泛域设计丨三只尾巴pidan体验店

三只尾巴是我们为pidan设计的第二家线下品牌体验店，选址在杭州来福士，来福士双子塔是杭州地标性建筑，对于商业项目的思考和品牌的空间传递，我们延续了空间装置化的表达方式，希望通过中心装置来给商业带来刺激性，同时用最直接方式抓住消费者的短暂眼球，并且通过叙述手法让空间值得被探索那些已经发生的故事与线索。

Three tail is the second home we designed for pidan offline brand experience shop， located in hangzhou， raffles and raffles and twin towers is hangzhou landmarks， thinking and brand of space for commercial project， we continued the expression of space equipment， hope that through center devices to bring business excitant， at the same time with the most direct way to seize the consumer‘s attention， short and through narrative space worthy of exploring the story has already happened and clues.

未来派的美学主张与表现主义、立体主义有相同的地方，它特别强调表现运动和力量，主张是表现运动，有时候更像是在某一瞬间快速拍摄的照片。动物尾巴在空间中表达方式也像是被照片定格运动状态，为了直接表现运动，就必须表现运动着的物体的几个形状。

The aesthetics of futurism has something in common with expressionism and cubism. It emphasizes the expression of movement and power， and advocates the expression of movement. Sometimes， it is more like a quick photograph taken at a moment. The way an animal’s tail expresses itself in space is also like being frozen in motion by a photograph. In order to directly represent the motion， it must represent several shapes of the moving object.

我们在思考商业项目的时候，会认为拒绝一些低沉的色凋。感觉商业有时候不应再低声倾诉出来而要大声唱出，这反响在我们空间里，像嘹亮的凯歌。正如我们在画上画出的阴影，要比我们前辈的白光还要亮，我们的画在博物馆旧画的旁边发出的光彩，就像白昼对于黑夜那样。我们要求永不满足的发亮的金色，去唤起人对视觉的冲击感的认知，让吵闹的、蒸发的色彩和太阳的沸腾与旋转使我们几乎陷入疯狂状态。

When we think about business projects， we tend to reject some of the darker tones. I feel that sometimes business should not pour out in a low voice but sing out loud， which echoes in our space like a loud song of triumph. Just as the shadows we draw on our pictures are brighter than the white light of our forebears， so our pictures shine next to the old ones in the museum， as day to night. We ask for an insatiable shiny gold， to arouse people‘s awareness of the impact of the visual sense， so that the noisy， evaporating colors and the boiling and rotating sun make us almost into a state of madness.

我们在学习中发现事物本身的运动关系与空间关系能够为人们来带很多的想象，我们尝试将三只乱入商场的小猫的动态轨迹捕捉下来，形体切片方式如同每一帧的照片在空间中叠加形成似动态化表现，一只猫绕行玻璃柱缓缓移动，第二只猫从上而下跃入楼板，第三只猫空中挑起窜入墙面的镜子. 我们在商业空间中尝试用雕塑方式最直白的视觉冲击力吸引消费者，当然一定会植入功能，此时雕塑即货架，货架即雕塑，通过视角转变可见可变。此案对商品的储存方式玄机都在展柜之中，货柜设计将展示，储存，取货功能通过“魔术”解决. 空间做到无仓库化。

In our study， we found that the movement of the thing itself and space relations can be for people to take a lot of imagination， we try to three chaos into the mall the kitten’s dynamic trajectory capture， slicing way form as superposition of pictures of each frame in the space formation of dynamic performance， a cat moves slowly round glass column， and the cat jumped down from the floor， the third the mirror of the metope of cat up into the air. We try to use in the commercial space sculpture way the most obvious visual impact to attract consumers， and of course will be implanted in function， the sculpture is shelves， shelves or sculpture， shift of perspectives through visible variable. The storage mode of commodities in this case is all in the exhibition cabinet， and the design of the container will solve the functions of display， storage and picking up goods through “magic”. The space will be warehouse-free.

关于物理的超越，人需再现动力的感觉，这就是说，每个物象的特殊的节奏，它的运动趋向，它的内在的力。一切无生命的物也在它的线条里表现倦惰或狂野，悲伤或愉悦。每个物件通过它的线条使人认识到，它将怎样分解自己，如果它顺从它的内在的各种力的趋向的话。

With regard to the transcendence of physics， man needs to reproduce the feeling of power， that is， the special rhythm of each image， its tendency of motion， and its internal force. All inanimate objects also show in their lines languid or wild， sad or joyful. Each object， by its lines， makes one realize how it will disintegrate itself， if it obeys the direction of its internal forces.

这种图像分解并不从属于固定的规律，而是从物象的特殊性质和观赏者对它的感情激动里产生出来的。更进一层说，每个物象影响它的邻物，不仅由于光的反射，而是通过线条、角与面的真正的斗争，顺从着那统治着画面的激动。一切物象通过它们的力线奋力奔向无尽。波齐奥尼称之为物理的超越。我们必须画出的就是这些造型。空间中的某些节奏是物象自己在我们的感性功能里激引起的。

This kind of image decomposition is not subject to a fixed law， but comes from the special nature of the object and the viewer‘s emotional excitement towards it. On a further level， each image influences its neighbor， not only by the reflection of light， but by the true struggle of lines， angles， and surfaces， yielding to the excitement that governs the picture. Through their lines of force， all images strive toward infinity. Pocioni called it physical transcendence. These are the shapes that we have to draw. Certain rhythms in space are stimulated by the image of the object itself in our perceptual functions.

在pidan的第一家品牌体验定“动物脊背”里，我们传递的是纪念性，希望通过冰冷的空间唤起人们对杀戮动物的过往回忆与关爱流浪猫的一系列内容。在这里，“三只尾巴”我们更专注于对零售空间的重新解读，希望通过简洁且有力的移动雕塑表达方式，去承载多色块的pidan产品，当产品没有进入空间时，表现的是三只金色的猫在空间内部玩耍。随着产品渐渐进入空间是则慢慢变成是一家生长状态中的零售店。这是一种切换式的思考，也是一种实验性的尝试，更是一种通过叙述性的手法让空间变得让人们更想参与进去，和动物一起成为空间中的一部分。

In Pidan’s first brand experience， Animal Back， we delivered a monumental， cold space that evoks memories of animal killings and a series of stories about caring for stray cats. Here， “Three Tails” focuses more on the reinterpretation of the retail space， hoping to carry the polychromatic Pidan product through a simple and powerful moving sculpture expression. When the product does not enter the space， it shows three golden cats playing inside the space. As the product gradually enters the space， it becomes a retail store in a growing state. This is a kind of switching thinking， but also an experimental attempt， but also a narrative approach to make the space become more people want to participate in， and become a part of the space with animals.