻體是必要的基本元素，無論圍合、分割還是系統組織，都有著不可或缺的作用。旋轉樓梯而上，二層由兩片獨立的、不同色彩情緒的弧墻所圍合，作為材料展示的真實載體，弧墻相較于直墻更具有視覺的流動性和空間的不限定感，它代表著連續、不間斷和潛藏的動勢。

For the three-dimensional place, the fa?ade wall is a necessary basic element, whether enclosing, dividing or systematically organizing, it has an indispensable role. As a real carrier of material display, the curved wall has more visual fluidity and a sense of unrestricted space than the straight wall, which represents continuous, uninterrupted and latent momentum.

當立體主義的透明性理論投射于建筑空間，平面自由的線則演變為具有穿透力的實際墻體，一種交疊而保持完整的內部空間得以形成，與此同時產生對不同形態的對應感知，使縝密的、豐富的、復雜的邏輯清晰的空間秩序變得有跡可循，而并非視覺上簡單的光學物質特征。

When the theory of transparency of cubism is projected on the architectural space, the free lines of the plane evolve into the actual walls with penetrating power, an overlapping but complete internal space is formed, while the corresponding perception of different forms is generated, so that the meticulous, rich, complex logical and clear spatial order becomes traceable, rather than the simple optical material characteristics of the visual.