Sandy Liang商店/几乎工作室

Sandy Liang商店/几乎工作室
Sandy Liang Store / Almost Studio

空间布局与功能融合：Almost Studio 在不规则狭窄空间内，通过线性排列的空间和材料层构建组织策略，巧妙划分服装展示、销售点、更衣室等区域。如冷轧原钢服装杆与金属网窗帘组合，既区分空间又保持通透，成功融合多种功能，使空间逻辑清晰且富有层次，为顾客营造独特购物体验。

材质运用与情感传递：在材质选择上独具匠心，购物区墙壁的粉红色底漆与铅笔痕迹，传递出透明设计过程，呼应梁氏服装风格。更衣室与浴室区域，未加工胶合板与绿色花岗岩、大理石等搭配，平衡原始与精致、工业与豪华，绿色石材还向梁的成长经历致敬，让空间充满情感与故事性。

空间转换与品牌表达：从公共购物区到私人后区，借助聚碳酸酯滑动门与拱形门槛过渡，不同材质运用实现功能转换。不锈钢“套筒”、天然帆布窗帘等，既区分空间又强化品牌特色。该项目体现 Almost Studio 对建筑“未完成且持续变化”理念的实践，融合多元元素，为品牌提供独特展示平台，彰显其创新探索精神。

建筑师提供的文字描述总部位于布鲁克林的建筑公司Almost Studio为受欢迎的新兴时装设计师桑迪·梁设计了这家1500平方英尺的旗舰精品店。该设计松散地借鉴了梁同名系列俏皮、基于过程的美学，以及周围唐人街/下东区社区的工业室内设计，梁和她的家人自20世纪70年代以来一直在那里长大。以前，这个空间被一家自助洗衣店占据。
Text description provided by the architects. Brooklyn-based architectural firm Almost Studio has designed the 1,500-square-foot flagship boutique for the popular emerging fashion designer Sandy Liang. The design draws loosely from the playful, process-based aesthetic of Liang's eponymous line, as well as from the industrial interiors of the surrounding Chinatown/Lower East Side neighborhood, where Liang grew up and her family has worked since the 1970s. Previously, space was occupied by a laundromat.

该项目是建筑师和客户的第一个故事——它是Almost Studio的首个零售店设计，也是Sandy Liang的第一家实体精品店。该项目也是由合作者之间深厚的个人关系推动的。几乎工作室的联合创始人Dorian Booth和梁是一对夫妻，梁父亲的公司Sun Contracting股份有限公司担任总承包商。梁的家人也与周围的社区有着深厚的联系。这家新精品店位于梁的设计工作室、她祖母的家和她父亲的餐厅——标志性的粥村——的几个街区内。
The project is a story of firsts for both the architects and the client—it is Almost Studio's inaugural retail store design and Sandy Liang's first physical boutique. The project is also driven by deep personal ties between collaborators. Almost Studio's co-founder Dorian Booth and Liang are a couple, and Liang's father's company, Sun Sun Contracting Inc., served as the general contractor. Liang's family is also deeply connected to the surrounding neighborhood. The new boutique is within several blocks of Liang's design studio, her grandmother's home, and her father's restaurant—the iconic Congee Village.

由Booth和联合创始人Anthony Gagliardi组成的Almost Studio于2019年8月开始设计这家精品店。该空间位于一栋建于1900年的五层砖砌建筑的一楼，以前是一家自助洗衣店，其墙壁上排列着洗衣机、烘干机、折叠桌和动感衣架。首先，该公司提取了所有电器、现有的天花板瓷砖和环绕空间的低瓷砖平台。原来的灰色混凝土地板被修补和密封，天花板被完全替换，以容纳新的暖通空调系统的管道系统（该空间以前不通风，也没有空调), 玻璃店面是用不锈钢框起来的。由此产生了一个开放但狭窄的矩形空间。
Almost Studio, comprised of Booth and co-founder Anthony Gagliardi, began designing the boutique in August 2019. Located on the ground floor of a five-story brick building built in 1900, the space previously housed a laundromat whose walls were lined with washers, dryers, folding tables, and kinetic clothing racks. To begin, the firm extracted all appliances, existing ceiling tiles, and a low tile platform encircling the space. The original grey concrete floor was patched and sealed, the ceiling was completely replaced to accommodate ductwork for a new HVAC system (the space was previously unventilated and without air-conditioning), and the glass storefront was framed in stainless steel. An open, albeit narrow rectangular space resulted.

Line grid

Object fragment

Gagliardi说，几乎工作室的主要挑战是“产生一种空间逻辑，让商店感觉有凝聚力，同时在不规则和狭窄的空间中插入一系列个性化的区域”。该公司还旨在通过建筑形式表达梁服装系列的动态俏皮，并向原始自助洗衣店的美学和空间品质致敬。
Almost Studio's principal challenge was to "generate a spatial logic that allowed the store to feel cohesive, while also inserting an enfilade of individualized areas within the irregular and narrow space," says Gagliardi. The firm also aimed to express the dynamic playfulness of Liang's clothing line in architectural form, as well as nod to the aesthetic and spatial qualities of the original laundromat.

Almost Studio构思的组织策略取决于一系列区分不同区域和用途的空间和材料层——Booth将其描述为“一个背景重叠的舞台”。这些区域从商店的前部到后部呈线性排列，包括服装展示和购物；销售点；更衣室和浴室；厨房和办公室。
The organizational strategy conceived by Almost Studio hinges on a series of spatial and material layers that distinguish different areas and uses—a program Booth describes as "a stage set with overlapping backdrops." Arranged linearly from the front of the store to the back, these areas include clothing display and shopping; point of sale; dressing rooms and bathroom; and kitchen and office.

Stage set

进入精品店后，人们首先会遇到购物区，购物区长60英尺，在某些地区从20英尺宽到12英尺宽不等。由冷轧原钢制成的独特定制服装杆在两面墙上都有线条，从店面窗户延伸到销售点和更衣室。这个展示系统既有趣又工业化，结合了一根直杆和一根绕着它循环、上升和俯冲的不规则杆。这根杆有趣的蜿蜒路线暗示了最初洗衣店的衣物输送机；在当地唐人街游乐场发现的丛林健身房，以及梁的服装所表达的实用性和奇思妙想的平衡。从功能上讲，弯曲的杆还提供了展示特殊作品和创造次要空间的机会。
Upon entering the boutique, one first encounters the shopping area, which is 60-feet-long and telescopes from 20-feet wide to as narrow as 12-feet wide in some areas. Distinctive custom clothing rods made from raw, cold-rolled steel line both walls, extending back from the storefront window to the point of sale and dressing rooms. The display system is both playful and industrial, combining a straight rod and a second irregular rod that loops, rises, and dives around it. The rod's playfully meandering route alludes to the original laundromat's clothing conveyors; the jungle gyms found on local Chinatown playgrounds, and the balance of utility and whimsy expressed in Liang's clothing. Functionally, the curved rod also provides opportunities to display special pieces and create secondary spaces.

当杆向后延伸时，它们与三个金属网窗帘相交，形状像半拱门，悬挂在天花板上。这些将购物区划分为三个房间——展示系统、销售点和更衣室——同时保持它们之间的透明度。一个圆柱形的空隙将网状窗帘切割成一个角度，通往销售点和更衣室，当它们退到精品店的后面时，通过强制的视角放大了空间的感知深度。
As the rods extend towards the rear, they intersect with a trio of metal mesh curtains, shaped like halved archways, which suspend from the ceiling. These segment the shopping area into three rooms—display system, point of sale, and dressing rooms—while still maintaining transparency between them. A cylindrical void cuts the mesh curtains on an angle leading to the point of sale and dressing rooms, amplifying the perceived depth of the space through a forced perspective as they recede into the back of the boutique.

整个购物区的墙壁都处于过渡状态。粉红色底漆通常嵌入面漆后面，暴露在外，并覆盖着施工过程中留下的铅笔痕迹、飞溅和潦草的测量结果。粉红色的色调读起来很有趣，铅笔标记暗示了一种透明的设计过程——这也体现在梁的服装中，传统上隐藏的垫圈、纽扣和拉链等硬件成为可见的装饰元素。
Throughout the shopping area, the walls are left in a transitional state. Pink primer, usually embedded behind a top coat of paint, is left exposed and covered with pencil marks from the construction process, spackling, and scrawled measurements. The pink hue reads as playful and the pencil markings allude to a transparent design process—one that also manifests in Liang's clothing, where hardware such as grommets, buttons, and zippers that are traditionally tucked away become visible decorative elements.

更衣室和浴室的材料色调聚集在购物区后部的一个矩形体量中，也在未完成和完成、原始和精致、工业和豪华、实用性和奇思妙想之间取得了平衡。当包裹在未经加工的胶合板中时，门会打开，露出珠宝盒的内部。墙壁上镶嵌着绿色花岗岩瓷砖和Almost Studio定制的镜子。在更衣室对面，销售点覆盖着闪闪发光的绿色大理石。点缀这些区域的绿色石头也向梁的成长致敬——这些材料是她童年的家和她父亲餐馆的主食。
The material palette of the dressing rooms and bathroom, which are gathered into a single rectangular volume at the shopping area's rear, also strike a balance between unfinished and finished, raw and refined, industrial and luxurious, utility and whimsy. While clad in raw plywood, doors open to reveal jewel-box interiors. Walls are encrusted with green granite tiles and custom mirrors by Almost Studio. Across from the dressing rooms, the point of sale is clad in lustrous green marble. The green stone that punctuates these areas also nods to Liang's upbringing—the materials are a staple of her childhood homes and her father's restaurants.

Moving further into the space, a polycarbonate sliding door and a thickened, arched threshold divides the public shopping area from the private, back-of-house kitchen and office. Passing through the door reveals a 5-feet by 10-feet stainless steel "sleeve," into which a kitchenette, whose custom steel cabinetry draws from Chinatown's industrial kitchens, and a CYC wall for seamless photoshoots are tucked. Just beyond, a large custom, natural canvas curtain wraps the office walls, hiding stainless steel storage shelves and creating distinction between the office and kitchenette. The curtain's soft, albeit heavy folds simultaneously soften and compress the boutique's back-of-house spaces.

Overall, the project extends Almost Studio's view that the built environment is always "in process, almost complete," says Booth. "Nothing is ever finished; a project is always becoming." The boutique also offered a platform for the firm to continue exploring spatial and aesthetic references from outside of the canon—in this case, Chinatown kitchens, construction sites, laundromats, playgrounds, and fashion—and a play between high and low materials. These are approaches that Almost Studio and Liang share.