In contemporary times, human-inhabited spaces are increasingly evolving into carriers of complex life pictures. In the context of continuously upgrading material conditions, living spaces are undergoing multidimensional transformations. People not only pursue the personalized expression of spatial aesthetics but also emphasize the flexible adaptation of functional modules and the continuous nourishment of emotional memories.
This complex demand has given rise to a new design paradigm: Designer reinterprets the traditional exhibition hall movement logic with a “garden - tour narrative,” constructing multiple spatial ritual senses through modular scene building, and transforming the functional exhibition hall space into a spiritual yardstick for measuring the ideal life.
Vision：
Garden Realm
The “V6 Lifestyle Art Emporium” serves as a three-dimensional narrative vehicle for the brand philosophy of “V6 Home,” a brand under the DeRUCCI Group. Designer intended to transcend the traditional function of product display. The goal is to establish an in-depth dialogue between the brand and its audience by elevating the core values embedded within the space. Taking the exploration of a garden-like realm as the artistic expression of the space, the designer transforms the brand's high-end positioning, artistic essence, and refined tone into tangible physical experiences. While fulfilling the basic requirements for display, the design integrates dual values of artistic expression and experiential drive, endowing the space with sustainable and extendable vitality.
When considering spatial strategies, the designer focuses on capturing the essence rather than merely imitating appearances, shifting the space from superficial decoration to structural expression. This approach achieves a foundational translation of the brand's tone. By applying architectural principles, the designer establishes a spatial logic and constructs a dynamic spatial framework using architectural vocabulary. After the internal structuring of the architectural hierarchy is completed, color is introduced as a flexible variable to further delineate spatial layers. The strategy of “separating color from structure” maintains the space's structural constancy while allowing for aesthetic updates in response to new product launches, seasonal changes, or marketing themes, mimicking the seasonal variations found in garden landscapes.
Garden Touring：
Gradually Entering the “Home” Realm
The exhibition hall space is divided into six major functional areas, which can be categorized into three types of spaces: “functional,” “public,” and “gray spaces.” The sofa display area, cabinet display area, table and chair display area, and sleeping area serve as independent display zones, while the sample room functions as a scenario-based experience zone. The designer's workspace, located at the center of the exhibition hall, acts as a hub connecting all areas.
The independent display zones, classified as functional spaces, are transformed into exclusive narrative stages for products through architectural modular segmentation. The designer's workspace, as a public space, links diverse scenarios with an open layout. Gray spaces, such as corridors, transition areas, and corners, dissolve the sense of spatial fragmentation with soft boundaries, guiding viewers to naturally perceive changes in rhythm as they move through the space.
Gentle and Quiet Path:
Sofa Display Area
The exhibition hall begins with the sofa display area, which first employs a diamond-shaped zigzag framing to create a visual effect. By contrasting the compressed field of vision with the sudden openness inside, it emphasizes the sofa display as the visual focal point.
The designer extracted geometric lines from the winding paths of a garden. Fourteen sets of sofa exhibits were placed inside irregular polygonal “boxes” with sharp contours. Each set of sofas has its own independent display space. They complement each other while remaining undisturbed. The ceiling carved with lines and enclosed partitions, form a semi-enclosed layout that evokes an intimate atmosphere, reminiscent of a fireside chat. The pathways connect the independent display scenes into a cohesive whole, using the atmosphere of a meandering, secluded path to arouse people's desire to explore the space.
Stacked Stone Garden
Cabinet Display Area
Following the garden's logic of changing views with each step, the cabinet display area display breaks away from the monotony of traditional linear arrays. Instead, it adopts a “framed view” layout, using the lines of the cabinets to create a scenic effect along the pathways.
The designer deconstructs the cabinet modules into stacked and staggered geometric blocks, arranging them asymmetrically to simulate the morphological characteristics of Taihu stones. The combination of metal frames and wooden textures forms a sculptural imagery of mountains and rocks. The designer guides viewers to focus on the small-scale disassembly of the cabinets. As visitors move through the space, the drawers and shelves, with their hidden mechanisms, sliding tracks, internal compartments, and hinges, provide an extremely delicate micro-level experience that touches upon the viewer's subtle sensory perceptions.
Mirror - Reflecting Door Court
Table and Chair Display Area
Adjacent to this area is the dining table zone, where mirrors reflect the sky and the ground, visually extending the space and enveloping the products as if they were suspended artistic installations. The chairs suspended on the walls not only exude an air of sophistication and aesthetic appeal but also meet the needs of display updates.
Three oversized red apple-shaped speakers immerse visitors in an auditory experience. Symbolizing peace and happiness, they add a touch of absurdity and humor to the artistic space. The everyday scene is narrated through avant-garde spatial language, where sound, light, color, and form collaborate harmoniously.
Creative Pavilion
Designer's Working Area
Located in the center of the exhibition hall, the designer's workspace draws inspiration from the spatial characteristics of a “pavilion” in traditional gardens—a transparent structure supported by six columns. This design both defines the area with an enclosing momentum and establishes a dialogue with the environment through its open posture. The designer has translated this wisdom of “separating without isolating” into a multifunctional complex that accommodates diverse functions such as office work, reception, sales meetings, lectures, and displays, adapting to various usage scenarios.
The workspace adopts an open layout, reducing partitions to enhance the sense of transparency and flexibility. Workbenches of different scales can be applied according to actual needs, meeting the collaborative requirements of teams of varying sizes. The main color tones of wood and Morandi green, along with the textured marble flooring, infuse the space with a natural quality.
Balanced Axis Show Hall
Sleeping Area
The “hall,” as the main component of garden architecture, is typically situated on the central axis, while the rear hall serves as a living space. In light of this, the progressively layered corridor-style sleeping area the most embodies the spirit of returning home and shedding the armor of the outside world. The axially symmetrical structure creates a sense of balance and stability. The texture of the long-span glass used as a partition mimics the tranquil atmosphere cast by natural light, delineating the space and enhancing its sense of enclosure and scale.
At the end of the corridor, the display “capsule” features mattresses with flowing, bent lines. The mirrored ceiling and semi-circular electronic screen introduce a sudden sense of technological sophistication within the orderly space.
Stable Brown and White Living Space
Sample Area
As the final chapter of the exhibition hall's circulation route, the sample area completes the spatial narrative loop with a scenographic home experience. The designer intentionally dissolves the enclosed nature of traditional sample rooms, which are typically enclosed on all six sides, and continues the garden-like construction form of "separating without isolating," removing the formulaic perfection of the sample room. Brown, representing earth, and white, representing sky—the two main colors of the sample area—echo the natural elements of a garden.
In terms of display strategy, the designer uses scene slicing and appropriately leaves blank spaces with single pieces of furniture, sublimating standardized products into personalized living proposals. Each piece of home furniture becomes a mirror for the viewer's self-projection.
On the basis of an open and fluid spatial structure, the designer applied contrasting colors to the six major zones, creating a comfortable sense of envelopment as people move through the space. Each area functions independently, yet visually maintains an overall coherence through a unified color system. The lighting design throughout the entire exhibition hall is concealed within the spatial framework and functional scenes, with diffused light sources simulating natural daylight penetration to enhance the sense of spatial depth. The display modules, based on a modular logic, enable rapid reconfiguration of spatial forms and functional scenes: in the horizontal dimension, they adapt to the varying physical conditions of different city showrooms, while in the vertical dimension, they respond to product line iterations and the upgrading of marketing strategies.
The designer reconfigures the logic of commercial display through the spatial grammar of traditional gardens, reconstructing the relationship between people, objects, and space within the tension between architectural precision and artistic divergence. The chain-like logic of "structure—space—experience" is embedded in the exhibition hall design. As visitors move through the space, they are not only able to perceive the construction logic of the material space modeled after gardens but also experience the brand's spirit through the interaction of their bodies with the scenes and products. The movement trajectories of people within the space are transformed into a brand cultural ritual—a gradual immersion from the visual and tactile to the perceptual, subtly completing the value identification with the life philosophy advocated by the brand.
In contemporary times, human-inhabited spaces are increasingly evolving into carriers of complex life pictures. In the context of continuously upgrading material conditions, living spaces are undergoing multidimensional transformations. People not only pursue the personalized expression of spatial aesthetics but also emphasize the flexible adaptation of functional modules and the continuous nourishment of emotional memories.
This complex demand has given rise to a new design paradigm: Designer reinterprets the traditional exhibition hall movement logic with a “garden - tour narrative,” constructing multiple spatial ritual senses through modular scene building, and transforming the functional exhibition hall space into a spiritual yardstick for measuring the ideal life.
Vision：
Garden Realm
The “V6 Lifestyle Art Emporium” serves as a three-dimensional narrative vehicle for the brand philosophy of “V6 Home,” a brand under the DeRUCCI Group. Designer intended to transcend the traditional function of product display. The goal is to establish an in-depth dialogue between the brand and its audience by elevating the core values embedded within the space. Taking the exploration of a garden-like realm as the artistic expression of the space, the designer transforms the brand's high-end positioning, artistic essence, and refined tone into tangible physical experiences. While fulfilling the basic requirements for display, the design integrates dual values of artistic expression and experiential drive, endowing the space with sustainable and extendable vitality.
When considering spatial strategies, the designer focuses on capturing the essence rather than merely imitating appearances, shifting the space from superficial decoration to structural expression. This approach achieves a foundational translation of the brand's tone. By applying architectural principles, the designer establishes a spatial logic and constructs a dynamic spatial framework using architectural vocabulary. After the internal structuring of the architectural hierarchy is completed, color is introduced as a flexible variable to further delineate spatial layers. The strategy of “separating color from structure” maintains the space's structural constancy while allowing for aesthetic updates in response to new product launches, seasonal changes, or marketing themes, mimicking the seasonal variations found in garden landscapes.
Garden Touring：
Gradually Entering the “Home” Realm
The exhibition hall space is divided into six major functional areas, which can be categorized into three types of spaces: “functional,” “public,” and “gray spaces.” The sofa display area, cabinet display area, table and chair display area, and sleeping area serve as independent display zones, while the sample room functions as a scenario-based experience zone. The designer's workspace, located at the center of the exhibition hall, acts as a hub connecting all areas.
The independent display zones, classified as functional spaces, are transformed into exclusive narrative stages for products through architectural modular segmentation. The designer's workspace, as a public space, links diverse scenarios with an open layout. Gray spaces, such as corridors, transition areas, and corners, dissolve the sense of spatial fragmentation with soft boundaries, guiding viewers to naturally perceive changes in rhythm as they move through the space.
Gentle and Quiet Path:
Sofa Display Area
The exhibition hall begins with the sofa display area, which first employs a diamond-shaped zigzag framing to create a visual effect. By contrasting the compressed field of vision with the sudden openness inside, it emphasizes the sofa display as the visual focal point.
The designer extracted geometric lines from the winding paths of a garden. Fourteen sets of sofa exhibits were placed inside irregular polygonal “boxes” with sharp contours. Each set of sofas has its own independent display space. They complement each other while remaining undisturbed. The ceiling carved with lines and enclosed partitions, form a semi-enclosed layout that evokes an intimate atmosphere, reminiscent of a fireside chat. The pathways connect the independent display scenes into a cohesive whole, using the atmosphere of a meandering, secluded path to arouse people's desire to explore the space.
Stacked Stone Garden
Cabinet Display Area
Following the garden's logic of changing views with each step, the cabinet display area display breaks away from the monotony of traditional linear arrays. Instead, it adopts a “framed view” layout, using the lines of the cabinets to create a scenic effect along the pathways.
The designer deconstructs the cabinet modules into stacked and staggered geometric blocks, arranging them asymmetrically to simulate the morphological characteristics of Taihu stones. The combination of metal frames and wooden textures forms a sculptural imagery of mountains and rocks. The designer guides viewers to focus on the small-scale disassembly of the cabinets. As visitors move through the space, the drawers and shelves, with their hidden mechanisms, sliding tracks, internal compartments, and hinges, provide an extremely delicate micro-level experience that touches upon the viewer's subtle sensory perceptions.
Mirror - Reflecting Door Court
Table and Chair Display Area
Adjacent to this area is the dining table zone, where mirrors reflect the sky and the ground, visually extending the space and enveloping the products as if they were suspended artistic installations. The chairs suspended on the walls not only exude an air of sophistication and aesthetic appeal but also meet the needs of display updates.
Three oversized red apple-shaped speakers immerse visitors in an auditory experience. Symbolizing peace and happiness, they add a touch of absurdity and humor to the artistic space. The everyday scene is narrated through avant-garde spatial language, where sound, light, color, and form collaborate harmoniously.
Creative Pavilion
Designer's Working Area
Located in the center of the exhibition hall, the designer's workspace draws inspiration from the spatial characteristics of a “pavilion” in traditional gardens—a transparent structure supported by six columns. This design both defines the area with an enclosing momentum and establishes a dialogue with the environment through its open posture. The designer has translated this wisdom of “separating without isolating” into a multifunctional complex that accommodates diverse functions such as office work, reception, sales meetings, lectures, and displays, adapting to various usage scenarios.
The workspace adopts an open layout, reducing partitions to enhance the sense of transparency and flexibility. Workbenches of different scales can be applied according to actual needs, meeting the collaborative requirements of teams of varying sizes. The main color tones of wood and Morandi green, along with the textured marble flooring, infuse the space with a natural quality.
Balanced Axis Show Hall
Sleeping Area
The “hall,” as the main component of garden architecture, is typically situated on the central axis, while the rear hall serves as a living space. In light of this, the progressively layered corridor-style sleeping area the most embodies the spirit of returning home and shedding the armor of the outside world. The axially symmetrical structure creates a sense of balance and stability. The texture of the long-span glass used as a partition mimics the tranquil atmosphere cast by natural light, delineating the space and enhancing its sense of enclosure and scale.
At the end of the corridor, the display “capsule” features mattresses with flowing, bent lines. The mirrored ceiling and semi-circular electronic screen introduce a sudden sense of technological sophistication within the orderly space.
Stable Brown and White Living Space
Sample Area
As the final chapter of the exhibition hall's circulation route, the sample area completes the spatial narrative loop with a scenographic home experience. The designer intentionally dissolves the enclosed nature of traditional sample rooms, which are typically enclosed on all six sides, and continues the garden-like construction form of "separating without isolating," removing the formulaic perfection of the sample room. Brown, representing earth, and white, representing sky—the two main colors of the sample area—echo the natural elements of a garden.
In terms of display strategy, the designer uses scene slicing and appropriately leaves blank spaces with single pieces of furniture, sublimating standardized products into personalized living proposals. Each piece of home furniture becomes a mirror for the viewer's self-projection.
On the basis of an open and fluid spatial structure, the designer applied contrasting colors to the six major zones, creating a comfortable sense of envelopment as people move through the space. Each area functions independently, yet visually maintains an overall coherence through a unified color system. The lighting design throughout the entire exhibition hall is concealed within the spatial framework and functional scenes, with diffused light sources simulating natural daylight penetration to enhance the sense of spatial depth. The display modules, based on a modular logic, enable rapid reconfiguration of spatial forms and functional scenes: in the horizontal dimension, they adapt to the varying physical conditions of different city showrooms, while in the vertical dimension, they respond to product line iterations and the upgrading of marketing strategies.
The designer reconfigures the logic of commercial display through the spatial grammar of traditional gardens, reconstructing the relationship between people, objects, and space within the tension between architectural precision and artistic divergence. The chain-like logic of "structure—space—experience" is embedded in the exhibition hall design. As visitors move through the space, they are not only able to perceive the construction logic of the material space modeled after gardens but also experience the brand's spirit through the interaction of their bodies with the scenes and products. The movement trajectories of people within the space are transformed into a brand cultural ritual—a gradual immersion from the visual and tactile to the perceptual, subtly completing the value identification with the life philosophy advocated by the brand.
