MOMO ERA STUDIO徐汇店

公司：	多么工作室	类型：	室内
地区：	中国	标签：	商业空间

身体需要衣服，心灵需要屋子

The Body Needs Clothes, The Soul Needs a House

在繁华都市里MOMO ERA致力于为都市女性提供不同产品线的服饰。品牌在选址时，避开了直面熙攘的街道，而是拐进了一个创意园区内部，与街道喧嚣保持恰到好处的距离，以一种内敛专属的调性存在于园区中，这是一次对零售店的挑战，却也给设计带来了新的局面。业主委托多么工作室为其设计改造，并期望营造出一种与人亲近，自然纯粹且弥漫着旧时光韵味的购物环境，让每一位顾客都能感受到家一般的松弛与自在。最终，我们寻回到了一个亘古常新的议题“身体-空间”。

In the bustling city, MOMO ERA is dedicated to offering urban women a variety of clothing lines. When selecting a location, the brand chose to avoid the busy streets and instead entered a creative park, maintaining a perfect distance from the noise of the street. Within this park, the store has its own understated and exclusive tone. This choice presents a challenge to traditional retail design but also opens up a new direction for the design. The owner entrusted Atelier d’More to renovate and design the space, hoping to create a shopping environment that is intimate, natural, pure, and imbued with a sense of nostalgia—a place where every customer can experience the ease and comfort of a home. Ultimately, we returned to the timeless theme of “Body - Space.”

意向

Concept

到来、游走、选购、落座，为身体选择当下遮体的服饰，让心灵在此也得到片刻的遮盖，这是我们期待的空间所能体现的设计诉求。场地是沿园区内部主向道路展开的一座单体建筑，整体立面在早期园区第一次的改造中，稳重均质的混凝土梁柱体系被欧式造型装饰刻意地隐藏了起来。拆除附赘的装饰，显露在我们面前的是建筑结构原本真实的面貌，每隔三米一品的柱跨均质地连接起九个立面洞口，并托起了一个10米*30米微微隆起的人字坡顶，一个大屋子的意向顿时映射在空间内。为了能让人来到建筑前就感受到屋子的形象，我们需要赋予在建筑立面上一个新的屋顶——它带来了一条屋前的长廊，人从两端走来时，屋顶微微起翘，接近入口时，一反通常的店铺门面放大扩张的处理，它又平缓下躺，似乎有意遮掩内部熟客的热络，又似乎是要拉进距离，体贴你。附在其上的红雪松木瓦鳞次栉比地顺着曲面屋顶一路爬进了室内，在结束于空间高处的位置，人造天光从上洒下，浇淋在每片不同角度的木瓦面上，光影、形态在建筑柱廊间舒展、隐现，至此，屋子有了一个正面的形象。

Arrival, exploration, selection, and seating: for the body to choose clothing that covers it in the present moment, and for the soul to find a moment of refuge—this is the design aspiration we aim to embody in the space. The site is a standalone building along the main road within the park, with an original façade that, during the park's early renovation, deliberately concealed the heavy, homogeneous concrete beam-column system with European-style decoration. By removing these added decorations, the authentic structure of the building was revealed: a series of columns every three meters connecting nine window openings and supporting a 10m x 30m gently curved gable roof. This immediately evoked the image of a large house within the space. To make the building resemble a house even from the outside, we gave the façade a new roof, which created a corridor in front of the building. As people approach from either side, the roof gently lifts, and as they near the entrance, it flattens out, subtly contrasting with typical store entrances that expand outward. This approach seems to intentionally conceal the warm interactions inside and, at the same time, draws people closer, making them feel at ease. Attached to the roof, red cedar shingles climb along the curved roof, eventually reaching the high point of the space. Artificial skylights above cast light downwards, showering the varying angles of the shingles. The light and shadows play between the columns, creating a dynamic between presence and absence. Thus, the house finally assumes a clear and inviting form.

屋子——功能、形式、材质

The House—Function, Form, Material

随着空间向内展开的是位于中央的前厅“内院”，圆形中岛收银台在此既是室内迎客的流线起点，也是选购的终点。两侧的陈列区入口墙面像泥塑般地拿捏糅合后，在互相映衬下谦逊地围绕着中岛前行显现。整个弧形背景面沿居中线向两侧从原墙面上逐渐分离出，又向中岛区缓缓收拢，模拟品牌字形的几何壁龛安静地嵌入其上，没有多余的装饰，瞩目、却不张扬。来此，无论是采买还是休息，“内院”总以包容的姿态等待着每一位客人。

As the space unfolds inward, it reveals the central “inner courtyard.” The round central island cashier serves as both the starting point for welcoming guests and the end point for shopping. The entrance walls of the display areas on both sides are sculpted like clay, softly surrounding the central island. The entire curved background surface gradually separates from the original walls and gently narrows toward the central island area. Geometric niches, simulating the brand’s typography, are quietly embedded into the walls—unobtrusive, yet eye-catching. Whether for shopping or resting, the “inner courtyard” always awaits guests with a welcoming attitude.

围绕着“内院”两侧的流线，彼此串联起三个陈列区域，摈弃了集合式的试衣区布置方式，而赋予其独自的体量形象，拖长的尾部、聚拢的顶口、上扬的角线、从立柱上剥离出的墙面、在转角处凹陷下去的开口，使原本规矩的轮廓，呈现为互相呼应的柔和“小屋”，有机地错落在空间流线上。而在角落，仓库、卫生间顶面外形也故意放低作斜坡状，让它们看起来更有小屋的形象。

Around the “inner courtyard,” three distinct display areas are connected through a flowing circulation. Departing from the typical clustered fitting room layout, each area is given its own unique volume and form. Elongated tail ends, gathered upper openings, raised corner lines, walls stripped from columns, and recessed openings at the corners create an organic flow, transforming what was originally a rigid layout into a series of harmonious, soft “small houses” scattered along the space. In the corners, the shapes of the warehouse and restroom ceilings are intentionally lowered into sloped planes, enhancing the image of small houses.

为了契合屋子亲人的属性，在材料选择上以小替大、以旧替新——没有用大面材料整铺地面，而是用10厘米*10厘米的小块莱姆石，它以“内院”中心成环形放射状铺贴，在圆形前台桌的边界立面上，又顺势错缝攀爬而上；而与人直接接触的家具制品，用的是从旧门板上拆解下来的老榆木条板，通过再次的排版、剪裁、上色，注入其全新的功能意义；空间整体的漆面色按擦色涂染的工艺方式，呈现斑驳的印迹，为空间平添了材料本身的年代感。未采用成品的明装商业照明灯具，而是手工拼制一个个球形灯，半嵌入吊顶腔体内，隐去了灯具的底座，显出了悬浮的光源轮廓，这也为屋子装扮了新意。

In terms of material selection, we sought to replace large-scale materials with smaller, older ones to reflect the family-oriented essence of the house. The floor is not laid with large tiles, but with 10x10 cm small blocks of lime stone, arranged radially from the center of the “inner courtyard.” These stones extend upwards along the walls at the edge of the circular cashier desk. The furniture, which directly interacts with people, is made from old elm wood slats salvaged from old door panels. These slats have been reassembled, cut, and painted to give them new functional meaning. The overall paint finish of the space is applied in a rubbing technique, leaving a mottled trace of age on the surfaces. Rather than using typical commercial lighting, we handcrafted spherical lights, partially embedded into the ceiling, hiding the fixtures and creating a floating light source that adds a fresh touch to the space.

身体记忆——一个空间回响另一个空间

Body Memory—A Space Echoing Another

我们尽可能地去调和项目中客观因素和需求，让它们有适合的存在方式。加厚的廊柱是因为原结构柱内外的尺寸差异，新塑的契形柱身，经打磨后，更显温润古朴的质感；被吊起的“木梁”是为了满足成衣吊索的安装需要，用传统的咬合方式锁扣在现代混凝土梁上，最终却像是过去木梁记忆的一个片断；贴近结构梁底的吊顶斜坡是为躲过上方的空调管道，于是有了一个完整通长的人字坡顶。因此，从整个施工角度而言，并非物理意义上地盖了一座完整屋子，但当客人歇脚落座后，目光跟随空间的轮廓延伸，或许刹那间，这个非建造意义上的屋子回响了另一个曾经到达过的屋子——我们被庇护过，同样在一处低矮的坡顶下；我们驻足过，同样在一片长长的屋廊前，而下意识地拉下衣领，是熟悉的贴身记忆。

We tried to harmonize the objective factors and needs of the project, ensuring they found an appropriate way to coexist. The thickened corridor columns were a result of the difference in dimensions between the original structure's inner and outer columns. The newly shaped, tapered columns, after being polished, have a warm, antique texture. The “wooden beams” suspended from the ceiling were designed to accommodate the installation of garment hangers. They interlock with modern concrete beams using traditional methods, thus recalling a fragment of the memory of past wooden beams. The sloped ceiling, close to the structural beams, was created to avoid the air conditioning pipes above, resulting in a continuous, unbroken gabled roof. Therefore, from a construction perspective, we did not physically build an entire house, but once a customer rests and looks around, following the contours of the space, perhaps in a fleeting moment, this “non-built” house echoes another house once visited—a place of shelter under a low, sloped roof, where we once paused and instinctively pulled down the collar of our clothes, reconnecting with familiar memories.