回到室内空间本身，奢侈品商店设计原室内空间关系较为狭长，且只满足于仅有一面的通风采光条件，这无疑对于空间本身的体验感是极为不友善的。如何让本就不算宽敞的空间里，有更为丰富的空间体验，同时又能满足更为充足的商品陈列需求，是室内设计需要解决的基本问题。

Return interior space itself, relation of former interior space is relatively long and narrow, and be satisfied with only one side ventilated day-lighting.

This is undoubtedly very unfriendly to the experience of the space itself.

How to make a richer space in this space and meet the needs of more adequate commodity display, is the basic problem that interior design needs to solve.

回到一个消费者的角色中，我开始思考，怎样的一个商店，才会吸引我去探究、去消费、去传播。这看似最基本的商业诉求，反而是当下众多零售空间所缺失的主体性问题。所谓的设计主题（噱头）被设计师无限放大后，往往走向形式大于内容的误区，一通拍照过后，我们不仅无法关注到品牌应有的个性，更无法愉快的产生购物体验。

As the role of a customer, I began to think about what kind of store would attract me to explore, consume and spread.

This seems to be the most basic business appeal, but it is the subject that many retail spaces are missing.

The so-called design theme (gimmick) is infinite amplification by designers, the form is often greater than the content itself, after some shooting, we do not care about the personality of the brand should have, we can not produce a happy shopping experience as well.

所以，室内空间的规划，是依托于消费动线与品牌认知过程而展开的构思逻辑。首先，我们用一个狭长的门廊通道将原空间分为了左右两个空间物理关系。并在这个黑色立方体的末端设置了一面做旧的铜板墙体，奢侈品商店设计设置这种色彩、质感的目的，除了可以形成一个引导进入的视觉关系外，其表面悬浮的壹臻logo，也是在通过某种心理暗示告诉到访的客人，“我”的名字叫——壹臻。

Therefore, the planning of interior space is a conception logic based on the process of consumer movement and brand recognition.

First of all, we divided the original space into two physical relationships with a narrow porch passage.

An old copper wall is set at the end of this black cube. The purpose of setting this color and texture is not only to form a visual relationship leading to the entrance, but also to tell the visiting guests that My name is THE ONE through some psychological hint.