IMMI上海旗舰店，用了好多手推车当货架

品牌创始人Joyce向设计师讲述了品牌诞生与产品制造的故事，经过多年的酝酿，Joyce终于走向了世界，这成为了概念化其商店空间整体背景的关键。我想到了她的激情，想到了作为一个品牌，她的激情是如何体现出来的，她生产了一系列充满活力的产品，这让我联想到子宫，新生命的起源和诞生。

The birth of a brand. The manufacturing of products. The stories told by Joyce, a designer who has finally stepped out into the world after years of incubation, became the key to conceptualizing the overall context for her store space. I thought about her passion and how it was able to manifest as a brand producing a series of vibrant products, and that made me associate her with a womb, the origin of new life and birth.

这里的子宫应该被理解为根植于母性本能的描述，而不仅仅是生物诞生的意义或价值。在子宫里，身份和最终的肉体被赋予，无尽的可能性满足母亲创造绝对存在的本能。红色内部的外部空间的不切实际的扭曲反射象征着我们拒绝承认的幻象。内部空间不受现实的实际规则约束，因为子宫内的决定和潜在条件自然与外部社会秩序无关。

The womb here should be understood as a description rooted in maternal instincts and not simply as the meaning or value of biological birth. Inside the womb, where identity and ultimate physicality are bestowed, endless possibilities meet maternal instincts to create an absolute being. The unrealistically distorted reflection of the external space inside the red interior symbolizes the phantom that we refuse to acknowledge. The interior space is exempted from the actual rules of reality because decisions and latent conditions inside a womb are naturally unrelated to the external social order.

在从这家商店出来的地板上的轨道上，有一辆载着未知物体的手推车，从红色的内部空间被抬出来。堆在车上的东西看起来又钝又不规则，甚至难看。他们遵循畸形、原始、兽性的原则，反抗设计的权威和极权主义意识形态下设计的野蛮形式化。

On the rails in the floor leading out from this store, there’s a cart loaded with unknown objects being carried out from the red inner space. The objects piled up on the cart seem obtuse and irregular, even ugly. They follow the principles of abnormality, primitivism, the nature of beasts, defying the authority of design and its brutal formalization based in the totalitarian ideology.

在早期，TheodorAdorno将美与奇点、统一、理性主义和一致性联系在一起，同时将丑陋描述为具有许多立面，暗示特殊性的优越性决定了个性的优越性。看似无用、丑陋的物体被装载到购物车中，沿着轨道移动，在空间的静态形象中造成了一个缺口，通过移动的介入，空间迫使观者拆除了对商业空间的偏见。这样的解读也可以使空间成为一种反抗工业体系的形式，工业体系将极权主义的审美理念视为一种趋势。

In earlier days, Theodor Adorno associated beauty with singularity, unity, rationalism, and consistency, while describing ugliness as having many facades, implying that superiority of particularity defines the superiority of individuality. The seemingly useless and ugly objects loaded onto the cart move along the rails, creating a breach in the static image of a space, and through the intervention of movement, the space forces the viewers to dismantle their prejudiced idea of a commercial space. Such interpretation can also render the space as a form of protest against the industrial system which recognizes the totalitarian idea of beauty as a trend.