本项目是商源甲古文位于杭州的总部空间，兼顾办公、展示和举办各类活动等功能。 商源甲古文是一家聚焦于快消品创新的设计机构。 一直以来，“make something new”是甲古文的品牌精神，也是对本次空间设计的诉求。因为项目设于商源大厦的顶层，设计师提出了舍弃”前台”与”门”的布局，把展厅和部分公共空间提升成为大厦的配套，可供其它楼层和友商们使用，因此释放了更多可利用的空间，让来宾无意识地便进入至甲古文的总部之中。商源大厦是一座典型的电梯厅在中心，外围均为玻璃幕墙的正方形建筑。 设计师须应这一特点营造由暗至明的空间体验。 当客人到访时，有如前往城市高层建筑的观光层，首先映入眼帘的是由黑色仿石PU板包裹的电梯走廊，在光线略暗的环境下，人会自然慢下脚步，进入一种注意力相对集中、认真观察的状态。展示空间围绕电梯厅的墙面展开，设计师以“平行线”为概念，设计了一组由多层海洋板堆叠而成的展墙，一组由银色金属板构建的展架。 平行线简练且单纯，富有视觉张力，通过前后交错的方式设计，让静止的物件产生了动态的感受。 随客人走动时的视觉变化，让空间时而如画廊般宁静，时而如电影般生动。 平行线没有前与后的方向区分，利用建筑本身的8字形动线，游人能从任何方向开启探索之旅。在展示厅与办公区相邻处，设计师让平行线相交，设计了两组可移动的X型展柜作区隔，展柜可以随不同的展示需求而变动方向与位置，并模糊了不同功能空间的界限。设计师以虚实相间的节奏，将需要隔音与私密性的会议室以盒子形式包裹，会客区和分享区则位于盒子之间，盒子的外部墙身则巧妙地置入了所需的功能，盒子内部的天花设计，延伸了建筑外观由矩形阵列组成的特征，加深了客人对此地的独有印象。 建筑本身是大盒子，在其中置入小盒子，将各功能空间合理放置，需要幽暗和隐闭的空间在内，需要采光和开放的空间在外。在思考什么样的设计能达到“make something new”这个诉求时，设计师认为这个答案不应该是复杂的或看起来很花哨的样子，而是因简单而好。包裹电梯厅的黑色墙面，设计师选用了PU仿石板材代替真石，在关注使用环保材料与工艺的同时，设计师认为尽可能地”少制造“也是对环保和可持续发展更直接的行动方式。 设计师以Anton Repponen的数字艺术作品为原型，创作了本项目的影像画面，呼应平行线的设计概念。
This is the designer's message after completing the project, which arises from the necessity to thoroughly consider the needs and opinions of various stakeholders from the outset of designing this project. Designers, investors, property owners, operators, suppliers, and others embody diverse roles, perspectives, values, ages, and life experiences... In situations where reconciliation is challenging, embracing innovation becomes the only viable option... Creating something innovative...This design objective garnered unanimous support...This project involves the headquarters of Shangyuan Kegowen in Hangzhou, which integrates office, exhibition, and event organization functions. Shangyuan Oracle Bone Inscription is a design organization specializing in FMCG innovation. The brand spirit of Oracle Bone Inscription has always been to "create something new," which is also the requirement for this space design.As the project is situated on the top floor of Shangyuan Building, the designer proposed disregarding the conventional "front desk" and "entrance" layout. Instead, the showroom and certain areas of the public space were elevated to serve as shared facilities for the entire building, providing additional space for other floors and visitors. This allows guests to seamlessly enter the Oracle Bone Inscription headquarters without even realizing it.Shang Yuan Building is a square-shaped structure characterized by a central elevator hall and glass curtain walls. Given this architectural feature, the designers aimed to craft a spatial experience that transitions from darkness to light. When guests enter the building, it feels akin to reaching the observation floor of a high-rise building in the city. The first thing that catches their attention is the elevator corridor enveloped by black imitation stone PU panels. In this slightly dimmer environment, individuals naturally slow their pace, entering a state of heightened focus and careful observation.The exhibition space is arranged along the wall of the elevator hall, and the designer incorporates the concept of "parallel lines" into the design. A series of exhibition walls, made of layered marine boards, are stacked, while silver metal plates are utilized to construct exhibition shelves. The use of parallel lines creates an aesthetic that is concise, simple, and visually captivating. The interweaving of these lines generates a sense of dynamism amidst static objects. The visual experience evolves as guests move through the space, creating an atmosphere that is both tranquil like a gallery and vibrant like a movie. The parallel lines eliminate the notion of a front or back direction, allowing visitors to embark on their journey of exploration from any starting point, guided by the building's own figure-eight dynamic lines.Next to the showroom and office area, the designer ingeniously intersects the parallel lines and introduces two sets of movable X-shaped display cabinets. These cabinets can be adjusted in terms of direction and position to accommodate various display requirements, effectively blurring the boundaries between different functional spaces.The designer incorporates a box-like structure, combining both real and imaginary elements, to enclose the meeting room, ensuring sound insulation and privacy. Between these enclosed boxes, the meeting area and shared space are positioned, cleverly integrating the required functions into the exterior walls of the boxes. The ceiling design inside the enclosed room extends the rectangular pattern seen on the building's exterior, further enhancing the distinctive impression for guests. The building itself serves as a large box, and by incorporating smaller boxes within it, each functional area is thoughtfully organized. Spaces requiring darkness and seclusion are situated inside these boxes, while areas that necessitate light and openness are positioned on the outside.When considering how to fulfill the requirement of creating something new, the designers firmly believe that the solution lies not in complexity or ornate aesthetics, but rather in simplicity and excellence.To encase the elevator lobby, the designer opted for PU stone-like panels instead of authentic stone for the black wall. By prioritizing the utilization of eco-friendly materials and processes, the designer adheres to the principle of "minimizing waste" as a direct approach to environmental conservation and sustainability. Drawing inspiration from Anton Repponen's digital artwork, the designer has crafted a video imagery that complements the design concept of parallel lines.