这家 “户外用品 “店，位于东京最令人兴奋的零售区表参道的中心，是一个思考两个现象的机会，这两个现象是在猫科动物大流行和最近的封锁期间形成的。一是人们突然渴望与自然重新联系；二是网上购物的蓬勃发展，对实体零售空间的未来提出了质疑。
This ‘outdoor goods’ shop, in the heart of Omotesando, the most exciting retail area in Tokyo, was an opportunity to think about two phenomena that developed during the covid pandemic and recent lockdowns. One is people’s sudden desire to reconnect with nature; and second, the thriving of online shopping that is questioning the future of physical retail spaces.
在过去的20年里，特别是在东京预见到互联网的兴起，零售业被重新利用为一种 “体验”，设计师们竞相编写关于参观室内的终极娱乐和魅力的经验本身。但是互联网的用户体验，现在在我们的手机里面，已经成功地不断出现，目的是要像真实的体验一样令人兴奋，甚至更多。品牌不能只是试图吸引顾客向他们出售产品；零售空间必须是一个有意义的兴奋、学费和共享经验的来源。
In the last 2 decades, especially in Tokyo foreseeing the rise of the internet, retail was repurposed as an “experience” by designers competing to author the ultimate entertainment and fascination about the experience of visiting the interiors themselves. But the internet’s user experience, now inside our cellphones, has succeeded to be constantly present, aiming to be as exciting as real experiences, if not more. Brands cannot just try to attract customers to sell them products; retail spaces must be a source of meaningful excitement, tuition, and shared experiences.
这家店试图专注于创造一个适当的环境，在这里，销售的户外商品可以通过工作人员的演示和研讨会来理解、测试和解释。这个商店成为一种类似于我们童年时喜欢参观的那些令人兴奋的自然和人类学博物馆中的透视画。
This shop tries to focus on creating an appropriate context where the outdoor goods on sale can be understood, tested, and explained by staff demonstrations and workshops. This shop becomes a kind of diorama-like in those exciting nature and anthropology museums we loved to visit during our childhood.
空间被分为 “景观区 “和 “展示区”，”景观区 “被设想为真实的自然，激起一种户外的感觉；”展示区 “被表达为建筑，带来一种在室内的感觉，在那里我们可以享受观察景观。参观者被邀请在这两个区域走动。
The space is divided into a “landscape area” that is conceived as real nature, provoking a feeling of being outdoor; and the “display area” expressed as architecture bringing a feeling of being indoors and from where we can enjoy observing the landscape. Visitors are invited to walk around both areas.
这种二分法通过一条强烈的对角线正式化，它故意忽略了现有结构的几何形状，明确界定了这两个区域的边界。这种划分是如此强烈，以至于它覆盖了现有建筑本身的内部和外部之间的限制。
This dichotomy is formalized through a strong diagonal line that, deliberately ignoring the geometry of the existing structure, clearly defines the border between these two areas. This division is so strong that it overwrites the limit between the inside and outside of the existing architecture itself.
景观区由山口优介（Saikai Engei）开发，其设计理念是尽可能真实地体验其不断变化的植被、树冠的阴影和穿过它的溪流的潺潺声。
The Landscape area, developed by Yousuke Yamaguchi (Saikai Engei), was conceived to be experienced as real as possible, with its ever-changing vegetation, canopy shadows, and the murmur of the stream going through it.
由Shinji Yamaguchi (On&Off)开发的照明，不仅在强度和色调温度上有所变化，再现了一天中的不同时段，而且在夜间为植被提供了光合作用所需的光频率。安装在天花板上的简单家用风扇，确保植被受到来自不同方向的微风吹拂。这种对景观设计、建造和长期维护的挑战意味着努力和承诺；但这同时也带来了人类对自然需求的负责任的理解。
The lighting, developed by Shinji Yamaguchi (On&Off), not only evolves in intensity and tone temperature recreating the different times of the day but also provides to the vegetation during the night hours the necessary light frequencies for the photosynthesis. Simple domestic air fans, installed in the ceiling, make sure vegetation is hit by the breeze from different directions. Such challenges for the landscape’s design, construction, and its long-span maintenance implies effort and commitment; but this brings at the same time a sense of responsible understanding from humans towards nature’s needs.
这种真实的自然和裸露的混凝土之间的对比使现有的结构成为景观的一部分。当游客们围着篝火喝着啤酒，倒映在溪水中，他们的影子投射在混凝土墙壁上，仍有以前室内建筑的痕迹时，看到这种室内景观尤其令人感动。
The contrast between this real nature and the naked concrete makes the existing structure become part of the landscape. It is especially moving to see this indoor landscape at night when visitors gather sipping beer around a campfire reflected in the stream’s water, and their shadows being cast into the concrete walls, still marked by previous interior constructions.
与HaCo为UPI设计的其他商店一样，展示区由木质工具板简单解决，成为唯一可见的人造材料。木板也完成了整个区域的天花板和地板。为了避免创建后厨和储藏室，通过将主要的工具板墙设想为一个可打开的壁橱来解决这个问题。通过拉动固定在工具板穿孔上的爬绳，代替了门把手，面板可以打开。
The Display area, same as in other shops HaCo designed for UPI, is simply solved by wooden tool-boards that become the only visible artificial material in place. Wood panels also finish the ceilings and floors of this whole area. To avoid creating back-of-house and storage rooms, this is solved by conceiving the main tool-board wall as an openable closet. Instead of door handles, the panels are openable by pulling climbing-ropes fixed to the tool board perforations.
工具板的展示墙既装满了销售商品，也装满了UPI团队在自然界的生活经历中收集的个人物品，其中许多是与他们进口品牌的负责人一起收集的，强调了公司的人性一面。
The tool-board display walls are filled both with selling goods and personal artifacts UPI’s team have been collecting throughout their life experiences in nature, many of them with the people responsible for the brands they import, emphasizing the human side of the company.
与 “景观区 “的有机性相比，”展示区 “的设计追求秩序和重复。所有的表面都是根据标准的工具板尺寸定义的，减少了材料的损失，它们的几何形状被精确控制，以便每一个接头都在其适当的位置。结构保持简单和诚实，不掩盖工具板的卑微的薄度，并在必要时暴露出其下部结构。这种结构的本质使人想起野营结构的功能短暂性。
As a contrast to the organicity of the “landscape area”, the “display area” is designed seeking order and repetition. All surfaces are defined according to standard tool-board dimensions, diminishing material loss, and their geometries are precisely controlled so that every single joint is in its proper place. Construction is kept simple and honest, not hiding the humble thinness of the tool-boards and exposing its substructure when necessary. This essentiality of the construction recalls the functional ephemerality of camping structures.
一张圆桌和几张凳子是整个商店里唯一松散的家具。为了使它们成为这个空间的建筑和景观的一部分，它们被设计成非常简单的形状，几乎是原始的，并使用未经加工的天然材料，如茅草 “kaya “和石灰石膏 “shikkui “制作。让工匠现场制作这些物品，而不是简单地使用现成的家具，再次坚持了UPI以人为本的方法来对待自然。
A round table and few stools are the only loose furniture in the whole shop. To make them part of both the architecture and the landscape in this space, they were designed with very simple shapes, almost primitive, and crafted using unprocessed natural materials such as thatch-straw ‘kaya’ and lime plaster ‘shikkui’. Involving craftsmen to produce onsite such items, and not simply off-the-shelf furniture, insists once again on UPI’s human-driven approach to nature.
Architects: Happenstance Collective [HaCo]
Area: 180 m²
Year: 2021
Photographs: Katsu Tanaka, DOX – Ivan Pazos
Manufacturers: ENDO Lighting Corporation, Tetsuya Japan
Lighting: On&Off, On&Off, Shinji Yamaguchi
Design:Tomoki Yamasaki, Javier Villar Ruiz
Landscape:Saikai Engei, Yousuke Yamaguchi
Contractor:Crea Planning
Renders:DOX, Ivan Pazos
Furniture:Kusakanmuri – Ikuya Sagara (straw), Tatsuya Tokura (plaster)
Architects:Happenstance Collective
City:Tokyo
Country:Japan