逆向 Reversal┃雲邑設計

向來商品的銷售；尤其是時尚，總少不了極盡引誘官能的櫥窗，虛幻的華麗編織成情慾的網。

但我們不這麼想。如果不要櫥窗。如果深深躲藏。那會怎樣？無數逆著的、一反常態的、衝撞的思惟成了方向。

When it comes to fashion retailing, vitrines are indispensable, like a web of desire woven to capture the illusion of resplendence.

But we do not think this way. What if we do not display, but rather, hide? Countless reversals, peculiarities and clashing ideas became our direction.

精心澆灌的水泥高牆，與斜切、退縮的隱式入口，只留下牆頂幽微的橫帶開窗，可以隱約看見牆內星光。牆裡牆外，兩個世界；卻又扯不開的沾黏血脈。

The space is surrounded by high concrete walls and a concealed entrance, leaving only a horizontal opening on top of the wall, through which you can see the indoors starlight. Inside and outside contain two separate walls, apart yet related.

挑高五米的空間，局部夾層允許了視線向上的盤旋，刷黑的天頂，滋長了光點的蔓延。四面的灰色水泥牆面，蘸著紅磚的質樸、布簾上不可思議的燒灼、敲打樑柱的鑿痕力道、與灌漿後意外留下的驚喜斑駁，完整蒐集到訪客瞳孔內逸出的驚奇。

The ceiling is 5 meters high, the layers attracts one’s view, and its black paint helps the lighting to crawl upwards. The four surrounding grey walls are tainted by the simplicity of red bricks. The burnt pattern of the curtain, the lines of outside force, and the spots left on the cement, all are points of surprise for the visitors who walk in.

在這裡，色色華服只不過是容器裡的擺飾，場景輪廓的不羈才是主角。

眼光摩挲過以水泥砌作粉光型塑的灰階地板落差、高低交錯銜接的展示檯面與收銀櫃台，像是伸展檯台上精準的走步串場，看似隨意；卻包含縝密考量，黑鐵特製的吊架、人形立架，各自以舒展的姿態，增加線條的躍動變化，順著牆面向上、向左、向右孳生、繁殖的木夾板結構，三度立體的晶體形狀，帶來溫暖的陰暗對比，呈現單一基礎材質所能構築的最大反差。

Here, the colorful clothing are just ornaments in a container. The uninhibitedness of the setting is the key.

When your eyes roam over the grey floor and its ups and downs, they look spontaneous, yet encompass careful thought. Black iron hangers unfold, adding rhythm and change, going upward, left and right on the wooden wall panels, its three-dimensional shape brings warms and contrast to a single material.

凌空倒吊的的一節咖啡木，恣意伸展的枝枒陰影，像是故弄玄虛的蛛網，隱喻全案逆向操作的實驗性質，輕輕打破既有的品牌迷思。空間內大量的版模、泥作、破磚牆、夾板不塗裝與廢材地板、燒灼布幔，以最原始的素材，找回設計人的原點，佐以細膩工法與不妥協的信仰，為普世價值的美醜定義重新詮釋。

The hanging tree trunk casts a shadow like a spider’s web, a metaphor for the experimentalism in this project, and gently shattering the myth of brand names. The employment of cement, brick, recycled material, nude material, burnt curtains and such, is the hope to reclaim the starting point of the designer’s belief in craftsmanship and no compromise, and to redefine the meaning of beauty.