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LOCATION ▸ SHANGHAI

CLIENT ▸ KEIGAN

YEAR ▸ 2025

STATUS ▸ COMPLETED

PROGRAMME ▸ CLOTHING STORE

COLLABORATORS ▸ -

PHOTOGRAPHER ▸ ZHUDI@SHADOOPLAY

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PROJECT SYNOPSIS ▾

THE PROJECT IS SITUATED IN THE BUSTLING HISTORIC DISTRICT OF WEST NANJING ROAD IN SHANGHAI, WHERE BUILDINGS FROM VARIOUS PERIODS AND STYLES COEXIST. OUR INITIAL CONCEPT WAS TO PRESERVE THE EXTERNAL VOLUME TO MAINTAIN CONTINUITY WITH THE SURROUNDINGS, WHILE ONLY RESHAPING THE INTERIOR SPACE. UPON SURVEYING THE SITE, THE TRIANGULAR PITCHED ROOF STOOD OUT AS A DEFINING FEATURE. AT THAT POINT, WE RECOGNIZED THAT THE ORIGINAL BUILDING HAD ITS OWN DISTINCT CHARACTER, ENHANCED BY THE PASSAGE OF TIME, AND THE PROJECT NEEDED TO FIND A WAY TO ENGAGE IN DIALOGUE WITH IT. THE NEW STRUCTURE IS POSITIONED WITHIN, DEFINING ITSELF AS AN EXCEPTIONALLY PRECISE, INDEPENDENT VOLUME. THE ARCHITECTURAL RENOVATION STRATEGY EVOLVED INTO A DYNAMIC INTERPLAY BETWEEN THE NEW VOLUME AND THE OLD STRUCTURE....

"CARVED WHITE HOUSES INTERPRET THE NEW ARCHITECTURAL SPACE"

THIS NEW STRUCTURE WAS CONCEIVED BASED ON AN ELEGANT, MODERN CONCEPT: TRIANGULAR, VOLUMETRIC, AND LUMINOUS. ITS COMPOSITION IS GUIDED BY ITS RELATIONSHIP WITH THE LANDSCAPE AND THE EXISTING BUILDING, ACCENTUATED BY THE USE OF WHITE MATERIALS. THE EXISTING PITCHED ROOFS OVERLAP SUBTLY, WITH DELICATE DISLOCATIONS AND ANGULAR SHIFTS REMINISCENT OF AN AUTHENTIC STREETSCAPE. THE FLOOR PLAN IS SIMPLE: TWO NEW VOLUMES CREATE SPACE BETWEEN THEM, ESTABLISHING RELATIONSHIPS BETWEEN INTERIOR AND EXTERIOR, PRIVATE AND PUBLIC, OPEN AND CLOSED.

THE GARDEN AND THE STREET ARE SEAMLESSLY INTEGRATED, WITH OVERLAPPING LANDSCAPE FORMS CREATING LIVELY ELEVATION BOUNDARIES, MAKING THE APPROACH FROM THE STREET AN ENGAGING EXPERIENCE. THE WINDOW OPENINGS OF THE WHITE HOUSES ADOPT UNCONVENTIONAL SCALES; THE LARGE FLOOR-TO-CEILING WINDOWS, LIKE INDEPENDENT ELEMENTS, ARE ANGLED AWAY FROM THE FAÇADE, ENSURING THE WINDOWS ARE NOT MERELY SIMPLE ATTACHMENTS TO THE WALLS.

"INSIDE" AND "OUTSIDE" ARE NOT DEFINED BY PARTITIONS OR GLASS BUT BY SPATIAL CONCEPTS: BY PLACING THE TWO WHITE HOUSES ON A CONTINUOUS STONE FLOOR, THE INTERIOR OF THE HOUSES IS DEFINED AS INDOOR SPACE, WITH SLANTED CEILINGS CREATING AN INTIMATE, HUMAN-SCALE ATMOSPHERE. THE EXTERIOR OF THE HOUSES—WHETHER THE OPEN-AIR GARDEN OR THE COVERED RETAIL AREA—IS UNIFORMLY REGARDED AS OUTDOOR SPACE, CHARACTERIZED BY SIMILAR PUBLIC ATTRIBUTES AND AN OPEN, SOCIAL AMBIANCE. THE INDOOR AND OUTDOOR SPACES ARE NOT INDEPENDENT OF EACH OTHER; RESTRAINED OPENINGS FRAME VIEWS, CREATING VISUAL LAYERS, AND THE EXTENSION OF SIGHTLINES ALLOWS ONE TO PERCEIVE THE FLUIDITY OF THE SPACE.

ASCENDING A SCULPTURAL STONE STAIRCASE TO THE SECOND FLOOR, THE ENTIRE LEVEL IS CONCEIVED AS A COMPLETE, CABIN-LIKE INTERIOR. WHITE WALLS CLEARLY ARTICULATE THE SPATIAL CHARACTER OF THE PITCHED ROOF, RESEMBLING AN ABSTRACT CONCEPTUAL SYMBOL. THE ORIGINAL WOODEN DOOR LEADING TO THE TERRACE HAS BEEN REPLACED WITH A FULL-HEIGHT SLIDING GLASS DOOR, WHILE THE STONE FLOORING EXTENDS SEAMLESSLY FROM INDOORS TO OUTDOORS, UNFOLDING INTO A PRIVATE ROOFTOP GARDEN.

A DARK WOODEN STAIRCASE LEADING TO THE THIRD FLOOR IS CAREFULLY RECESSED INTO THE WHITE WALL, WITH A CHANGE IN FLOOR MATERIAL SIGNALING AN IMMINENT SHIFT IN SPATIAL ATMOSPHERE—A MODERN LOFT EMERGES AS THE INNERMOST SECRET OF THE SPACE. UNLIKE TRADITIONAL DIMLY LIT ATTICS, THE WALLS AND CEILING ARE TREATED AS CRISP WHITE VOLUMES, WITH TIMBER BEAMS SUSPENDED HIGH ABOVE, REVEALING THE UNIQUE CHARM OF THE LOFT’S STRUCTURAL FRAME. A MINIMALIST STONE FIREPLACE MATERIALIZES THE IDEAL CONCEPT OF A LOFT.

IN THIS PROJECT, MATERIALS MAY NOT BE THE CENTRAL FOCUS OF OUR DESIGN, BUT RATHER THE WAY EACH MATERIAL RELATES TO THE PROPOSED SPATIALITY. OUR SENSES ARE DRAWN TO THE VISIBLE MATERIALS: THE UNIFORM WHITE WALLS SERVE AS THE PRIMARY SPATIAL ELEMENT, OFFERING A CLEAR CONTRAST AGAINST WHICH OTHER MATERIALS CAN STAND OUT, FORMING A PRISTINE, MODERN BACKDROP. NATURAL STONE EVOKES A PERCEPTION OF AUTHENTIC NATURE, AND CARVING VARIED TEXTURES FROM THE SAME STONE SERVES AS AN UNDERSTATED DECORATIVE TECHNIQUE. HIGH-GLOSS APPLEWOOD, WITH ITS DECORATIVE GRAIN AND REFINED SHEEN, IS USED SPARINGLY AS AN EYE-CATCHING ACCENT—A RESPONSE TO THE COMMERCIAL NATURE OF THE SPACE.

AS AN ART FORM, ARCHITECTURE NOT ONLY PROVIDES PHYSICAL SPACE BUT ALSO SUPPORTS LIFE—MAKING IT POSSIBLE AND MORE WORTH LIVING. THE PERSISTENCE OF LIFE COMPELS BUILDINGS TO ADAPT TO DIFFERENT USES; IN A SENSE, ARCHITECTURE’S CAPACITY TO RESPOND TO THESE NEEDS GRANTS US A DEGREE OF PERMANENCE, ALLOWING LIFE TO UNFOLD NATURALLY—MUCH LIKE THE LIFE AESTHETICS CONVEYED BY THE KEIGAN BRAND.

项目位于上海繁华的南京西路历史街区中，不同时期与风格的建筑共存于此。我们原本的想法是保留外部体量，以保持与环境的联系，只是重塑内部空间。当我们勘察场地后，三角形的尖屋顶是其显著的特征。这时我们意识到原有建筑有着自己的个性，并被时间所强化，这个项目需要找到一个与之对话的方式。新的建筑被放置其中，把自己界定为一个极其精确的、规则独立的体量。这个项目建筑改造策略演变成了新的体量和旧的建筑之间的张力。

"雕凿的白色房子诠释新建筑空间"

这个新建筑以一个优雅现代的概念为基础构思而成：三角形，体块、明亮。它以景观和原有建筑的关系作为构成逻辑并以白色材质加强对比。既存的坡顶交叠错落，微妙的错位和偏转角度如同真实的街道场景，建筑平面很简单，两个新建筑体块生成了它们之间的空间，创造了内与外，私密和公共，开放和关闭的空间关系。

花园与街道不设任何隔阂，通过景观形式的交叠形成生动的高差边界，从街道接近建筑的体验因此具有趣味性。白色小屋的窗洞采用了非常规的尺度，巨大的落地窗如同独立物件与立面形成偏转，使窗户不只是对墙体的简单依附。

“内”和“外”并非通过隔墙和玻璃定义，而是一种空间概念：通过将两个白色小屋放置于连续的石材地面上，小屋的内部即被定义为室内，倾斜的天花形成近人的尺度，营造私密的氛围；小屋的外部，无论是露天花园还是非露天的零售区域，则被统一视为室外空间，因其具备相似的公共属性和开放的社交氛围。室内外空间并非相互独立的存在，克制的洞口形成框景，构建视觉的层次，视线的延伸使人感知到空间的流动性。

从一个雕塑感的石材体块楼梯进入二楼，整个二楼被处理为一个完整的小屋内部。白色墙体清晰地显示坡屋顶的空间特征，如同一个抽象的概念符号。旧建筑通往露台的木门被替换为整扇的落地移门，地面石材由室内通铺至室外，延展为一处私密的空中花园。

通往三楼的黑色木楼梯被精心嵌入白色墙体内部，地面材料的变化暗示了空间氛围即将发生转换，一处现代的阁楼成为空间最深处的秘密。有别于传统阁楼的昏暗，墙体和天花被处理为清晰的白色体块，顶部木梁高悬，显示出阁楼梁架的独特魅力。造型简洁的石材壁炉将理想阁楼的概念具象化。

在项目中材料也许并非我们设计的重点，而是某种材料与所提出的空间性的联系的方式。我们的感官会聚焦在可见的材料上，单一材质的白色墙体作为空间的主体，为其它材质的呈现提供了足够清晰的对比度，成为极具现代性的纯净背景。天然石材唤起人们对真实自然的感知，使用相同石材雕刻不同的肌理，是低调的装饰手段。高光苹果木以其富有装饰性的纹理和精致的光泽，以克制的比例成为吸睛的点缀，是对空间商业属性的回应。

建筑作为一种艺术形式，不仅提供了物理空间，也是对生活的支持，使生活变得可能，变得更值得拥有。生活的持久性迫使建筑物适应不同的用途；在某种意义上，建筑应对这些需求的能力给了我们一定程度的永恒，让生活得以自然地展开，正如KEIGAN开间品牌所传达的生活美学。

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