Project
Retail
Cultural
Restaurants and Bar
Cafe and Bakery
Other
委托方：melt season
空间设计：白菜设计
策展人：冯雅菲
空间合作艺术家：李颖颖、胡约华、胡晓文、魏小盐、姚念宇、李可华
施工方：上海顺美广告
Titled The Traces of Impermanence, the exhibition centers around three new fragrances. The brand collaborated with artist Li Yingying, who created corresponding artworks inspired by each scent. The spatial design is structured around both product and artwork, developing a cohesive display language that translates olfactory qualities into spatial and visual experiences. On the façade, we abstracted the spatial installation language into graphic elements and embedded them into the glass surface, forming a unified outward expression together with the brand identity. The façade becomes an extension of the exhibition concept. By aligning interior content with each window, the space is both revealed to the street and transformed into a visual interface.
The plan follows a linear sequence of experience. Upon entry, visitors are first drawn to a central installation, then proceed through three distinct exhibition zones, each dedicated to a fragrance. Semi-open partitions define individual atmospheres, allowing scent, artwork, and spatial elements to unfold within their own contexts.
Beyond the three exhibition zones lies the area for brand events, presentations, and retail. This space continues the material and spatial language while remaining intentionally understated. By reducing its visual presence, the focus remains on the exhibition experience, allowing the primary narrative to stay intact.
We see this exhibition not merely as a presentation of products, but as a spatial practice of perception. Scent, material, and body interact within a shared environment, turning a fleeting moment into a memorable experience. In the flow of time, space becomes a medium that holds the ephemeral, and a way for people to form a connection with the brand.
Project information:
Status: built, 2025
Area: 185 sqm
Client: Wuxing Miaoyou
Location: YangZhou
Photography: Topia Vision
Given the irregular layout, we introduced axial lines and visual endpoints to create spatial order. Within a limited footprint, the plan organizes a clear rhythm and flow—guiding the eye from one scene to another, transitioning from light to dimness, from lounge area to exhibition core.
The core thangka gallery is set at the deepest end of the space. As light gradually dims and the pace slows, red walls and dark wood flooring create an immersive setting—inviting focus, reverence, and quiet contemplation.
Centered on the idea of "carrying art," we designed a refined and restrained display system. Wooden structures, fabric coverings, and hidden lighting offer stable presentation for the thangka pieces while forming a cohesive spatial language that complements and deepens the narrative of the experience.
We chose materials that echo the handcrafted, spiritual quality of thangka art. Natural elements like wood veneer, fabric, and travertine are used across floors, displays, and furniture surfaces—serving not as decoration, but as a quiet foundation that supports the space contemplative tone. Outside the core gallery, a long bar anchors the space. Together with a long table and movable furniture, it forms a relaxed lounge area suited for daily craft sessions or small gatherings—fostering intimate moments beyond the exhibition itself.
This space offers a quiet pause within the city. The thangkas hang at its deepest point, inviting visitors to slow down, to connect—with the artwork, with themselves, and with the stillness the space holds.
Project information:
Status: built, 2025
Area: 202 sqm
Client: Chording
Location: ShenYang
Photography: Topia Vision
The core transformation was to retain the double height while adding new mezzanines. A stage with two window views became the focal point, creating a centripetal field. Here, the relationship between performer and audience was redefined, as all functions unfolded around the stage, turning the space into a small theater.
The audience is an essential part of the space. With frequent performances and events, we wanted the venue to feel right at both high and low densities. Stairs and steps were designed as seating, while the second-floor walkway and the bridge to the office also became areas where people could gather and watch.
We integrated a flexible furniture system into the space, which can be concealed when needed, allowing the functions to overlap while maintaining the overall design integrity.
Professionalism was another key pursuit. Recording studios, classrooms, and display areas were rigorously designed, with soundproofing, lighting, and equipment underscoring our commitment to quality. Visitors not only see the instruments but also feel the respect and trust for music embedded here.
At the same time, we wanted warmth. In classrooms and communal areas, we introduced approachable furniture and details, making the space a place where musicians can create with ease, and the public can relax and engage.
To counter the limits of height, we used strong vertical gestures to create a sense of stretch. This vertical order softened the constraints of the beams, making the space appear more open and free. At the entrance, a black matrix wall with diffused light sets up a rhythmic array, with embedded LEDs adding dynamic, music-like visuals. Passing through this sequence into the main hall, one feels a gradual build-up of emotion. Chording is not simply a music venue, but a composite place that fuses performance, learning, exchange, and experience. We hope it becomes a bridge between musicians and the city, gathering diverse energies and continuously generating new possibilities.
Status: built, 2025
Area: 15 sqm
Client: AXOR
Location: ShenYang
Photography: Topia Vision
We hope this space, through a contemporary Eastern consumer context, conveys a sense of inclusivity and universal harmony, allowing the brand's identity to take root locally. At its core, the design is inspired by the spiritual and poetic imagination of the Ancient East.
The design distills the ideas of landscape and origin as conceptual cues, abstracting the spirit of the Ancient East into spatial form. The imagery of mountains and water is translated into layered spatial sequences, with stone materials shaping a terrain that evokes both ancient memory and a sense of the future.
The space creates an immersive atmosphere through dark stone, a black-toned environment, and sound effects, directing the viewer's focus to the products. The deep, monochromatic backdrop further highlights the refinement and perceived value of each piece.
Aligned with the brand's concept of a "narrative of water," the installation is brought to life by a fully functional water system. Every product on display is operable, inviting visitors to engage directly with flowing water. As it moves through the stone structures and nourishes live moss, the system reveals a raw, evolving vitality over time.
Bathing is a cultural ritual shared across civilizations. Originating in the West and taking root in the East, the brand finds new resonance through this exhibition space. Here, Western-designed products engage in a meaningful dialogue with an Eastern sense of origin, reflecting a deeper cultural exchange.
Status: built, 2022
Area: sqm
Client: RUOHAN
Location: ShenYang
Photography: Topia Vision
I have always loved this quote by Clement.
The world is full of treasures that, over time, are slowly forgotten. Like those unknown stories carved into walls, still difficult to decipher to this day. Nature is clever; it captures and depicts these stories in its own way. After the baptism of wind, snow, and time, when they are presented before us, we no longer dwell on the content. We simply marvel at their enduring perseverance and are intoxicated by their endless beauty.
This collection seeks to explore the connection between past and present. It uses experimental textures to mimic antiquity and narrative language to tell a story. A series of ambiguous tones, like an artist's palette spilled over, creating an optical illusion. A sense of warmth, a sense of comfort.
I asked myself what materials the craftsmen of that time would wear while painting, and how those invited to view these great works would dress. Denim, knits, silk, and patent leather are my imagination. The purest silhouettes accommodate multiple styling scenarios, while the most exquisite details pay homage to the anonymous artists from thousands of years ago.
I want to treat the simplest visuals as artistic whispers, telling an untitled story about time.
Status: built, 2021
Area: 456 sqm
Client: LOVIVO gallery
Location: ShenYang
Photography: Topia Vision
The project is located in the ancient city area of Shenyang, inside Huaiyuan Gate and next to the Imperial Palace, surrounded by buildings of classic Chinese charm. The site occupies the first and second floors of a building rich in traditional Chinese elements. The street-facing facade is narrow, but the depth is significant. Natural lighting conditions and the site's advantages as an exhibition space are less than ideal. In this context, we decided to use the conceptual spatial tension to engage in a dialogue with the environment.
By turning both sides into mirrored surfaces and utilizing the site's depth, the space is visually stretched into an infinite space. Combined with disordered white steel volumes, it creates a sense of infinity and weightlessness of information explosion, turning the site's disadvantages into advantages.
The concept of a grid runs throughout the entire space. For a de-materialized expression, each one-meter-square area within the white steel floor grid is composed of 100 randomly arranged 10-centimeter-square stone pieces, rendering a double-layer grid system. The white steel on the floor aligns seamlessly with the mirrored walls and the ceiling above. Lighting within the space is hidden in the ceiling gaps, and through careful beam angle calculations, the fixtures remain invisible while the light is visible. The language of lines contains the entire space while extending infinitely.
The north side of the first floor features a visually continuous LED screen that serves to display content and control circulation. Combined with the mirrors, it visually extends into infinity. Four of the LED screens can rotate. When closed, the space remains a complete infinite space. When rotated open, the circulation opens up, revealing the staircase to the upper floor and the meeting space on the first floor.
We carried out an overall renovation of the staircase from the 1st to the 4th floor of the entire building. The white steel handrail extends from the first floor to the fourth, forming a thin slice that runs through all four levels in spatial logic. While broadening the perceived width of the staircase, the white steel visually presents a "V" symbol from any vantage point, reinforcing the spatial signifier element.
The second floor is an activity and leisure area for company employees. The design continues the materials, the interlocking volumetric relationships, and the sense of disorder from the first floor. By leaving the floor plan undefined, the possibilities for spatial use are increased. Through the fragmented application of materials, fragments of interaction between people and the design concept are reflected.
The space forges a place of faith, delivering a message—about technology, about reverence, about the future.
Status: built, 2021
Area: 206 sqm
Client: BaiCai
Location: ShenYang
Photography: Topia Vision
The project is located on the first floor of a residential building over twenty years old, with a brick-concrete structure. During the design process, in order to achieve a 25-square-meter fully glazed display facade, we made significant structural modifications to the exterior. We removed two existing structural columns, excavated the foundation down to the original soil layer, and reinstalled columns on both sides. Upper and lower beams were poured to form a stable grid structure, creating a clean facade while avoiding the risk of settlement caused by the weight of the large glass panels. The entrance and equipment partitions were pushed to the outside of the columns on the facade to be concealed, making the window the sole visual focal point.
Baicai's entire storefront is given over to the window. WINDOW SPACE is a boundless space for outputting ideas. It will host regular exhibitions, sharing fun things and interesting thoughts. White light breaking through the grayscale, an unadorned exterior—letting content become the facade.
At the end of an 8-meter-deep narrow corridor beside the WINDOW is a hidden door, which opens into Baicai's office space. The long corridor and hidden door allow the art space and the studio to exist independently, yet connect in a more intimate way.
The overall atmosphere of the space is Baicai's base palette: snow white and snow gray. The studio retains the original beams and columns; all other walls and cabinets are white, creating warmth and comfort through the display of content.
To ensure visual transparency and depth, bookshelves and glass are used to define zones and circulation, naturally delineating the workspace, activity area, pantry, and office.
We hope Baicai is a space with light—one that is content-rich and creative, yet also logical and free.