凭借前所未有的空间力量成为银座的新起点 – GINZA SIX | GSIX | 银扎西克斯

INTERIOR
Gwenael Nicolas

最重要的是空间为了谁而存在

GINZA SIX是吸引全球人士的国际性商场，但是我希望将日本的精华融入室内装潢中。虽然重视外来游客很重要，但我却认为应该创造一个能让居住在日本的我们或自己家人首先感觉开心的空间，我觉得不可偏离这点。
例如，日本的建筑使用了拉门和灯笼，设法让柔和的光线照射到各个角落，而GINZA SIX则在挑高的中庭订做了三维和纸，让来自天窗的自然光柔和穿过，使光线遍布各处。楼梯扶手上采用了百叶窗结构，再搭配上形似竹子的格子。
凝聚空间的工匠精神该如何呈现也是我费心的部分。我尽可能使用手工材料，部分电梯厅的墙壁使用有纹理的亮漆妆点铝的表面。商店林立的通道墙壁则在各关键地点使用工匠制作的和纸。通过材料的层次和品质来呈现空间，这种方法不只运用在GINZA SIX，也是我所有项目共同的设计重点。可以这么说，日本的设计是建立在层次和品质之上的。拥有巨大规模的GINZA SIX为避免带给人一种空旷工厂的印象，我特别在意它的协调感。
GINZA SIX所提出的“New Luxury”也不是用一点来表达“这真厉害啊”,只是通过整体感受到的东西吧。除了室内装潢外，还有建筑设计、平面设计、艺术作品、能乐堂等的文化，都要能够让人感受到大自然，让人感觉宾至如归。反过来说，无论是高级旅馆，还是商务旅馆，可能没有太大差别，只要整体协调，我觉得就可以认为“全部都很出色”。

Who Should the Space Be For?

I believe that GINZA SIX will become an international shopping mall that will attract guests from around the world. But in spite of that—or maybe even because of that—I wanted to imbue the interior design with the essence of Japan. While it is important to keep in mind that many of our prospective patrons will be from outside of Japan, my first priority was to design a space that our team of designers, our families, and those of us who live here in Japan would enjoy coming to. It was critical not to lose sight of that.
For example, in Japanese architecture, you use fixtures like shoji [sliding screens made of translucent paper over a wooden frame] and lanterns to diffuse light throughout a space. At GINZA SIX, I had 3D washi [a Japanese style of paper commonly made using fibers from the bark of mulberry trees, paperbush, and Gampi trees] incorporated into the ceiling of the atrium in order to diffuse the natural light coming through the skylight and bathe the retail levels in gentle light. And for the staircases we've installed louver railings with latticework designed to resemble bamboo.
I was also very particular about how attention to detail and touches of craftsmanship are used to bring the space together. Wherever possible, I integrated handmade and handcrafted elements. A number of the elevator hallways, for example, have walls covered in aluminum with a lacquer finish. And along the walls of the main walkways, you'll come across creative use of washi made by an expert papermaker. Using layers of design and the unique qualities of individual materials to bring a space to life—this has always been a central characteristic of my work, and GINZA SIX is no exception. And you can say that the use of layers and qualities are the foundation of Japanese design as well. So with a space as grand as GINZA SIX, it was important to achieve a balance between the two, so that it didn't end up feeling like some large industrial factory.
GINZA SIX's vision of "New Luxury" is not something that draws attention to itself, not something you can pinpoint; rather, it's an aesthetic that permeates the entire undertaking from top to bottom. It applies not only to the interior design, but the architecture, graphic design, and artwork on display, as well as the Noh theater and other cultural attractions, greenery, and, of course, the service and hospitality. To put it another way, New Luxury is not about what or how much you do with a space, but whether or not what you do is right for the space. In that sense, whether you were to choose to spend the night at a high-end ryokan [traditional Japanese inn] or a business hotel, one experience is not necessarily more "luxurious" than the other, because it's a question of overall balance and the thought put into it. Again, not what or how much you can do for your guests, but whether or not what you do is right for your guests.