It is probably the smallest and biggest concert hall of all.

The request from the client is to design a small piano classroom for him. Instead of creating this introvert classroom, we decided to develop a more ambitious gesture; we want to make it a radiant space towards the whole city. Thus the smallest and the biggest concert hall appears.

Be the smallest, as it is a space for one to play for oneself; be the biggest, as the city is the space's audience.

We imagine the space like a concert hall insert into the site. The morphology of the space is an abstract of a triangle piano. The strings become the stage, the metal plate and soundboard become the ceiling; the lid becomes the audience; the frame becomes the back of the house. The whole space then becomes a generator facing the entire city.

The storefront is a spotless white façade with no logo or text indicating the name of the space. It is merely a stage to watch. It becomes a famous spot in the whole area, every week, there will be a small concert host here, the audience, everyone, no ticket or fee required to enjoy the music. Only one cannot choose what they want to hear, what will be performed will be solely decided by the space owner.

The inner space is a trilogy space series. We comfirmed ths space shape and material by doing acoustic analysis and BIM model.

The first part is the “string” of this concert hall. The place is a speaker shape wood box insert into space.

The speaker attached to the wall becomes a critical element of the space.

The 2nd part is the audience seats looking towards the stage.

The final part is the back of the house, one storage and one toilet. These two space are like two massive pillars seats in the room.

The light design for the concert hall includes several modes for a different purpose.

In performance mode, the light between the two pillars, flush down like a skylight, while two spotlights light up the piano and player.

The light effect is theatrical in this mode. The stage is a stage at this moment.

SHANG XIA consistently embraces contemporary innovative design, crafting a distinctive and culturally rich lifestyle. While emphasizing the inheritance of craftsmanship and ingenuity, it also excels in innovative breakthroughs.

Previously, the spatial design was crafted by the renowned Japanese architect Kengo Kuma. Now, for the first time, the brand collaborates with a Chinese architectural design team to launch its inaugural flagship store with a new image.

say architects aspires to narrate, within the context of traditional culture, an Eastern aesthetic of elegance and simplicity for SHANG XIA Shenzhen Bay Rail In Boutique. This interpretation aims to capture a romantically balanced expression between tradition and innovation.

In Chinese, "上" (shàng) and "下" (xià), as contrasting antonyms, seem to exhibit a characteristic of interconnectedness between characters, embodying subtle philosophical reflections within the brand's language. If this extends to the physical space, does it similarly possess elements of opposition and unity?

say architects envisions the two levels as concealed yet open, flat yet dense, reserved yet expressive "symmetrical" spaces. The "central axis" serves as a freer state within the restrained architectural framework, implying that the space is a contradictory yet balanced existence.

The first floor is composed of a tea bar, tea product gift boxes, and a ready-to-wear clothing area. The surface of the tea bar undergoes treatment with three different textures, creating a rugged yet delicate natural feel through the splicing of original stones. The upper part, resembling the hats worn by ancient knights, exudes a chivalrous spirit.

The tea-drinking area unfolds around the tea bar, with one section delineated by Beijing bricks, creating a more secluded tea gathering point. Another section features a tea table carved from natural stones, seamlessly connecting the interior and exterior spaces.

Upon arriving at the tea product gift box area, the central display platform draws inspiration from the brand's bamboo-woven porcelain tea sets. The pliable and boneless bamboo threads are intricately connected, echoing the elaborate three-dimensional weaving craft of the products.

The presentation of the ready-to-wear clothing area is more gentle. The wall and floor are traditionally arranged in a unified herringbone pattern. Embroidery on the wall emits a subtle glow, resembling delicate roof tiles, covering the clothing rack components and exuding a warm bluish-green color of shadowy glaze.

If the former is a straightforward and reserved narrative, then the "central axis" leading to the second floor is expressive. The bamboo art breaks the balance with an "outstretched arm" gesture. It consolidates various functional areas in form, visually creating a certain impact through scale.

Its simple lines and graceful curves present a tranquil continuity, guiding the flow of space. The dynamic interweaving serves not only as a conveyance of artistic conception but also as an evolution within the context of traditional cultural threads.

The furniture showroom on the second floor is constructed with embroidered wall surfaces, with rice paper screens softly partitioning the space. Among the most iconic pieces of SHANG XIA's carbon fiber chairs, the slender and light Ming-style official hat chair is a collision of tradition and innovation, featuring lively colors that bring more imagination to the blank space.

say architects adhering to the brand's diverse philosophy, has innovatively applied traditional intangible cultural heritage crafts such as bamboo weaving, wickerwork, embroidery, ceramics, and paper art. Amidst the noise of the world, it skillfully avoids distractions and narrates with a harmonious blend of traditional and modern language. Every corner here is filled with stories, and each piece of work has its own voice.

As the inaugural national flagship store of the exceptional Chinese lifestyle brand "nice rice," this establishment embodies simplicity and versatility while celebrating the subtleties of oriental culture.

Nestled on Huaihai Road (M.), a crossroads of Chinese and Western cultures, this location serves as a hub for cultural, artistic, and everyday life. It particularly resonates with the cultural sensibilities of the younger generation.

The roof, an iconic feature of traditional Chinese architecture often referred to as the "fifth elevation," symbolizes a unique cultural heritage refined over time. say architects have extended the traditional Chinese roof form into the interior, creating an inclusive and inviting "sanctuary" beneath the eaves.

This "sanctuary" concept aligns with the essence of the Oriental Rice Warehouse, historically used for storing rice, symbolizing inclusivity and the spirit of giving. It transforms the space into a vibrant hub for cultural exchange.

Symmetrically designed eaves balance the spatial facades, with mirrored double-sloped roofs on the outer facade, emphasizing visual harmony and balance. Original steps leading to the entrance add a sense of ceremony to entering this "rice warehouse."

The overall inward recess of the storefront provides ample outdoor space and serves as a street-facing display, blurring the lines between the fashion consumption scene. This highlights the intriguing and diverse aspects of the "fashion + coffee" dual-business model, attracting the attention and engagement of young people.

The grand eaves "envelope" creates a courtyard-like space within the entrance's concave gray area, forming a well-organized layout. The interconnected functional areas also create a circular flow within the consumption pathway.

Clearwater concrete serves as the primary tone for the space. say architects have ventured to incorporate Chinese intangible cultural heritage art into this youthful consumption scene. Collaborating with a lacquer artist, they have created the artwork One.

The piece cleverly utilizes eggshells as a canvas and embeds a maze-like, ever-changing yet elegant lacquer art on the neat rectangular blocks. This showcases the delicate fusion of Oriental charm and modern design, where simplicity is imbued with texture. The contrast between precision and ruggedness in material brings out subtle contrasts.

The space continues the brand's minimalist and clean design philosophy while subtly exuding an understated Oriental temperament. It externalizes the essence of culture in daily life, bridging the gap between people and tradition in a relaxed and intuitive artistic manner.

This space, beneath the eaves, not only provides an open social and consumption scene for the young population of the neighborhood but also presents a new interpretation of traditional culture from a youthful perspective. It blends tradition with modernity, giving new cultural connotations and contemporary characteristics to the area beneath the eaves – a symbol of openness, inclusivity, and harmony.

nice rice invites say architects to design a concept store in Chengdu, located in Chengdu’s Mixc City . Drinking tea and watching performances has always been a reflection of the lives of Chengdu people. Based on the urban temperament and brand language, say architects builds a white "stage" to capture the ever-changing aspects of Chengdu citizens.

The site is located on the first floor of the mall, with a relatively open outdoor seating area. It features a 14-meter-wide "stage" with a large display surface, creating a more direct interaction between the "stage" and the audience. Consumers are not only spectators but also actors themselves.

The stage is constructed with minimalist modern lines, reflecting a youthful and urban atmosphere. say architects transforms the eaves and corners of traditional stages into a more straightforward and smooth mirror-like canopy, resembling an open square box. Through the reflection of the mirrored canopy, the act of watching itself becomes dramatic.

The interior space adheres to the core of the brand's "simple but not ordinary details," using soft oak veneers to highlight the simplicity and harmonious tone of the stage, just like the minimalist daily products in Nice Rice, making it more accessible to people. Delicate divisions under the veneer create the texture of the stage, and the connecting lines on both sides of the walls add more detail to the selling area in the lobby.

The inspiration for the backdrop behind the cashier counter comes from the curtains of the stage. Each wooden panel is rounded and chamfered, with curved surfaces arranged and laid outwards. The soft finish softens the lines of the space, and people's gaze is naturally drawn to the center of the "stage".

As night falls, the center of the "stage" is illuminated by spotlights, and the curtains behind and the wall lamps on both sides gradually light up, as if it's the end of a performance. The sense of drama is left on the richly layered stage, and romance and poetic beauty continue to unfold here.

The new Shanghai CALVINLUO store is located on the bottom level of Shanghai Centre in the Jing'an district of Shanghai, with an area of approximately 140 square meters. Facing the challenge of how to ingeniously integrate CALVINLUO into the surrounding area filled with displays of luxury brands spanning two to three floors, became the task of shaping the new store.

CALVINLUO is a fashion brand founded by Luo Yucheng in New York in 2014, which pursues a young, delicate, practical style and follows a design philosophy that discovers the "life-oriented" perspective through new angles, committed to illuminating the dullness of everyday life for everyone.

Inspired by this philosophy, say architects believed that in an environment where every brand is eager to use large displays to showcase themselves, CALVINLUO's design should not rely solely on attention-grabbing scale, but rather should create a homely, welcoming atmosphere for every customer, and thus, the understated and restrained "CASA CALVINLUO" was born, to create a brand home that is uniquely their own.

The architectural exterior of CASA is created with simple and clean black lacquered glass, and the black glossy metal strips are used to close the joints. The combination of the glossy lacquered glass and the stony texture of the black and white marble presents a delicate and sharp temperament from the materials.

Each window design has a customized canopy and wall lamp, ensuring that each window can fully demonstrate the "home scene."

The space still uses black and red as the main color scheme. The strong contrast between black and red, and the smooth and glossy texture of the materials can reveal the brand's attitude from the moment of entering the space.

The interior is divided into three functional areas: the dining room, the art lounge, and the walk-in closet, which are arranged in an "L" shape. The dining room and the art lounge areas are clearly visible from the windows along the street.

The walk-in closet is "hidden" at the back of the space, and the closet space surrounded by three display surfaces and the black and white checkered floor tiles create a conflicting feeling, making the overall space more layered.

say architects drew inspiration from CALVINLUO's fashion elements to infuse more details into the space, transforming the brand's strong and sharp tailoring lines and metal buckles into matching design language.

From the straight expression of the overall space lines to the intricate rectangular metal cuts on the entrance door handle, as well as the left and right ends of the display clothes rail taking shape from the brand's iconic square metal buckles, the fine details of the clothing are presented in the space.

The simple and powerful architectural space serves as a background, while the artful home decor serves as a balance to the space.

The art living room features the CATARACT CHAIR and FLOOR LAMP IV designed by RAKA STUDIO, and the twisting and swirling natural white wax wood contains a soft and flowing emotion, perfectly conveying a dual expression of granite straightness and sensual beauty.

CALVINLUO's flagship store in the southwest region is situated on the second floor of Chengdu IFS, within the prestigious IFS Galleria complex, representing another exciting collaboration between say architects and CALVINLUO. SAY's vision was to seamlessly blend with the local culture, showcasing Chengdu's rich Eastern architectural heritage while creating a laid-back and comfortable ambiance for a distinctive shopping experience.

Drawing inspiration from Eastern gardens, the designers crafted a captivating "CALVINLUO GARDEN" amidst the opulent and luxurious retail environment, skillfully melding traditional lifestyle elements with a contemporary fashion ethos. Thus, CALVINLUO Chengdu isn't merely a fashionable brand store; it's an elegant and refined aesthetic space in its own right.

At the entrance of the courtyard, sleek and lustrous metal glass replaces the traditional green brick tiles, presenting a striking fusion of materials. As one strolls through the courtyard, the interplay of metal elements and glass materials exudes a distinctive avant-garde charm, with every displayed product resembling a piece of art.

Navigating the artfully designed stone steps divides the space into interconnected corridors and a central courtyard, each exuding a sense of independence while offering a pleasant and leisurely garden-like ambience. The central courtyard boasts a specially crafted gathering area with iconic Chengdu-style mahjong tables and chairs, complemented by a combination of wooden benches and transparent glass square tables, cleverly juxtaposing tradition with modernity in an engaging manner.

The store predominantly features black materials, artfully accentuated with touches of red and patterned marble, resulting in a well-defined, refined yet understated spatial aesthetic.

The strategic use of transparent glass at the heart of the garden and floor-to-ceiling glass walls in the surrounding corridors recreates the allure of traditional Eastern arcades, while dynamic interplay of light and shadow adds to the fluidity and elegance of the space. The inspiration drawn from Eastern gardens further extends to the window displays, with a skillful play of "cutting, splicing, and stacking" of materials, constructing an alluring "tile" decoration.

Under the illumination, silver metal elements shimmer, embodying a vibrant and cutting-edge design concept.

Through a reinterpretation of Sichuan's architectural heritage, the space achieves a perfect balance of modernity and tradition, concealing an air of elegance and innovation. CALVINLUO Chengdu IFS Boutique Store artfully breathes new life into Chengdu's historical charm within this captivating "GARDEN," where creativity seamlessly blends with tradition.

a blueberry aims to provide a diverse and innovative new fashion experience space for Gen Z girls. Girls from different cities and industries who visit a blueberry can enjoy a unique and refreshing experience.

say architects was entrusted with designing a brand new offline concept store for the brand, located at Hangzhou Hubin Intime in77. The location was chosen to align with the bustling commercial area and complement the brand's fashionable personality, creating a special "gift" for a blueberry girls.

To meet the dressing needs of girls with different styles in various settings, say architects wanted the space to go beyond basic requirements and incorporate surprising details. Soft materials, vibrant colors, and exquisite handmade elements serve as captivating details that resonate with a blueberry girl, transforming into design elements within the space.

The clean white storefront is composed of mosaics, and the space is divided in a Z-shaped flow, allowing clear visibility of each area's functional layout from the entrance. This enriches the visual effect, resembling an all-encompassing gift box and creating a relaxed and comfortable atmosphere that also catches people's attention.

The clothing display area draws inspiration from girls' daily lives and presents it through categories like "Food Daily," "Handmade Daily," and "Female-Friendly," creating approachable and relatable details.

The clothing display area features movable and freely combinable modular props, resembling layered wafer biscuits with various fillings. The door handles of the fitting rooms and the jewelry display counter are made of translucent materials, creating a light and jelly-like texture. These tangible presentations add a touch of playfulness to the space.

The woven leather cords on the sides of the mirrors and the stitching on each clothing rack panel echo the handcrafted daily activities of girls, showcasing intricate craftsmanship.

At the top of each clothing rack, magnetic POP (Point of Purchase) holders have been incorporated for quick and easy style selection for a blueberry girl with different tastes. The brand also offers free clothing alteration services to ensure that girls can tailor their clothing to their preferences. At the entrance, there is a "Take a Look by Myself" shopping bag stand, considering the different shopping needs of girls with different personalities.

Here, a blueberry is an ever-surprising gift box, offering not only clothing but also conveying a lifestyle. The brand gradually becomes a new fashion symbol for the younger generation, bringing more excitement and vitality to girls.

As a well-known coffee brand in Ningbo, the new site of SENSES PLUS is located in Ningbo Dongqian Lake Tea Pavilion.

Nowadays, it is not only drinking coffee, but also its connotation and meaning have changed several times with the development and changes of the times. It has been given the value of being in line with the humanistic spirit and affecting the daily life behavior. Therefore, say hopes that this place is not only a place to enjoy coffee, but also a site to share spiritual emotions.

say disintegrated its brand, "sen" means a place with dense trees and dense vegetation, a natural ecology composed of various leaves, and water is a proper expression of some delicate emotion in Chinese culture, hoping to make the "leaf" of SENSES PLUS fall in the lake with the help of the favorable geographical location of Dongqian Lake by rooting in this fairyland.

The store faces the vast Dongqian Lake, so that your body and mind can be surrounded by the natural lake landscape by stepping into the entrance. The road from the outside to the store is paved with recycled bricks made from broken porcelain in colors. Starting from Cixi, Ningbo, SENSES PLUS reflects the beginning of "start" from the use of materials.

Stepping into the space, you will find that the functional area is also divided into five independent areas by several falling leaves, and the lighting installation above the entrance is also inspired by "fallen leaves", implying that each leaf is the message of spring, which continues to exist in a new form and continues the trajectory of life.

The laying of the gold bricks is like a ripening lake, which leads people to the lake and makes waves.

The sunken and enclosed guest area design not only lowers the overall vision, but also gives a panoramic view of the landscape outside the window. Meanwhile, it adds a sense of layer to the gentle space, also narrows the mutual distance. The whole is presented in a gentle and transparent vibe, with bright gold bricks and elegant walnut wood to create a relaxing and comfortable guest environment.

The overall lighting of the space is controlled by an intelligent system, and the light changes with the time of day by transforming the nature of the color temperature, thus creating a different pleasant vibe for the room.

Among them, the independent guest space enclosed by the grille creates a natural scene consistent with Dongqian Lake through the intelligent light film, as if storing the summer sunset and feeling the sunset glow.

The night is a beating flame, and the vision will be also attracted by this endless warmth and immersed in a different moving painting.

ForD International is a comprehensive home service company that integrates overall design and imported soft furnishings. It is also currently a provider of imported soft furnishings and home products for many luxury brands worldwide.

In ForD's own home storage warehouse, the owner hopes to have a building site that matches their brand image, thus the ForD warehouse renovation project was born.

The factory is located in the Xiaoshan Industrial Zone of Hangzhou, surrounded by mostly small and medium-sized factories, creating a strong industrial atmosphere. The building was originally composed of four old office buildings and an electronic workshop. This renovation project will transform it into ForD's furniture warehouse and exhibition hall. Say hopes to transform this factory into a vibrant urban node in the area, eliminating the monotonous image of industrial buildings in the past.

The total construction area of the factory is approximately 17,000 square meters, and the four original buildings were divided into exhibition halls, offices, and warehouses according to their functions.

During the renovation process, Say preserved the main structure of the original building and focused on constructing a new facade system. The use of materials to cover the original dimensions implies the continuation of the building in the time dimension.

The designer used a more planar language to create a "wrapper" for the facade, and the simple and clear visual effect conveys the efficiency and speed of the design. Considering both the aesthetic and material durability of the facade, aluminum-magnesium-manganese metal panels became the key material for the external facade renovation of the building.

Through the use of aluminum-magnesium-manganese panels, the direct sunlight coming in through the original windows can be appropriately blocked, which provides reasonable protection for the furniture in the showroom.

On the south facade of the exhibition building, Say tried a parametric approach to enrich the new facade grid system. A touch of the iconic yellow of Fudi gradually fades from one end to the other in an irregular grid arrangement within the rules, and 16 colors are interpreted on the same facade with their own unique hues.

The color scheme of the park also echoes the iconic yellow color of the building facade. The ground of the factory area has been designed with corresponding guidance based on the vehicle flow lines for goods transportation and functional zoning. The pattern of the parking area is also integrated with the pixelated concept of the building facade.

To complement the building facade, low and bushy floral landscapes were added around the building. The greenery extends from the ground without obstructing the view of the facade, while the existing trees on the site were preserved, making the plants and the building facade complement each other perfectly.

On the south side of the showroom building, there is an outdoor seating area for customers visiting the showroom, which also serves as the main stopping point. Despite the strong industrial atmosphere, one can also feel the vitality of the greenery.

The exhibition building consists of three floors. The first floor mainly includes exhibition areas, photography areas, and a water bar. The second floor is dedicated to lighting and large furniture displays, while the third floor is for showcasing seating furniture. The overall space is predominantly white, with a focus on furniture displays. Natural light from the high windows on the north side creates a subtle effect when combined with the furniture displays.

The warehouse follows the original building structure and considers the scale of handling goods based on the position of columns. Each span of columns is used as a shelf area, labeled with numbers for easy identification, and the contrast between yellow and black helps people quickly recognize the shelf numbers, facilitating zoning management.

The project started in Panasonic Industrial Park, Jianggan District, Hangzhou. The original office space of Smart Life Business Department could not fully meet the demand of existing personnel since the beginning of 2022, as new workers increased. In this case, after communicating with the heads of various departments of Panasonic, Say carried out research and renovation design on the spatial scale and division of the office space, and proposed an office mode different from the current situation, but more suitable for contemporary enterprises.

We pushed the fixed office stations to the north and south sides, leaving a clear pathway in the office center, and made the safety glass of the two sides of the station as the partition of each group, which brought the original fixed stations more orderly.

The central pathway area is affected by the original structure. But adhering to the principle of maximizing the utilization of space, various flexible space such as telephone conference area, leisure area, meeting room and temporary office are placed between each column network satisfying the greatest daily office demand of employees. So an office hub that can efficiently serve the north and south areas was built.

The central box of different scales can apply with different functions, through the soft and fuzzy separation, achieving a comfortable proportion of the space. Say is fond of using lightweight space materials to create flexible and practical areas. Two blue boxes made of aerospace aluminum are integrated into a meeting area for large or small meetings and teleconferencing.

The unique modular character of aluminum and white sand glass not only meets the flexibility of application, but also ensures the transparency and rhythm of space.

The mobile office area used for temporary work by people from other cities or departments, is placed in the middle of the two boxes to facilitate communication with people around.

The use of color in the established space is also of great importance.

Panasonic's brand blue is used in a large area of the space, and the different shades of blue bring a sense of hierarchy to the space. Say’s use of color in the office space is clear, different color indicates the special function of different space: blue symbolizing "calm" is used in the meeting space; Red symbolizing passion is applied to the communication space; Yellow, a symbol of cheerful, is used in the creative brainstorming space; while green, which makes people relax, is used in the rest space.

It stems from the memory that the brand founder lived in the lane playing basketball since he was a child, and the hollow sound of basketball has become the origin of the brand name Phew. Thanks to this simple joy, phew hopes that every young person who loves sports can be simple, pure, decent and confident. Say architects was entrusted by it to build the flagship offline store in downtown Hangzhou, which is open to all citizen.

The design concept unfolds as a "lane traveling", where pavement tiles are laid into the interior of the venue, making the interior space a natural part of the street and a lane in the neighborhood. Phew's open door creates an open, free and relaxed state for the outside world, unlike traditional commerce.

Both pedestrians and community residents can walk into the space naturally along the sidewalk, and the space materials and props in the room also come from the memory of the lane.

The entrance to the lane is an traditional track door bar, while the real entrance is pushed back by 1.2 meters. The semi-open grey space becomes a small yard, which is also an area where every household used to take their own stool out to chat.

Four "small houses" are placed inside the space, which perform the functions of coffee, fitting room, warehouse and bathroom.

They do not come into hard contact with space but exist in the structure with stitches. It is often said by the elderly that it is another year for repair. Random splicing of plywood, functional blocks on the outside, and the shape of the house with rounded corners jointly build the life form of the old base.

The lifting hangers on both walls are like the clothes hangers that protruded out of the balcony in the past, and descended during the day as a clothing display. After the store was closed, they all rose, accompanied by the switching of lights, which happened to be a large art installation.

The daily changes in display make a subtle difference in this artwork, which is the rigid demand of life and the art of life.

void is a comprehensive concept store that integrates fashion, art, culture, and lifestyle. Commissioned by the founder of void, say architects designed the second physical store, void2.0, located in OCT PARK, Nanshan District, Shenzhen. The space offers unobstructed views and a complete display area.

As a pioneering multi-brand store in Shenzhen, void embraces diverse cultures and carries various brand cultures and their underlying stories. say architects aimed to transform void into a map of Shenzhen, a city known for its inclusiveness, by conveying the spirit of void through the creation of totems.

In religious contexts, sculptures and totems are commonly used as carriers of people's beliefs. The inspiration for the totems in this project originated from the four initial brands that collaborated with void: Rick Owens, Ann Demeulemeester, 1017 ALYX 9SM, and Guidi. say architects extracted elements of clothing and design concepts from these brands and materialized them into four abstract totems through techniques like irregular stacking and flexible lines. These totems represent the culture and beliefs conveyed by void.

The totems gradually formed through continuous fission and growth. say architects employed an abstract language to enhance consumers' immersive experience of visualizing the brand's cultural spirit, thereby creating memorable brand touchpoints.

These totems not only spread the philosophy of void and the stories of each brand but also call upon and gather people who share the same beliefs and lifestyle. They act as sanctuaries within people's hearts, providing a spiritual pilgrimage site for free communication and expression among diverse groups. The integration of good natural lighting with sculptures creates favorable conditions for natural light and shadow within the space, enhancing the sense of ceremony.

To cater to the various brand styles of void, diverse cultural windows, and different usage scenarios, void serves as a multifunctional medium for communication that contains multiple display methods and accommodates diverse cultures.

Based on the functional aspects of the space, the area is divided into two sections corresponding to essential functions (storage, cashier, changing room) and versatile spaces (retail, exhibition, runway shows, collaborations, launches, etc.). The boundary between the two sections is blurred, creating a new retail model for multi-brand stores and stimulating participants' spatial experiences.

To better integrate functional space with sculptures and to provide maximum possibilities within the space, movable shelves and totems are utilized. This enables the display area to seamlessly switch between retail and exhibition modes, assuming different spatial roles and presenting various spatial moods.

An electric clothing rack with adjustable height is utilized to showcase different products, while movable layers and adjustable lighting provide adaptability to different scene modes. The electric clothing rack can be raised or lowered according to height requirements, and the movable layers can be freely combined. The adjustable lighting allows for different scene settings.

As a continuation and expression of the old store, the design draws inspiration from the preservation techniques of archaeological sites in museums. The layout of void1.0 is retained on the ground of void2.0. The overall color palette maintains a medium to low grayscale, accentuating the product features and creating a spatial atmosphere that exudes a sense of time accumulation.

Followed by Kerry Center Store, Petit·Yanran Xinyue Store on Yanan Road, Shangcheng District is the second store. Say hopes that the new store on the side of the street will not bring the sense of distance to customers while keeping French elegance and romance. The French experience can be obtained easily in this moderate way.

In Paris, while visiting local historical sites and walking on streets and lanes, tourists will find that cream-colored stone brick buildings with carefully carved details of different shapes on a large area of stone are seemingly local culture symbols.

Because the abstraction of urban texture will be reflected in the French dessert space after abandoning traditional understanding, giving up complex columns, carved patterns and decorative lines, Say hopes that the overall space can focus on materials and simple forms and inclusively present romantic exquisite beauty under neo-classicism in a modern and reserved language. The external wall of the original building shows the stone texture meeting our imagination. A sunshade is added based on the arched storefront style and rough stone texture, making the facade layered and creating the atmosphere of a coffee and dessert shop in a foreign country.

This is a two-floor store. Limited by conditions, two floors are separated independently. On the first floor, there are seating and gift areas; on the second floor, there are seating area, private kitchen and transparent dessert preparation room. Taking a panoramic view of the plans, the integrity and functionality of each space are kept in composition and proportion.

In atrium, a semi-circular area is regarded as the display area of desserts and gifts. While bringing smooth arrangement of dynamic lines to the seating area, the cambered wall standing in the center is used for proper obscure vision between the store and the shopping mall; the semi-open design endows the sense of separation.

Candlestick-style wall lamps and inlaid floor lamps seemingly bring the space a retro and solemn dramatic effect.It's like wandering through local history. Curved wall reflects the simple application of arc elements in local buildings, softly expressing hard stone. Facing the west, the store will be covered by afternoon sunlight, adding a warn tone to the space.

If arc expresses rich emotions, straight line is a smooth and clean language in a simple, straightforward way. Set off by a large area of retro cream-coloured tone, the bar counter applies cone pattern and stone fully, lightening the overall space.

Except exquisite desserts, the dining table is made of black stone scattered with golden, which will distract customers’ attention to the artistic pattern extending from orderly conflicts.

Although the complex expression way is abandoned, Say still keeps the core of exquisiteness. Through simple texture and block surface processing, perfect integration is realized, and the distance with customers is closed for better personal experience. Starting from actual perception, customers will see and taste the rich layers of desserts.

Located in a resort in the outskirts of Guangzhou, the Levitated Curtain is an iconic building for wedding ceremonies and public events.

In Guangzhou, weddings usually start at 7 am, but the ceremony only begins around 6 pm, then Xi Hall will serve as a multifunctional space for dining, photo shooting, reception and several other purposes in the day, and becomes a sacred place for the wedding ceremony at nightfall. When there are no weddings, Xi Hall which sits in the center of the resort will be a perfect location for sightseeing and allow public events for different occasions.

The unique streamline of Xi Hall was inspired from the Wok Room, a traditional residential architecture from Lingnan area of China that featured with wok-handle-shaped pediment.

Wok is a cooking pot originated from China, the hump in the middle of the pediment looks like the handle of the wok, then it is called Wok Wall, which helps to block the wind or the fire, and serves as a main bearing structure of a house.

The architect abstracted the shape of a wok wall and applied it to the east and west elevation of Xi Hall, by which two wok-wall-shaped openings were created, connecting the interior to the outdoor landscape.

Between the walls with the special openings, there is a curved roof sloping towards the grassland in the north like an elegantly draped curtain.

Looking through the void of the“wok walls”, the dark curved roofs is floating and dancing like three curtains. The structure under the ceiling is painted white, almost invisible if you look at the building from the east or the west perspective.

When the lights come into the hall through the U-shaped glass wall, the entire building is calmly“floating”above the ground.

When the night falls, the space is illuminated from the inside, then the sense of volume is highlighted with the light, making the architecture a Kongming lantern that is about to levitate, bringing blessings to the nature and the people here.

The curtain-like streamlined roof endows the building with an embracing gesture, holding mountains, forests and rivers into its arms, thus a space of spirit and nature was created, allowing more air and light to flow into the building, and bringing out a demeanor of floating in the stillness.

As a place for gathering and sharing, the architect looks forward to bringing more flexibility to the space to connect the activities inside the hall and the fabulous landscape outside. Eventually it is a completely open space, adding a romantic touch to the spirituality of nature with a modest but welcoming gesture.

The architect also designed an Ω-shaped corridor attached to the hall, echoing with the wok-wall- shaped openings while connecting the hall with the nature behind.

Along the path, people will witness the important moment of a wedding when the father is taking his daughter to the groom. At nightfall, the setting sun cast its golden lights through the wok-wall-shaped openings to the couple as well as every corner of the space.

The open structure enables Xi Hall with more functions. When there is no wedding, people can enjoy multiple activities here, including dining, lectures, gatherings or simply taking a rest.

The green lush inside the resort indulges the visitors in the tranquility and peacefulness, then the graceful and serene Xi hall lightened people’s eyes upon their arrival. A bride who celebrated her wedding here once said,“I wanted to wall in here with my barefoot”.

Say architects has designed a new concept store for Panasonic, a global leader electronics brand, on Hangzhou Lakeside Pedestrian Street. Panasonic entered the Chinese market in 1987 has been committed to the Chinese market to convey the concept of people-oriented. Say also hopes to take this opportunity to reinterpret the localized expression of international brands in China and create a new landmark building for the Lakeside Pedestrian Street.

The commercial space of traditional electrical appliances is relatively closed and the facade is usually covered with a large area of advertising and enclosure. And it makes the commercial advertising as the starting point of consumption decisions. However, Say readjusted the facade of the building and opened eight external display windows. These open windows replace the traditional large advertisements and make it easier for visitors to visually touch the brand. The prioritization of the experience feeling brings more vitality to the street and community.

Say regards the whole building as two parts: the lower part is gray bricks rooted in the local area and the upper part is silver plated based on the international area. And there is a natural and smooth transition at the junction. Traditional culture and technological innovation are ingeniously integrated in the facade just like the intimate handshake between Panasonic and Chinese culture.

During the process of manual silver plating, a large number of bubbles will be produced in the handmade brick. When producing in the fire, the bubbles break and form a unique natural texture. Therefore, the diffused reflection of lights are carried out, greatly reducing light pollution.

With the rejuvenation of the country's consumer market, Say hopes to create a more vibrant building facade as a brand image. Hand-plated silver bricks are replaced half of the gray bricks. From the early morning to the dusk, the building is like a vibrant mirror, happy to feedback natural colors to young consumers. Seasons, weather and temperatures are integrated into the building facade. The building is very much like a frank and sincere child, passing on the joys and sorrows of nature to every citizen who pass by.

The indoor space is divided into two floors, which is divided into two symmetrical spaces with the floor axis. Different from the traditional display mode of enterprises, the route and the space are divided into one floor of space through four rooted land floating island brick platforms, which also symbolizes the coping strategy of Oriental culture in international culture. The ceiling is composed of 13 4.2-meter stainless steel mirror panels to help consumers understand the space exhibits in multiple dimensions. In order to solve the problem of air conditioning maintenance, each plate driven by two customized motors can be lifted separately. They are like Panasonic products, whose visual also pursues the ultimate aesthetics in ensuring good practicality.

The main road with the largest traffic of Lakeside Pedestrian Street is located in the south of the site, where two pieces of nearly 8 meters of low-e glass form a transparent southwest corner, the internal high space cooperates with LED curtain wall, circulation play a short film created by new media artists ZHANG Chi for the bright house, the implicit artistic creation bringing to every consumer through the most direct way is also Say’s exploration and practice of new retail space.

To ensure the maximum display scale along the street, the double running staircases originally are located on one side were converted into straight running stairs and placed behind the display wall. The visual window of Panasonic air conditioning serves as a guide to the entrance to the stairs. The whole staircase is covered by the casting foam aluminum. The century-year development history of Panasonic is recorded in an etching manner through the whole way upstairs, bringing a journey of time and space.

The mirror symmetry space of the exhibition hall on the second floor and the ceiling echoes the glowing ground on the ground floor, and the walls extend from the facade to the interior maintaining the continuation and unity of the style. At the end of the space is the indoor terrace on the second floor and LED's video art consistently conveys the brand spirit, while the array of CNC TVs on the other side becomes the guide to the penthouse garden.

The mix of warm color floors and stainless steel elements makes the abandoned roof form into a private and young garden terrace, bringing flexible possibilities to the traditional commercial space.

Panasonic Bright House integrates nature, citizens, culture and corporate brands, appropriately brings humanities and technology into people's lives, and also shows the world the localization expression of international brands in China.