DOMANI 东仓建设 | Meunier科技美容深圳概念旗舰店

Meunier 科技美容首家概念旗舰店，选址于中国深圳宝安区。项目邀请中国顶流设计公司DOMANI 东仓建设担纲其空间设计。设计策略契合深圳“文化+N”新业态产业的政策之余，亦试图在商业空间中植入一定的设计学术探讨：其关于‘女性主义与’‘空间’两个向度的创作黏连与空间体验。

Meunier Technology Beauty’s first concept flagship store is located in Baoan District, Shenzhen, China. The project invited China’s top-tier design company DOMANI to lead its space design. The design strategy is in line with Shenzhen’s ‘Culture+N’ new industry policy, and it also tries to plant a certain design academic discussion in the commercial space： its creative connection as well as experience between the two dimensions of ‘feminism’ and ‘space’.

当代女性在科技美容领域是一场惊人的现象级集体消费。对外表的极致关注和维护的背后实则并非单纯的消费主义其本质而言实则是当代女性主义的甚嚣尘上。由反男权到反父权到回归性别的类型观察与自我释放。女性主义的观念进化至今已然释放了横亘在性别之上的‘性别习俗’并进入本质上性别的自我认可。人们正视生理性迥异，诉求社会性平衡，尊重性状自由。而女性群体从提出平等平权到经济独立再到消费自由是一场接近200年的解放运动。

Contemporary women are an amazing phenomenon-level collective consumption in the field of technological beauty. The extreme attention and maintenance of appearance is not pure consumerism, but in essence, it is the prevalence of contemporary feminism, from anti-male power to anti-patriarchy then return to gender type observation and self-release. The evolution of the concept of feminism has so far released the ‘gender custom’ that lies above gender and has entered the self-recognition of gender essentially. People face the differences in physiology, demand social balance, and respect the freedom of genetic traits. And the female group has been in a liberation movement for nearly 200 years from proposing equality and equal rights to economic independence and then to freedom of consumption.

19世纪下半叶至20世纪初自由女性主义（liberal feminism）：与欧洲工业革命同步，学者们主张两性同工同酬同等政治权力，并将女性在劳动力市场中的不利地位视为男女社会地位不平等的重要根源。该阶段观念特征强调女性的社会性。

From the second half of the 19th century to the early 20th century, the liberal Feminism was similar to the European industrial Revolution. Scholars advocated equal political power for equal work and equal pay for both sexes, and regarded the disadvantaged position of women in the labor market as a result of the unequal social status of men and women. The conceptual characteristics of this stage emphasize the sociality of women.

1792年英国早期女权主义者玛丽·沃斯通克拉夫特的《女权辩护》问世。她在书中强调，妇女除了应该成为贤妻良母外，还应该被看作独立的人，应该拥有个人权利。

In 1792, Early British feminist Mary Wollstonecraft’s ‘The Defense of Women’s Rights’ was published. In her book, she emphasized that in addition to being a good wife and mother, a woman should also be regarded as an independent person and should have personal rights.

20世纪60年代到80年代激进女性主义(radical feminism)：人们发现尽管第一阶段的女性主义运动取得极大的成功，但获得经济与政治权利平等女性的地位并未在社会生活中得到根本改善。于是人们将研究目光投向家庭构成。学者们将无交换价值、无报酬的家庭劳动视为阶级压迫，后将此观点发展为极端化的‘性剥削’与‘性束缚’。该阶段女性主义观念要求从根本上消解传统家庭模式，强调男女对立。此阶段的极端激进主张与“性解放运动”都在存在巨大历史争议。

From the 1960s to the 1980s, the Radical Feminism found that although the first stage of the movement had achieved great success, the status of women who had equal economic and political rights had not been fundamentally improved in social life. So, people turn their attention to family composition. Scholars regarded family labor with no exchange value and no remuneration as class oppression, and later developed this view into extreme ‘sexual exploitation’ and ‘sexual bondage’. At this stage, the concept of feminism requires the elimination of the traditional family model and emphasizes the opposition between men and women. There are huge historical controversies between the extreme radical claims and the “sexual liberation movement” at this stage.

1949年法国著名存在主义女作家西蒙·波伏娃的《第二性》正式出版。她用大量哲学、心理学、人类学、历史和文学等事实材料证明：女性自由的障碍不是其生理条件，而是政治和法律的限制造成的。她的最广为人知的观点就是：女人并不是生就的，而宁可说是逐渐形成的。波伏娃的《第二性》成为女权主义的理论经典。

In 1949, the famous French existentialist female writer Simon Beauvoir’s ‘Second Sex’ was officially published. She used a lot of philosophical, psychology, anthropology, history and literature to prove that the obstacles to women’s freedom are not caused by their physical conditions, but caused by political and legal restrictions. Her most well-known view is that women are not born, but rather evolved. Beauvoir’s ‘Second Sex’ has become a theoretical classic of feminism.

1970年美国激进女权主义者凯特·米利特出版了《性政治》一书，该书以全新视角揭示了性问题的政治内涵，并分析了文学研究中的性别权力关系。成为女性主义理论发展史上一部极其重要的著作。

In 1970, American radical feminist Kate Millett published the book ‘Sexual Politics’, which revealed the political connotation of sexual issues from a new perspective and analyzed the gender power relationship in literary studies. It has become an extremely important work in the history of feminist theory.

当代后结构派女性主义（post-structuralist feminism）：为解决激进女性主义与性解放运动带来的严重社会后果，女性主义者开始反省并倾向在认同传统家庭模式的基础上进行女性个体化解放。此阶段学者将研究重点回归至性别的生理性与社会性的二元分界，强调女性作为一个群体的多元化，及个体角色的自我认同。该阶段重要观念贡献是解放了两性传统的性别话语，如男性应当如何或女性应当如何，并行延展出新潮派丝绒女性主义“（Fluffy feminism）。

Contemporary post-structuralist feminism： In order to solve the serious social consequences caused by radical feminism and the sexual liberation movement, feminists have begun to reflect and tend to carry out the individualized liberation of women on the basis of recognizing with the traditional family pattern. At this stage, scholars returned the research focus to the binary boundary between the physiological and social genders, emphasizing the diversity of women as a group and the self-identity of individual roles. An important conceptual contribution at this stage is to liberate the traditional gender discourse of both sexes, such as how men should be or how women should be, and also to extend the new trend ——Fluffy feminism.

2009年朱迪斯·巴特勒是当代最著名的后现代主义思想家之一，其著作如《消解性别》论文集中对她自己提出的性别操演观点进行了重新审视，即从以启蒙现代性为基础的传统女性主义走向关注差异、解构固化身份的后女性主义。

In 2009, Judith Butler was one of the most famous contemporary postmodern thinkers. Her works, such as ‘Undoing Gender’, re-examined her own perspectives on gender performance, that is, from traditional feminism based on enlightenment modernity to post-feminism focusing on differences and deconstructing identity.

一组现象的外表与内部从来都是一种庞大又绝对的承前启后。根本不必停留在狭隘的关于是否应当追求美貌或追求美貌是否道德恰当的愚蠢讨论上。我们来看这背后惊人的经济数据意味着一代代的女性主义观点进化到今天呈现的普遍的女性哪怕仅自外表开始的一场庞大的自我建设之迭起。

The exterior and interior of a group of phenomena have always been a huge and absolute link between the past and the future. There is no need to dwell at narrow and foolish discussions about whether beauty should be pursued or whether it is morally appropriate. The amazing economic data behind this means that generations of feminist ideas have evolved into the pervasive female identity of today even if it’s a huge self-building exercise that starts with mere appearance.

Meunier正是基于对这种现象的观察与反馈而呈现的空间创作。通过材料关系与空间形式的层层矛盾感的建立来探讨女性性状的边界，通过建构亮与阴翳，强及柔和的形式对撞来产生颇具戏剧性的商业空间体验，通过硬朗冷静的表象风格与充满感性的空间观念来试图描述人的物理性别与社会性别交织的内在的复杂度。

Meunier’s spatial creation is based on observation and feedback of this phenomenon. Exploring the boundaries of female traits through the establishment of layers of contradictions between material relations and spatial forms, and creating a dramatic commercial space experience through the form collision of bright and dark as well as strong and soft. Through the tough and calm appearance style and emotional concept, the perceptual concept of space attempts to describe the inherent complexity of the intertwining of human physical gender and social gender.

中国医疗美容事业在最近5年来实现了市场规模的可观增长，年均复合增长率达到了40%，2020年医疗美容市场规模达到4640亿人民币。

China’s medical cosmetology business has achieved considerable growth in the market size in the last 5 years, with a compound growth rate of 了40%, and the medical cosmetology market in 2020 will reach RMB 464 billion.

而在全球女性现象层面而言，如今中国一二线城市女性的自我释放无疑是一团高熵值的光芒。她们显得愈发轻盈灵动不可捉摸，而这种表皮下往往是愈发坚韧沉着的内质。她们的外表与内在存在戏剧性的迷人反差，这种特定的内质令今天的女性审美存在一种普遍的叛逆感与矛盾感。如同主体空间的水泥质感并不指向粗粒，相反，水泥质地的调配有肤感般的细腻和精确，同时依然在整体上呈现出灰调的沉静。而顶部的玻璃与镜钢反射面则强调上升的轻盈与灵透感。两种截然不同甚至矛盾的质感弥合出整体空间的框架与戏剧性。

In terms of the global female phenomenon, the self-release of women in China’s first- and second-tier cities is undoubtedly a light of high entropy. They appear to be more ethereal and unpredictable, and the inner is often more and more tough and calm. There is a dramatic and fascinating contrast between their appearance and the inside. This specific inner quality makes today’s female aesthetics a universal sense of rebellion and contradiction. Just as the cement texture of the main space does not point to coarse grains, on the contrary, the cement texture is adjusted with skin-like fineness and precision, while still presenting the calmness of gray tone on the whole. The glass and mirror steel reflective surface on the top emphasize the lightness and clarity of the rise. Two completely different or even contradictory textures bridge the framework and drama of the overall space.

入口解构风格黄铜质地咨客台有着惊人的悬浮感，以贵金属毫米计微雕工艺来体现科技给予人们最大的可能性。品牌LOGO选择与空间通色的水泥质地但在内嵌位却骤然呈现一抹贵金属光泽的端倪，收敛的贵重够能耐令来访者的目光长时间的驻足端详。

The deconstructed brass texture guest desk at the entrance has an amazing sense of levitation, and the technology presented by micro-carving in precious metal millimeters reflects the greatest possibility. The brand LOGO chooses the cement texture that matches the color of the space, but the embedded position suddenly shows a hint of precious metal luster, and the convergence is precious enough to make the visitors’ eyes stop for a long time.

与传统美容场所的迥异的空间形式，试图揉合两种矛盾：极端的厚与轻盈，极端的强与柔软。以空间的矛盾性与戏剧感阐述对当代女性表象与内在关联的呈递。

The space form, which is very different from traditional beauty places, tries to combine two contradictions： extreme thickness and lightness with extreme strength and softness. The space explains that the presentation of contemporary women’s appearance and inner relation with the contradiction of space and the sense of drama.

主体侯客区间近乎是一个私人艺术馆，收藏级的当代雕塑装置与家具均来自国内顶级的当代艺术陈列设计品牌A&V的配置，主体装置的系列名为‘亮如白昼的夜及温和的肢解’，访客们则不妨沉静在当代表现主义装置的抽象情景和一知半解中享受一杯好咖啡的香味。

The main hospitality area is almost a private art gallery. The collection-level contemporary sculpture installations and furniture are all configured from the top contemporary art exhibition design brand A&V in China. The main installation series is called ‘bright night and gentle dismemberment’. Visitors may calm in contemporary abstract expressionism device situation and enjoy the fragrance of a cup of good coffee in a smattering of knowledge.

混浇技术结合解构形混凝土预制板的错形穿插构成一张访客咨询桌。桌面搭配A&V2019年制版的6度椅透明版。它本就是一张基于建筑学逻辑与女性坐姿设计的板式座椅，干练线条通过不同角度形成符合人体工学的座面，靠背及整体力构，并有着令人意外的舒适度。铜制波浪长凳是A&V2020年制版的高定类产品。通过3-5mm不同的厚度驳接及精密的模具压弯技术来组织成一张在解构上及其稳定同时能够被多人使用，并且在长度及座位人数上可以自由定制的装置长凳。

The mixed pouring technology combined with the staggered interspersed of deconstructed precast concrete slabs constitute a visitor consultation table. The table top is matched with the 6-degree chair transparent version made by A&V 2019. It is originally a panel seat based on architectural logic and female sitting posture design. The neat lines form an ergonomic seating surface, backrest and overall force structure through different angles, and it has an unexpected comfort. The copper wave bench is a high-end product made by A&V in 2020. Through 3-5mm different thickness connection and precise mold bending technology, it is organized into an installation bench that can be used by multiple people at the same time in terms of deconstruction and stability, and can be freely customized in terms of length and number of seats.

亮如白昼的夜及温和的肢解系列装置同样来自专注于实验性创作的艺术陈列工作室A&V2019年的创作，通过混凝土浇筑技术来建构抽象的仿生肢体体块，弧线与曲翘形成的柔软感与材料的硬质构成一组矛盾的意识形态表现体。隐喻女性内在的坚定强悍与细腻柔和的外在表现。而局部的破损则对应女性主义的历史评价中的伤痕感。该装置将作为孤品被Meunier永久收藏于该项目。

‘Bright night and gentle dismemberment ‘ series of installations also come from the creation of the experimental art exhibition studio A&V in 2019. The concrete pouring technology is used to construct abstract bionic body blocks, and the softness formed by arcs and warps as well as the hardness of materials constitute a group of contradictory ideological expression bodies. It is a metaphor for women’s inner firmness and toughness as well as delicate and soft in outer expression. The partial damage corresponds to the sense of scars in the historical evaluation of feminism. The device will be permanently collected by Meunier in the project as a solitary piece.

走道和公共空间通过清玻隔断与写字楼公区建立模糊隔断，在保持空间最大视觉面的条件下建立不同场所之间的关系边界。由于客房区间是完全封闭的私密区域，因此，公区作为过渡带被赋予一定的可视性。并通过这种对外可视的透明性来建立访客及消费者对该场所操作技术的信任。

Aisles and public spaces are separated from the public area of the office building through clear glass partitions, and the relationship boundary between different places is established while maintaining the maximum visual aspect of the space. Since the guest room area is a completely enclosed private area, the public area is given a certain degree of visibility as a transition zone. Through this external visibility, it establishes the trust of visitors and consumers in the operation technology of the place.

客房内部的重点在于‘水感’。当消费者在灯光温和沉静的空间中惺忪睁眼时，顶部的波纹镜钢构造通过复杂折反射形成幻境般的水景，它恰当的令人情愿停留在某一刻迷离中间，通过水光荡漾的自发想象中。

The key to the interior of the guest room is the ‘feel of water’. When consumers open their eyes in a space with gentle and quiet light, the corrugated steel structure on the top forms an illusion-like waterscape through complex refraction and reflection, which makes people willing to stay in the middle of a certain moment of blur, spontaneously through the imagination of rippling water.

具备复合功能的梳妆台提供给消费者在服务结束后的正装与休憩。前半身后全身的正装镜通过金属结构与化妆台进行硬质驳接。化妆台具备自带水箱的上下水循环功能，令该功能模组能够解决在无法进行硬装上下水铺设的空间提供便捷性极高的用水可能。并自带一系完整的高显色照明系统。该设备目前由A&V为Meunier专项开发。

The dressing table with multiple functions provides consumers with formal wear and rest after the service. The full-length formal mirrors behind the front body are rigidly connected to the dressing table through the metal structure. The dressing table has the water circulation function with its own water tank, so that the functional module can solve the problem in the space where hard installation of upper and lower water to provide extremely convenient water with a complete series of high color rendering lighting system. The device is currently being specially developed by A&V for Meunier.