Ongoing Project

Renovation of the 32,000 square metre Building 3 on the Chenfeng Group Kunshan Campus. The project is to produce an up-to-date and inspiring facility to serve as a centrepiece of Chenfeng Group’s vision for the campus as a fashion incubating hub. When complete the project will provide a central atrium, fabric libraries, meeting spaces, studios, canteens, private dining rooms, cafes, offices and exhibition spaces. Our approach has been to analyse the existing building, retain as many original features as possible when suitable, and then strip everything else back to basics, adding measured finishes and fittings to improve and update its function where necessary. 

进行中的项目 

晨风集团昆山园区三号楼32000平方米的建筑翻新项目，旨在建造出与时俱进并有启发性的设施来作为晨风集团时尚孵化园中心。项目完成后将会有新的中央天井、面料馆、会议空间、工作室、食堂、包房、咖啡馆、办公室以及展示空间。我们的方法思路是分析现有建筑, 尽可能多地保留合适的原始特征, 然后将其他部分清拆回基础状态, 在需要的地方增加饰面和设备来改善和更新其功能。

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Set design and prosthetics fabrication for fashion shoot for Modern Weekly China. Collaboratively developed with the photographer Mathilde Agius around a ‘Modern Nightmare’ concept. 

 

Photographer: Mathilde Agius

Stylist: Frida Monchi

Model: Lhaga

为《周末画报》拍摄进行布景设计与假肢制造。与摄影师Mathilde Agius合作出品，作品环绕“现世噩梦”这一概念。

 

摄影师：Mathilde Agius

造型师：Frida Monchi

模特：Lhaga

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Set design for a catwalk show and subsequent in store installation at LMDS. Taking inspiration from a sequence in Woody Allen’s retro futuristic 1973 film ‘Sleeper’, where his character encounters giant fruits and vegetables. Designing and commissioning the construction of outsize fruits, vegetables, and a chicken out of carved polystyrene. 

为LMDS买手店T台秀与后续店内装置进行布景设计。灵感来源于伍迪·艾伦复古未来风格的1973年电影《傻瓜大闹科学城》，在电影中，伍迪·艾伦扮演的角色遭遇巨型蔬菜水果。设计师设计并使用聚苯乙烯安排制作了大型水果、蔬菜与鸡的模型。

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Set design for Feng Chen Wang’s collection catwalk took flexible plywood sheets, painted white, and cut them into a passage through which the show could proceed. The sheets were hung from the ceiling so that the sheets rested on the floor of the venue to lie flat at the base. Further sheets with the show’s maxim, ‘一二三’ (one, two, three), were cut and displayed as a backdrop at the venue.

为Feng Chen Wang的Sister.Brother系列秀场进行的布景设计采用了灵活性强的胶合板，涂白后调整修剪组合成通道，以供大秀在其中进行。板材从天花板上吊下，以此保证板材可与置地面上的板材相合。写着系列主题“一二三”的胶合板裁剪并作为场地背景板进行展示。

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Ongoing Project

Interior and façade design for a high-end, multi-brand lifestyle store and adjoining photo studio. Using the art gallery as a model for the store design, the space is designed to be simple, sleek and dramatic while utilising high quality materials such as honed marble and polished plaster. A yellow marble stair leads from the store up to a photo studio. The studio concept is to clean up the space, making it as simple and functional as possible, while adding large 6m swinging walls to maximise flexibility of use and drama to its transformation.

进行中的项目

为高端多品牌生活方式商店和与其毗邻的摄影工作室进行内饰与外观设计。从艺术馆的设计中汲取灵感，采用哑光大理石与抛光石膏板等材料打造简约时髦的空间风格，又不失一丝戏剧性。黄色大理石阶梯将商店与摄影工作室流畅衔接。工作室的设计概念是引入6米挂墙以最大化用途灵活性并增添空间转变的戏剧效果，同时打造一个尽可能简洁并功能性强的空间。

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Set design for Instyle cover shoot with Ju Xiaowen, shot by Mathilde Agius.

 

Photographer: Mathilde Agius

Stylist: Jeff Lee

Model: Ju Xiaowen

为《优家画报》封面拍摄进行布景设计

摄影师： Mathilde Agius

造型师：Jeff Lee

模特：雎晓雯

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Set design for a photoshoot. Design and construction of outsized inflatable shapes providing a playful backdrop for a campaign shoot for high street brand Blooming.

Photographer: Julian Song

Stylist: Macci

为大片拍摄进行布景设计。设计并制作大型充气物，为高街时尚品牌Blooming广告片拍摄营造充满童趣欢乐的氛围效果。 

摄影师：Julian Song

造型师：Macci

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Set design for catwalk. Hosting a surrealist Japanese band playing sculptural instruments of their own invention, the set on which the band performed consisted of simple linear, geometric shapes drawn onto the stage catwalk in 3M reflective vinyl.

为T台秀进行布景设计。为日本超现实主义乐队现场演奏原创发明的雕刻乐器打造舞台，采用3M反射性乙烯基塑料在T台上画下简洁线条几何图形。

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Installation for Chen Peng’s ‘Lace to Meet You’ garments. The installation drew upon the materiality and form of the collection, creating hanging sculptural forms that floated weightlessly around the garments. 

为陈鹏“Lace to Meet You”服饰快闪店进行装置设计。此装置侧重于此系列的材质与形式，打造了悬挂雕塑体，无重力似地飘浮在服饰之间。

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3M reflective vinyl Places+Faces logos dominated the exterior and interior of this pop-up for the brand at UNDFTD in La Brea, Los Angeles. Two further Places+Faces logos dominated two walls produced in white reflective vinyl. Checkerboard vinyl flooring and steel grid wall magazine racks for merchandise display continued the corner shop / kiosk aesthetic developed in previous pop-ups for the brand.

在位于洛杉矶La Brea UNDFTD的PLACES+FACES快闪店设计中，3M反射性乙烯基塑料打造的PLACES+FACES标志在内饰外饰中占据主导地位。两个大型PLACES+FACES标识在白色反射性乙烯基墙上刺眼突出。棋盘型乙烯基地板与摆放商品的钢制栅格墙壁杂志架延续品牌此前街角商店、报摊风格的快闪店美学特点。

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Set and Exhibition Design for Feng Chen Wang’s collaborative show with Converse. For the exhibition, we looked back through Feng’s previous collections and created a room-like space for exhibiting each season. These rooms each referenced our previous collaboration, to create a set of distinct and contrasting materialities. The outside of these became the backdrop for the catwalk show.

为Feng Chen Wang与匡威联名大秀进行布景与展览设计。在此次展览中，我们回顾了王逢陈此前系列，创造了一个分割出多个“房间”的空间来展示每季设计。每个房间都参照此前合作，采用独特且对比强烈的材质。各个房间的外围则是T台模特走秀的背景。

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The catwalk set design was an abstraction of the organic fabric production and fabric dyeing facility used by the workshop. Turf, mounds of earth, plants and other rural items, brought the idyllic setting into the space. A screen with projection of an artist-produced skyscape provided a backdrop to the show.

T台布景设计为有机织物生产与织物染色设备的抽象体现。草皮、土堆、植物与其他乡村田园风格物品为秀场空间营造田园诗般的氛围。投影着设计师创造的空景图的屏幕为秀场背景。

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Haizhen Wang’s theme for his SS19 collection was water, specifically the movement, reflections and distortion that water creates. The show set consisted of a shallow pool of water through which the catwalk’s models walked; their passage inducing movement in the water. Large screens were suspended above the round pool, the light shone onto the pool reflected onto the screens. 

王海震SS19春夏系列的主题为“水”，特别侧重于水的流动性、反射性与水的扭变。秀场设计包含一个横穿秀场的浅池，模特穿过其中，踏步在水上。大型屏幕悬挂于园池上方，灯光反射在水中，又折射回屏幕。

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The motif of Ximon Lee’s collection was a statuette recalling traditional Chinese statues of goddesses. A field of reproductions of these statuette was laid out in the space,  with the runway crossing it. A row of strip fluorescent tubes was suspended above the central passage, illuminating the models as they walked.

Ximon Lee系列的母题是一个小型雕像，使人想起中国传统女神塑像。一片雕像在秀场空间规整摆放于秀场空间里，T台穿梭其中。一列条形荧光灯条于主通道上方挂起，灯光环绕行进中的模特。

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Set Design for the Chalayan x Nio show at Xcommons. Four large one-way mirror sheets of glass were erected, lit at their base in red. Around these the models were choreographed. The mirrored glass sheets also served as projection screens.

为XCOMMONS Chalayan x NIO秀场进行布景设计。四幅巨型单向镜面玻璃立起，底部安装有红色条形灯。模特在其中按编排行进。镜面玻璃同时也用为投影屏幕。

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Design for a temporary experiential installation at Paradise Walk in Chongqing for Peacebird’s collaboration with Nicola Formichetti’s Nicopanda. The experience was a journey through an abstract bamboo forest, exploring an interactive panda-themed story culminating in a central, panda-shaped room. The exterior of the popup made of serrated walls that switched between either pink or yellow, depending upon the viewing angle, the two major colours in the collection.

为位于重庆天街的太平鸟与Nicola Formichetti的Nicopanda联名系列快闪店进行设计。设计师构建了一次穿行抽象竹林的旅程，在位于商场中心的熊猫形房间中探索一个交互式、熊猫主题的故事。快闪店的外墙为锯齿墙，从不同角度观赏会呈现或粉或黄的系列主色调。

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Set Design MO&Co Edit10n’s AW18 collection catwalk show. Named ‘Future Opera’ the collection took inspiration from Wong Kar-Wai’s acclaimed film 2046; combining evocative '60s-style landscapes and settings with claustrophobic futuristic CGI metropolises. The set design introduced futuristic elements such as a sweeping metal runway weaving amongst transparent Perspex seats scattered across the grassy hillsides of the venue, the Song Art Museum, a private gallery and gardens. 

为MO&Co Edit10n的18秋冬系列秀场进行布景设计。系列名为“未来歌剧”（Future Opera），灵感来源于王家卫的经典电影《2046》，将怀旧的60年代景观和布景与狭窄幽闭的未来风格CGI都市场景相结合。布景设计引入未来风格元素，如弧线型流畅金属T台在透明有机玻璃座椅中绵延，整体布局不失紧凑地散落于私人艺术馆——松美术馆之中。

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Phase 2 of the Round Round Spatial Identity involved designs for three new stores. The Jinlun Round Round store retained elements from the first Deji Plaza store such as the gallery aesthetic, acrylic translucent panels and black-glass columns, combined with specifically designed wooden sculptural tables that introduced new warmth to the less formal store. 

The two smaller 基督山 stores also drew upon the gallery aesthetic but included new elements to reflect the street-style focus of these stores; these included fluorescent orange fittings, a lightbox ceiling and a mirror column. 

Round Round买手店空间特性设计第二阶段包括为三家新店面进行设计。南京金轮店保留了德基广场第一个店中的元素，比如画廊美学元素、半透明亚克力嵌板与黑玻璃圆柱，设计师同时结合了特别设计的木制雕刻桌，带给店铺一丝随意性与暖意。

两家规模更小的基督山店铺也采用了画廊美学元素，但设计师引入其他元素来增添店铺的街头风格，其中包括荧光橘配件、灯箱天花板和镜面圆柱。

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The design for concession at Galeries Lafayette. The concept emphasises flexibility and modularity, enabling the concession to change to host different seasons of Sean Suen’s work. To accommodate this, simple, monochrome forms were chosen, and a clean, crisp style adopted. The rear wall consists of steel panels that can be easily clad with imagery while the rails, plinths and fabrics can all be adjusted and interchanged to maximise flexibility.

为品牌位于老佛爷百货的特许店进行设计。此项目的概念强调灵活性与模块化，使得特许店可以随Sean Suen不同季的作品进行重新布置。为满足要求，设计选取了简单、单色调的形式以及简约清新的风格。背墙的钢板十分便于用图像包覆，同时轨道、底座与织物可最大化随意灵活调整改变。

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Catwalk show set design for Wang’s SS19 collection, My Half is a title representing the search for completion, and this was represented through hand-shaped items as a recurring motif in the collection. The runway design itself consisted of bundles of coiled legs and arms made from stretched white fabric stuffed with wadding.

为王逢陈SS19春夏系列进行秀场布景设计。此系列题为My Half，代表着要去寻找另一半来达成整体。为传达这个讯息，系列采用手型的物件作为重复出现的主题。T台的设计本身即包含数捆手脚造型的装置，由填充物填塞的伸缩面料制成。

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‘Around the World and Back’ exhibition and popup at Protein Studios, Shoreditch, marked a homecoming for the photographers and their cult fashion brand, celebrating five years of travel and photography. The design for the exhibition encompassed an exhibition space with a clean museum-style in one half of the location and a popup store which sought to evoke the ambience of a corner shop. Both these elements drew on the material language developed in our previous collaboration 4 years prior.

位于伦敦肖迪奇Protein Studio的Around the World and Back展览与快闪店项目，是为归家的摄影师们与他们的亚文化时尚品牌共同庆祝五年的旅行和拍摄经历。展览空间被设计为一半是简单整齐的博物馆风格，另一半充满街角商店的氛围。这两种风格的元素都运用了4年前品牌与设计师合作时期开发的材料语言。

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Design for Xcommons AW18. Located at the unfinished retail development of Columbia Circle. Creation of entrances, installations and circulation design to enable Xcommons to take consistent ownership of the space while providing a backdrop to multiple different shows and presentations. Further assistance was provided in the development of the concepts for the various shows that took place.

为XCOMMONS  AW18秋冬系列进行设计。项目位于尚在开发中的哥伦比亚公园。入口、装置和动线设计使得XCOMMONS始终占据空间中最重要的位置，同时可以为多个演出与发布会提供背景幕。除此以外，在各种展演的概念开发过程中也提供了协助。

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Feng’s AW18 collection took inspiration from her childhood home and the quotidian; things that evoke a sense of home, or memories of her family and friends. Life-size abstract models of household objects were constructed from fabric stuffed with padding for the New York catwalk and arranged within the space. Their soft nature reflecting the comfort associated with home, while nodding to the transient malleability of youthful memories.

王逢陈AW18秋冬系列的灵感来自于她童年家庭的日常：充满生活气息的物品，以及与家人朋友的回忆。由填充面料制作的真实尺寸抽象家庭日用品模型，被布置在纽约的走秀空间中。 柔软有延展性的材质，使人想到家庭的舒适以及童年记忆的延续。

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Set design for a presentation. Drawing upon the innovative techniques present throughout Xu Zhi’s collection this presentation, and set in the Swiss Church in Covent Garden, the installation referenced the studios of the Pre-Raphaelites, evoking them through the use of draped translucent material and soft lighting, providing a backdrop to the collection within the elegant space of the church.

为发布会进行布景设计。设计重点关注Xu Zhi这一系列中采用的独特创新技术。发布会于考文特花园里Swiss Church举办，装置参考前拉斐尔派画室，设计师利用悬挂半透明材质与柔和灯光加深这一观感，与教堂内的典雅环境相融合，为系列增添完美背景幕。

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Development of conceptual direction for Xu Zhi’s AW18 Exhibition at AUNN in Shanghai, exploring in detail both his process and the story of his muse for the collection, Jane Morris. Exhibition design executed by Matters of Seeing.

为Xu Zhi上海AUNN举行的AW18秋冬展进行概念指导延展。在细节中探索陈序之这一系列的设计历程与故事穆斯Jane Morris。展览设计由Matters of Seeing执行。

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Design for the renovation of Building 2 on the Chenfeng Group Campus to produce an up-to-date and efficient facility for the showcasing and development of the company. The design includes numerous functional spaces including an atrium, fabric library, meeting spaces, studios, multi-use spaces. The general approach was to analyse the existing building, retaining as many original features as possible where suitable, and then strip everything else back to basics, adding finishes and fittings where necessary to improve and update its function.

The overall effect created is a modern environment that exposes memories of the past through its stripped concrete walls and columns, whilst reflecting the modern world back onto its occupants. The design reflects the values of the client; a family run business which embraces the sense of newness and curiosity in modern China whilst remaining in touch with their familiar shared heritage.

设计翻新晨风集团园区二号楼以打造出与时俱进且便利高效的场所来服务于公司的展示陈列和发展。设计范围包括天井、面料馆、会议空间、工作室、多功能空间等功能区。为达到设计意图采用的总体思路是首先分析现有建筑,，尽可能多地保留合适的原始特征， 然后将其他部分清拆回基础状态，在需要的地方增加饰面和设备来改善和更新其功能.。

营造出的整体氛围具备现代感,，清拆回原形的混凝土墙面和立柱显示出过去的痕迹。设计反映出客户想体现的价值是：携带新意与好奇拥抱现代中国，继往开来的家族企业。

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Retail location, designed in collaboration with set designer Gary Card. The design for Roksanda Illincic’s Harrods concession referenced Illincic’s existing store design. The store’s design drew upon the work of artist Nathalie Du Pasquier and the geometric shapes which dominate her style. The design envisioned an assemblage of these geometric shapes clad in the dusty pink felt also present in the VIP rooms of Illincic’s flagship store.

与布景设计师Gary Card合作出品。为Roksanda Illincic哈罗德特许店的设计参考了此前Illincic店铺设计。设计重点关注艺术家Nathalie Du Pasquier的作品以及具有设计师本人明显风格特征的几何形体。设计设想是搭建多个脏粉色几何形体的集合，同时也是Illincic旗舰店VIP室的特征。 

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Ongoing Project

Concept proposal for the redevelopment of a 5000 square meter office building into a series of retail spaces, through the introduction of a vertical void and hanging stair.

进行中的

一个概念设计提案, 通过引入垂直镂空的悬挂楼梯, 将5000平方米的办公室大楼重新开发为一些列零售空间。

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Design for showroom at the prestigious LVMH prize. Development the material themes of Wang’s previous collection. Materiality was composed of white fabric-padded walls over which packing film was wrapped creating a non-literal padded cell, the fabric straining against the see-through constraint. Into this space complete looks were hung to stand clear against the expressive backdrop.

为Feng Chen Wang在LVMH奖中的陈列室进行设计。为此前Feng Chen Wang系列中材料主题的延续。由白色衬垫填满的墙外饰有包装膜，薄膜绷住织物，打造了一个抽象意义上的软壁病室。完整作品挂在每面墙上，与富有表现力的背景形成鲜明对比。

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Designed in collaboration with Matteo Mastrandrea as Taxonym. An interactive infrastructural installation for Future Medina—a multi-disciplinary and participatory event organised by Tate Exchange at the Tate Modern which sought to reframe the museum as a site for future cultural exchange for creativity to happen, and innovation to occur. Taxonym created an infrastructure that divided the gallery into discrete yet malleable space – composed of a forest of columns combined with a series of planes, screens and objects/elements. 

与Matteo Mastrandrea即TAXONYM合作设计。为Future Medina进行互动性基础结构装置设计。Future Medina为泰特美术馆TATE Exchange项目组织的多学科参与式项目，旨在重塑美术馆作为未来文化交换与创意场所。TAXONYM打造了一个结构将美术馆分割成离散但又可塑性强的空间，包含一片柱体、一系列平面、屏幕与各种物体。

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Design for multi-brand store in Nanjing, China. Combining visible steel structure and shelving coupled with translucent acrylic panels combine to provide a sleek, gallery-like aesthetic with utilitarian elements. The space is a vessel enclosing a series of flexible functional areas, each of which is a curatable ‘scene’.

为Round Round设计师品牌集成店进行设计。设计师将外露的钢质结构与透明亚克力版所制的排架相结合，让整个空间拥有线条流畅、前卫、似美术馆的美学表达，同时也满足实用层面的需求。整个空间转化成一个含有一系列可灵活运用的功能性区域的“容器”，而每个功能性区域都是一个“展馆主题”。

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Produced in collaboration with Matteo Mastrandrea and Will Gallia, as ‘Taxonym’. Evolution of concept developed for previous Nzca Lines show. The three-dimensional lighting rig was expanded with more complex programming and visuals to create a stunning, immersive audience experience.

与 Matteo Mastrandrea和Will Gallia，即Taxonym合作出品。在此前Nzca Lines演出设计概念上作出了进一步延展设计：扩大了3D灯光桁，并加入更复杂的灯光与视觉效果，为现场观众营造一个令人震撼的沉浸式体验。

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A continuation of the themes from the London presentation working with the concept of emergent mistakes in production. Images of the space were manipulated and reproduced large-format on sheets of cotton gauze. These were hung from the ceiling along the catwalk to create a layered perspectival image of the space. 

本次设计是伦敦发布会主题的延续，即生产过程中出现的错误与故障。整个空间的图像被扭曲地印在大片棉质薄纱上，由天花板垂下、延申至伸展台，从一个层叠视角再现了秀场空间。

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Images of the presentation space were distorted and abstracted until barely recognisable, referencing the theme of the collection ‘Human Mistake’. These were reproduced as large-format prints on sheets of fabric and draped across the room and the simple structures built within the space, haphazardly aligning with the space from which they were created.

发布会空间的图片被扭曲、抽象化直到难以辨认的程度，来呼应系列主题“电子故障（Human Mistake）”。图片被放大印刷在大块布料上，布满整个空间；而在空间之中搭建了简单结构体，近乎随意地与创造其的母体空间对齐。

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Inspired by the Francis Ford Coppola film Rumblefish, the presentation was designed as a ‘poolroom’ where the models were able to shoot pool, play on arcade machines and drink at a bar emphasising the theme of ‘killing time’.

受到弗朗西斯·福特·科波拉电影《斗鱼》的启发，Joseph Dejardin将发布会变成了一个台球室，模特们在其中打台球、玩街机、靠着吧台喝酒，强调“消磨时间”的主题。

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Concept Design for Studio Interior. Stripping the space back to the structure and reintroducing necessary spaces and amenities. Material palette draws upon familiar themes developed throughout long-term collaboration with Feng Chen Wang.

工作室室内概念设计。将空间清拆恢复到基础的结构, 再重新引入需要的空间和便利设施。材料组合采用与王逢陈长期合作过程中开发出的常用主题。

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Ready-made materials, such as scaffolding and ratcheted straps, were used to create a structure for the display of garments from the collection. Into this structure, large cushions emblazoned with the signature ‘Made in China’ logo of the collection were placed, these strained against the structure, producing distorted shapes. 

Joseph Dejardin采用现成材料如脚手架和棘轮带，搭建了一个展示此系列服装的结构体。此结构体之中放置了带有标志性的“Made in China”标志的大型垫子，垫子抵着结构体，呈现出扭曲形态。

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Designed in collaboration with Anna Drakes. Focus upon simplicity, warmth, family and quality as the hallmarks of the brand. Simplicity expressed through the honesty of the materiality, contrasting modern and traditional materials for emphasis; tile finishes and natural wood furniture were contrasted with translucent glass divides and clear Perspex and steel displays, epitomising the meeting of modernity and traditional values that is a hallmark of modern China.

与Anna Drakes合作出品。聚焦于简约、温情、家庭之概念与品质。设计师通过外露的材料来传达“简约”这一概念，使用了传统与现代的不同材料来强调这一特点：饰面瓷砖与原木家具搭配着半透明玻璃隔断，同时附有有机玻璃与钢制材料所制的展示架，呈现了传统与摩登的碰撞，致敬了这一当代中国的鲜明特征。

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An update and reimagining of the brand’s existing spatial identity, reaffirming the principles of the brand. Aluminium framing supporting large lenticular sheets act as partitions, contrasting furniture sculpted from wet pour rubber. A clean, futuristic environment.

在品牌原有的空间特性之上进行设计更新与重塑，更加强调品牌信条。以铝制边框镶嵌透镜为隔断，与用湿灌胶打造的家具形成鲜明对比。整体环境清新、未来感强。

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Designed in collaboration with Anna Drakes. The design for the space in Kunshan, Shanghai incorporates creative spaces, offices, meeting rooms, a kitchen, and photography studio. The 500sqm office and design studio had previously been a garment factory floor. An open, light, working environment designed to encourage a collaborative design culture, all of the studio’s departments flow into each other and are arranged around an inner ‘courtyard’.

A process of subtraction of unnecessary materials was first undertaken, stripping away the false ceiling and existing interior walls and finishes leaving an expansive interior shell for remodelling. Repairs were made and surfaces made good where necessary. Finally additions were made to serve the necessary functions in materials contrasting those of the existing space. Creating a clean modern environment that preserves an understanding of its past.

与Anna Drakes合作设计。在上海昆山的Blooming空间设计包括了创意空间、办公室、会议室、厨房与摄影棚。面积达500平方米的办公与设计室区域由前服装厂改造而成。整个工作环境开放、明快，增进了强调合作的设计文化，工作室的所有部门互相连通，围绕一个内部“天井”打造而成。

减除不必要材料为施工过程的第一步：拆除了假顶尖、内墙和饰面后，设计师在原有基础上有了更大的空间来进行内部改造。并修补了表面。最后，还从实用角度出发，在原厂房建筑材料之上做了补充设计，让摩登清新的空间同时也保有了一丝过去的气息。

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Design for a showroom to showcase seasonal collections. The concept was to take the space as found and add minimal interventions that were clearly ‘foreign’ and belonging to the brand. A large ‘Feng Chen Wang’ neon sign was hung from the ceiling over an original ceiling fan. Walls were clad in steel shutters providing a slick, industrial feel and the ability to roll back the shutters to reveal the original space, emphasising the temporary nature of the showroom. Rails were hung from the ceiling using white nylon ratchet straps while lighting was provided by floor-standing construction lighting tripods.

陈列室主要为陈列各季系列而设计。设计概念是不改变原有空间的一切并往里添加明显不属于原有空间、属于品牌的“外来物”。巨型Feng Chen Wang霓虹标识从天花板上的风扇挂下。墙壁采用钢制百叶窗包覆，以呈现一种光滑、工业风的视觉效果，同时也可以将百叶窗卷起，展示原有空间，来强调此陈列室的暂时性。使用白色尼龙棘轮带将吊轨悬挂在天花板上，同时通过落地式建筑照明三脚架提供照明。

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Set Installation for Haizhen’s AW17 collection titled ‘In Transit’ consisting of simple stacks of packing boxes, painted and wrapped in plastic film. The set served as props for a presentation in which the models were in constant motion within the space, choreographed to move boxes and build walls within the space, providing an interesting dynamism to the presentation suited to the theme of the collection.

为王海震名为“在途中”AW17秋冬系列设计的装置场景主要元素是堆叠在一起的大量打包纸箱，外裹着透明塑料薄膜以传达“随时出发”这一观感。这一设计可塑性强，为发布会中模特能够在空间里自如移动提供了理想的表现机会，使他们能够按照编排，在现场移动、堆叠纸箱成墙，为发布会增添了有趣的活力，也符合了“在途中”这一主题。

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Design for a popup at Magmode Sanlitun for Feng Chen Wang’s I AM A MAN collection employing set elements from the earlier collection showcases, such as suspended screens, but emphasised Feng Chen Wang brand, strongly featuring her logotype as a 3D installation.

在此次王逢陈I AM A MAN系列在北京三里屯名堂的快闪店设计里，Joseph Dejardin采用了之前此项目中运用的元素，比如显示屏，但不同之处是Joseph Dejardin通过聚焦于“Feng Chen Wang”其名来强调品牌。制作大型实体字母拼写出Feng Chen Wang，创造了令人印象深刻的视觉效果。

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Produced in collaboration with Matteo Mastrandrea and Will Gallia, as 'Taxonym'. Set Design, Lighting Rig and Visual projections were produced for  Nzca Lines' 'Infinite Summer' live show. The set up consisted of an array of 3D programmable LED strips suspended behind mesh screens onto which were layered. This gallery performance was a preview before a larger show with more complex visuals.

与 Matteo Mastrandrea和Will Gallia，即“Taxonym”合作出品。为Nzca Lines的Infinite Summer现场提供装置场景设计、灯光与视觉投影设计。主要通过搭建可编程照明装置来实现，该可编程照明装置由悬挂于网筛之后的一系列LED灯条组成，在这之上还另外叠加投影。此次表演为预演，之后大型表演以此为基础，包含了更复杂的视觉效果。

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A series of abstract hand-painted Terram backdrops, referencing the hand applied garment  techniques by the designer, were arranged to form a space in which the models were choreographed into dance-like motion.

Joseph Dejardin采用了一系列抽象手工印制的背景以衬托设计师在这一系列中采用的手工制衣技术，构建了一个模特能在其中如起舞般行动的空间。

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Inspired by garments falling through space, a theme of the collection, the installation was designed to capture garments in motion. Steel frames hung from the ceiling in such a way to suggest garments were falling through them, while the catwalk’s lighting and framing further emphasised the motion.

此系列的主题灵感来自于服装从高处坠落，因此整个装置场景意图旨在捕捉和定格运动中的衣服：衣物悬挂于钢架之上以表示它们正在穿过框架，而秀场的灯光和构架更是进一步强调模特的持续运动。

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Set design incorporating similar elements to the New York presentation such as the mirrors, screens, cameras and backdrop panels, additionally including beds and other articles reminiscent of a jail with the models arranged throughout the gritty landscape in an interactive performance.

此次装置设计具有许多与纽约发布会相似的元素，如镜子、屏幕、监控和背景板，但相比纽约发布会，另外还增加了床铺和其他监狱使用的类似物品。整个场景近似监狱，模特居于其中，进行互动性展示。

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Exhibition design and curation of Places+Faces first exhibition, Around The World And Back, converted the railway tunnel venue of Kachette, Shoreditch into a raw gallery space. The exhibition was Places+Faces first physical exhibition and represented the journey they had taken as they amassed their portrait collection around the world. Works were curated according to geography, their hanging combining gloss prints and oversize pasteups. Structural elements were created using steel studwork and untreated fire-resistant plasterboard, this material language since becoming a recurring theme.

对于Places+Faces的首次展览，Around The World And Back，Joseph Dejardin的任务是将Kachette的铁路隧道场地Shoreditch转变为与Places+Faces审美相匹配的展示空间。此次展览是Places+Faces的首个实体展览，展示了他们在世界各地收集肖像集的旅程。展览中，不同区域代表了他们旅行中的特定位置，作品依照地理位置摆放。

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Feng Chen Wang’s AW16 I AM A MAN collection focused on themes of incarceration and freedom. The set made subtle reference to prison yards and. Models stood amongst abstract printed paper backdrops combined with large scale leaning mirrors and monitors displaying live camera feeds from within the space.

Feng Chen Wang的AW16秋冬发布会 I AM A MAN系列主题关注的是监禁和自由。场地巧妙引用了“监狱院子”这一概念。模特站立于印有抽象图案的背景纸版之中，另有大型镜子将作品反射回整个空间，以营造出一种封闭感，除此以外，还实时播放监控在全空间捕捉到的一切。

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Set design for James Kelly’s SS16 show took advantage of the unique space of the Freemason’s Hall to provide a backdrop echoing the Lynchian themes of the collection. The space was cocooned in plastic sheeting and protective panelling suggesting a dwelling wrapped for storage, evoking the sinister strangeness of Lynch’s work.

James Kelly的SS16 The Owls Are Not What They Seem伦敦时装周的秀场设计充分利用了共济会总堂的独特空间，为系列创造了带有大卫·林奇气质的主题背景。整个空间用塑料薄膜和嵌板包裹，模拟一个所有行李打包完好的住所，令人想起林奇作品中邪恶诡异气质。

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Installation for Marta Jakubowski at the Brewer Street Car Park NewGen Showroom in London, designed to reflect Marta’s collection’s themes: hospitals, mental institutions and female incarceration. The showcase included garments, four lookbook videos and photography. Design elements included a large lightbox wall, video screens on stainless steel medical trolleys, and hangers evoking medical IV stands. 

Joseph Dejardin为Marta Jakubowski所创作的装置作品地处伦敦布鲁尔街停车场NewGen展示厅，旨在反映Too Much Time系列中Jakubowski的灵感所在：医院，精神病院和女性监禁。大秀包括服装、四个搭配视频和照片。设计的关键元素包括一个大型灯箱墙，安装于不锈钢医用手推车上的播放屏幕，以及固定医用吊瓶的定制支架。

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