摘要：位于都市喧嚣之中的家具品牌旗舰展厅LAU，不以鲜明的设计符号取悦访客，也不以独特的陈列方式彰显自己，而是以谦逊的姿态期许你停下脚步，感知它的存在，待到身心平静之时，才开始轻声述说。

位于都市喧嚣之中的家具品牌旗舰展厅LAU，不以鲜明的设计符号取悦访客，也不以独特的陈列方式彰显自己，而是以谦逊的姿态期许你停下脚步，感知它的存在，待到身心平静之时，才开始轻声述说。

The flagship showroom of the furniture brand LAU, located in the midst of the hustle and bustle of the city, does not please visitors with distinct design symbols, nor does it showcase itself through unique display methods. Instead, it humbly invites you to stop and perceive its existence. Only when your body and mind are at peace will it start to speak softly.

LAU没有吸人眼球的风格特征，也没有刻意的元素堆砌，更像是一段被抽离而出的时间片段。建筑师Raimer Büro以“聆听”为设计灵感，让空间回响成为体验的主角。所以，空间在此无需陈述，只需等待回应。

LAU doesn't have any eye-catching style features, nor does it deliberately pile up elements. It's more like a time segment that has been extracted. Architect Raimer Buro takes "listening" as the design inspiration and makes the spatial echo the protagonist of the experience. So, space here needs no statement; it just waits for a response.

LAU并非传统意义上的家具展示空间，而是一个关于“存在状态”的生活提案。这个46平方米的场地，其布局形式围绕中轴展开，严谨且对称，它摆脱陈列式的商业模式，将人与物的关系重构，产生新的对话。

LAU is not a traditional furniture display space, but a life proposal about the "state of existence". This 46-square-meter site, with its layout centered around the central axis, is rigorous and symmetrical. It breaks away from the display-oriented business model and reconstructs the relationship between people and objects, generating new dialogues.

整个室内由橙色与黑色两种色调构成，极具张力。橙色如温暖的光，象征生命；黑色不是空虚，是深邃的边界，它们并非装饰性的色彩，而是空间情绪的建构语言。正如《老人与海》中的“简洁之力”，LAU用尽可能少的色彩去表达深刻意图。

The entire interior is composed of two tones, orange and black, which is highly dynamic. Orange is like warm Light, symbolizing life. Black is not emptiness; it is a profound boundary. It is not a decorative color but a constructive language of spatial mood. Just like the "power of simplicity" in "The Old Man and the Sea", LAU uses as few colors as possible to express profound intentions.

一座由天然石材打造的岛台位于空间中央，它既是重要功能，又如雕塑般沉稳。其几何结构复杂而平衡，两组体量以同一角度相交，由一个对角线桌面连接，精确又不失温度。另一侧由杨木制成的方形吧台，有如结构的心脏，向内延展出节奏与形体语言，强化“建筑的可触性”。

An island platform made of natural stone is located in the center of the space. It is not only an important function but also as stable as a sculpture. Its geometric structure is complex and balanced. Two groups of volumes intersect at the same Angle and are connected by a diagonal desktop, which is precise yet warm. On the other side, the square bar counter made of poplar wood is like the heart of the structure, extending inward in rhythm and form language, enhancing the "touchability of the building".

空间之中材料的选择是根据“性格”而非“装饰”所进行的，木材、钢铁、石头、毛毡——它们是感官的锚点，是与身体可以产生直接接触的材质。因此，触感成为空间叙事的一种重要媒介，每一次触摸，都是一次与空间的对话，而非仅是视觉的愉悦。

The selection of materials in the space is based on "character" rather than "decoration". Wood, steel, stone, felt - they are the anchor points of the senses and the materials that can have direct contact with the body. Therefore, touch sensation has become an important medium for spatial narrative. Every touch is a dialogue with space, rather than merely a visual pleasure.

家具与材料展示区沿两侧铺展，布局克制而有序，没有多余的视觉干扰，每一个物件的位置、尺度、关系，皆被精确编排，这不是一种特意展示，而是建筑语言的延续，为置身体验增添第三种感知维度。

The furniture and materials display area is spread out along both sides, with a restrained and orderly layout without any unnecessary visual distractions. The position, scale and relationship of each object are precisely arranged. This is not a deliberate display but a continuation of the architectural language, adding a third perceptual dimension to the experience of being there.

光在此并非配角，而是空间的共同创作者。在休息区，软灯箱模糊着几何边界，营造出近似电影画面般的温度与留白。光除了用于照明，而用于描绘，它在物体的表面上停留，投射出平静的流动感，使时间变慢，气息柔和。

Light here is not a supporting role but a co-creator of the space. In the rest area, soft light boxes blur the geometric boundaries, creating a temperature and blank space similar to that of a movie scene. Light is not only used for illumination but also for depiction. It lingers on the surface of objects, projecting a calm sense of flow, slowing down time and softening the breath.

这片场域是一处休息的场所，更是一种生活场景的隐喻，不锈钢墙面映出整个空间的倒影，仿佛时间被折叠。黑色皮革扶手椅旨在向Mies van der Rohe表示致意，而金属椅则像一块阳光下的岩石——功能与艺术彼此交融，呈现空间的“可栖居性”。

This film area is not only a place for rest but also a metaphor for a life scene. The stainless steel walls reflect the entire space, as if time has been folded. The black leather armchair is designed to pay tribute to Mies van der Rohe, while the metal chair is like a rock in the sunlight - functionality and art blend with each other, presenting the "habitable" nature of the space.

延续“少即是多”的设计哲学，LAU用最少的手段构筑最深的感受。没有过度的装饰，没有聒噪的陈述，它用材质、比例、节奏与光，为沉默赋形，为日常注入仪式。当你放下思索、停止言语时，空间才真正开始讲述自己的故事。

Adhering to the design philosophy of "less is more", LAU builds the deepest feelings with the least means. Without excessive decoration or noisy statements, it uses materials, proportions, rhythms and light to shape silence and infuse ceremony into the everyday. When you let go of your thoughts and stop speaking, space truly begins to tell its own story.

来源：火车头美学