回到室內(nèi)空間本身，奢侈品商店設計原室內(nèi)空間關系較為狹長，且只滿足于僅有一面的通風采光條件，這無疑對于空間本身的體驗感是極為不友善的。如何讓本就不算寬敞的空間里，有更為豐富的空間體驗，同時又能滿足更為充足的商品陳列需求，是室內(nèi)設計需要解決的基本問題。

Return interior space itself, relation of former interior space is relatively long and narrow, and be satisfied with only one side ventilated day-lighting.

This is undoubtedly very unfriendly to the experience of the space itself.

How to make a richer space in this space and meet the needs of more adequate commodity display, is the basic problem that interior design needs to solve.

回到一個消費者的角色中，我開始思考，怎樣的一個商店，才會吸引我去探究、去消費、去傳播。這看似最基本的商業(yè)訴求，反而是當下眾多零售空間所缺失的主體性問題。所謂的設計主題（噱頭）被設計師無限放大后，往往走向形式大于內(nèi)容的誤區(qū)，一通拍照過后，我們不僅無法關注到品牌應有的個性，更無法愉快的產(chǎn)生購物體驗。

As the role of a customer, I began to think about what kind of store would attract me to explore, consume and spread.

This seems to be the most basic business appeal, but it is the subject that many retail spaces are missing.

The so-called design theme (gimmick) is infinite amplification by designers, the form is often greater than the content itself, after some shooting, we do not care about the personality of the brand should have, we can not produce a happy shopping experience as well.

所以，室內(nèi)空間的規(guī)劃，是依托于消費動線與品牌認知過程而展開的構思邏輯。首先，我們用一個狹長的門廊通道將原空間分為了左右兩個空間物理關系。并在這個黑色立方體的末端設置了一面做舊的銅板墻體，奢侈品商店設計設置這種色彩、質(zhì)感的目的，除了可以形成一個引導進入的視覺關系外，其表面懸浮的壹臻logo，也是在通過某種心理暗示告訴到訪的客人，“我”的名字叫——壹臻。

Therefore, the planning of interior space is a conception logic based on the process of consumer movement and brand recognition.

First of all, we divided the original space into two physical relationships with a narrow porch passage.

An old copper wall is set at the end of this black cube. The purpose of setting this color and texture is not only to form a visual relationship leading to the entrance, but also to tell the visiting guests that My name is THE ONE through some psychological hint.