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Appreciation towards Atelier INDJ for providing the following description:

近期，由Atelier INDJ打造的話梅上海武康路循环实验室正式投入使用。这不仅是一次空间更新，更是品牌方与设计师在价值观上的一次默契共识——对过度光鲜保持审慎与反思。凭借在快消领域积累的展陈与品牌体验经验，本项目亦是对Atelier INDJ设计价值观的一次浓缩呈现。以「Circularity / 循环」为核心概念，空间系统与价值在循环、转换与再组织中被重新诠释。

▼项目视频，Project video © Anthony Reed

The HARMAY Shanghai Wukang Road VIP Lounge, designed by Atelier INDJ, has recently opened. Beyond a simple spatial update, it embodies a shared value between brand and designers: a deliberate and reflective stance toward excessive polish. Drawing on extensive experience in exhibition and brand engagement within the FMCG, this project stands as a concentrated expression of Atelier INDJ’s values. Centered on the concept of “Circularity,” the space, systems, and values are reinterpreted through cycles, transformation, and reorganization.

▼入口门界面，Entrance door interface © Anthony Reed

01 当边缘重归「中心」会发生什么？
01 Re-centering the Peripheral

在話梅循环实验室中，Atelier INDJ将产品的包装、运输与回收路径中的痕迹，都重新引入空间叙事之中，让它们再度成为空间构成与体验的主角，获得全新的意义。产品使用后被丢弃，在城市系统中历经流转，最终被回收——我们的设计就是将这整个过程映射在話梅循环实验室的空间中。这不只是一个单纯的空间，而是城市尺度系统中，有关“使用、回收与再生成”的隐喻。通过这样的概念以及对空间艺术性的表达，希望引导人们重新审视价值的真正意义。在日常生活与城市系统中，每个人都在参与循环，随时探索践行着可持续的可能。

▼空间轴测图，Axonometric spatial diagram © Atelier INDJ

Within the HARMAY VIP Lounge, Atelier INDJ reintroduces the traces left along the lifecycle of products—their packaging, transportation, and recycling—into the spatial narrative, allowing them to become central to the composition and experience of the space, gaining renewed significance. Products, once used, are discarded, circulate through the urban system, and are eventually recycled—our design maps this entire process within the HARMAY VIP Lounge. The space is not merely a physical environment; it becomes a metaphor, at the scale of the city, for “use, recovery, and regeneration.” Through this concept and its artistic spatial expression, the design aims to guide people to reconsider the true meaning of value. In everyday life and within urban systems, each of us participates in the cycle, continuously exploring the possibilities of practicing sustainability.

▼入口空间与界面，Entrance space and interface © Ian Douglas-Jones

02 开场
02 The Moment of Entry

垂直入口空间
The Stark Well

以一段幽暗的楼梯，开启話梅循环试验室隐秘的氛围体验。它将人们从店内明亮的日常氛围中抽离，仿佛缓缓下沉至一口垂直的天井。空间冷静而收紧，顶部的光被刻意遮挡，仅保留一条细细的光带，牵引着脚步的方向与节奏。在抵达主空间之前，感知已被不知不觉地调整。

Entering the VIP Lounge, a dimly lit staircase sets the tone for a discreet and immersive spatial experience. The roof lights above have been occluded save for a narrow band of light to illuminate the dim space. Before entering the main space, perception has already shifted, and one finds oneself quietly immersed in a different atmosphere.

▼入口空间，Entrance © Anthony Reed

▼入口门近景，Entrance door close view © Anthony Reed

楼梯两侧的墙面用深色橡胶板交错铺陈。作为原本的消防疏散楼梯，材料所具备的防火性能既满足了功能需求，同时呼应了空间的整体气氛，使这段过渡通道本身成为体验的一部分。墙面局部嵌入的3M反光材料，在手机闪光灯被开启的瞬间突然“显形”——这种只能通过数字媒介被触发的隐藏美学，使空间并非一次性地展开，而是随着不同的观看方式，被逐步解锁与呈现。

Staggered dark rubber panels line the walls of the staircase. Once a fire escape, its materiality both ensures safety and enhances the space’s atmosphere, making the transitional passage an integral part of the experience. Patches of 3M reflective material are embedded within the walls. When viewed through a cellphone with the flash turned on, these surfaces suddenly reveal themselves—a hidden aesthetic unlocked only through a digital lens. The space is not perceived all at once, but gradually unfolds through different modes of viewing.

▼进入主空间前的楼梯，The stairwell towards the main space © Anthony Reed

艺术装置：《紫外线轨迹》
A Prelude to Circularity：ULTRA VIOLET TRACE

沿着一侧墙面，一道直径约两米的浅色圆环，被粗粝地涂抹在橡胶瓦片之上。沿着这个自然的圆形轨迹，一套由铝与碳纤维精密加工而成的机械臂，以近乎钟表般的精准节奏持续运转，冷静而准确，在运行过程中释放出一束狭窄的紫外弧光。紫外光经过的圆环表面，具有感光属性的材料会使其短暂地泛起蓝色，记录下机械臂刚刚经过的轨迹。光不再只是瞬间的存在，而是在空间中留下了痕迹，标记着它经过的位置。动态装置《紫外轨迹》 ULTRA VIOLET TRACE，代表着关于生命、回收、可持续性。它在进入空间的起点，便悄然指向上层主空间中关于材料再生与循环的核心逻辑——曾被丢弃的物品，被重新采用，并转化为空间体验的核心。

Along one wall, a pale circular ring, roughly two meters in diameter, is roughly painted atop the rubber panels. Following this natural circular trajectory, a robotic arm, meticulously crafted from aluminum and carbon fiber, operates with near-clockwork precision—calm and exact—emitting a narrow arc of ultraviolet light as it moves. The painted surface is photosensitive. As the ultra violet light passes over it, the ring briefly tinges blue, leaving a trace of the armature’s past position. ULTRA VIOLET TRACE represents life, recovery, and sustainability. At the very threshold of the space, it subtly points toward the core logic of material regeneration and circularity in the upper VIP Lounge—discarded items are repurposed and transformed into the heart of the spatial experience.

▼IAN DOUGLAS-JONES的动态装置《紫外线轨迹》，
Kinetic installation ULTRA VIOLET TRACE by IAN DOUGLAS-JONES © Benny Chen

03 怀旧 × 未来的循环
03 Circularity: Nostalgia × Future

循环材料：时间留下的“物质档案”
Circular Materials: Traces Preserved

经过一段收紧的入口楼梯，人们进入主空间。在这里，材料首先以一种“被保留的状态”出现。你或许不会立刻察觉，脚下的彩色地面不是马赛克，而是以被粉碎、切割的化妆品包装作为骨料的树脂地坪。它们如同化石般被封存于地面中，以此记录时间与使用的循环。

After ascending a narrowing entrance staircase, visitors enter the lounge. Here, materials first appear in a “preserved state.” You might not notice at first, but the colorful floor beneath your feet is not mosaic—it is a resin flooring made with crushed and cut cosmetic packaging as aggregate. Like fossils, they are embedded in the surface, recording the cycles of time and usage.

▼中央岛台，Central island © Anthony Reed

以回收材料制成的树脂地面，与空间气质高度契合，完成了整体氛围的塑造。
The resin floor aligns closely with the character of the space, completing the overall atmosphere.

▼地面细节，Fooring detail © Benny Chen

这些材料都不是“新的”或“经过修复的”，它们保留了原有的使用痕迹，以不被修饰的状态呈现，在空间中构建了一套关于时间与循环的物质档案。
These materials are neither “new” nor “restored.” Retaining traces of prior use, they are presented in an unembellished state, forming a material archive of time and circulation within the space.

▼延伸到屋顶花园的回收材质装饰地面，
Recycled flooring made from shredded cosmetic packaging,
extending into the outdoor garden © Anthony Reed

“废弃美学”空间
Space of “landfill aesthetic”

除了被保留之外，有一些“废弃物”被重新组织后，变成结构和装饰，参与到空间展示之中。

In addition to being preserved, some “discarded” materials were reassembled into structures and decorative features within the space.

▼中央岛台，Central island © Ian Douglas-Jones, Anthony Reed

泡沫、纸板、塑料袋等原本属于运输、包装或废弃的材料，被运用在墙面、家具与空间界面之中。它们并不是被再加工为完全“看不出来源”的成品或者仅仅作为填充物隐蔽在内，而是以其最接近原始状态的形态展现，甚至边缘、折痕与堆叠关系都被清晰保留。

▼升降桌爆炸图，Lifting table exploded axonometric diagram © Atelier INDJ

▼升降桌控制结构爆炸图，
Control lever of lifting table exploded axonometric diagram © Atelier INDJ

▼升降桌结构轴测图，Lifting table axonometric diagram © Atelier INDJ

Foam, cardboard, and plastic bags—materials typically associated with logistics, packaging, or disposal—are directly incorporated into walls, furniture, and spatial surfaces. They are not processed into anonymous finished products, nor concealed as internal fillers. Instead, they are presented in a state close to their original form, with edges, creases, and stacking relationships deliberately left visible.

▼升降桌，Lifting table © Anthony Reed

▼升降桌近景，Lifting table close view © Anthony Reed

▼升降桌节点细节，Detail of lifting table © Benny Chen

話梅循环实验室诠释了一种 “landfill aesthetic (废弃美学)”：空间不再依赖昂贵材料或精致饰面来彰显价值，而是通过所处语境与功能的转化，通过艺术性的空间营造让原本看似边缘的物件实现了价值的重塑。

The VIP Lounge embodies a “landfill aesthetic”: where value is no longer defined by expensive materials or refined finishes. Instead, it emerges through shifts in context and function, as the space employs an artistic approach to reframe and reassign value to objects that might otherwise be considered peripheral.

▼垃圾袋形态懒人沙发，Bean bags in bag-like form © Ian Douglas-Jones

▼懒人沙发近景，Bean bags close view © Anthony Reed

▼岛台内部纸板填充结构，Cardboard stuffing of central island © Benny Chen

怀旧之情 × 算法系统：在张力中生成新能量
Nostalgia × Algorithm: New Energy

在材料与空间的构建的循环逻辑之上，Atelier INDJ 进一步构建了一组看似矛盾的元素：怀旧的手工痕迹，与高度理性的数字系统。在可移动的弧形墙面上，手工敲凹的钢板、被撕裂的海报肌理，代表着是一个以物理劳动与可见痕迹为主导的旧信息时代；而投影画面中流动的图案、符号、代码、算法系统，则映射着当今在城市中无形却高效运转的新秩序。

Building upon the cyclical logic of materials and spatial construction, Atelier INDJ further integrates a set of seemingly contradictory elements: nostalgic traces of craftsmanship alongside highly rational digital systems. On the movable curved walls, hand-hammered steel panels and the torn textures of posters point to an earlier information era shaped by physical labour and visible traces. In contrast, the projected imagery of flowing patterns, symbols, code, and algorithmic systems represents a contemporary order that operates invisibly yet efficiently within the city.

▼弧形墙体，Curved wall © Anthony Reed

▼弧形墙面撕裂肌理，Curved wall with torn poster texture © Benny Chen

手工敲凹的钢板、被撕裂的海报肌理，代表着是一个以物理劳动与可见痕迹为主导的旧信息时代。投影画面中流动的图案、符号、代码、算法系统，则映射着当今在城市中无形却高效运转的新秩序。

▼小型屏幕设备爆炸图，
Mini screen device exploded axonometric diagram © Atelier INDJ

Hand-hammered steel panels and the torn textures of posters point to an earlier information era shaped by physical labour and visible traces. The projected imagery of flowing patterns, symbols, code, and algorithmic systems represents a contemporary order that operates invisibly yet efficiently within the city.

▼升降桌结构与线缆系统，Cables of lifting table system © Benny Chen

04 如何实现「可持续系统」
04 Towards a Sustainable System

多场景的空间实现
Built for Multiple Scenarios

話梅循环实验室既服务于会员的日常使用，也能够灵活承载新品发布、品牌活动与展示等多场景需求，这种多场景的适应性，来自于空间与技术的双重考量。首先，在设计之初整个空间就进行了灵活可变的结构设计。与此同时，技术系统为这种灵活性提供了进一步支撑。灯光、投影与小型LED屏幕均通过平板系统进行统一控制，使空间能够在不同使用场景之间迅速切换。

▼空间轴测图，Axonometric spatial diagram © Atelier INDJ

▼可活动的墙面可以切换为展示界面或储藏系统，
Walls transform into product shelves © Atelier INDJ

▼展示桌可以从地坪中升起或降下，
Displays tables rise from the grid floor © Atelier INDJ

▼可灵活开启的弧形墙面，Flexibly operable curved wall © Atelier INDJ

▼部分墙面则可折叠，将吧台功能隐藏其中，
Other walls transform to conceal bar functions © Atelier INDJ

▼折叠墙齿轮箱，Gear box for folding wall © Atelier INDJ

▼折叠墙细部爆炸图，
Folding wall detail exploded axonometric diagram © Atelier INDJ

▼折叠墙传动轴爆炸图，
Shaft of folding wall exploded axonometric diagram © Atelier INDJ

▼抽屉结构爆炸图，
Drawer exploded axonometric diagram © Atelier INDJ

▼柜体单元爆炸图，
Cabinet unit exploded axonometric diagram © Atelier INDJ

Functionally the space will act as VIP lounge for card holders and Everest space for product launches and branded take overs. As such the space is spatially flexible and technologically equipped. From the early design stage, the space was structured for adaptability, with technical systems providing additional support for flexible use. Whilst tablet controlled lighting, projectors and mini LED screens augment with technology to serve the spaces flexible purpose.

▼展示架，Shelves © Anthony Reed

▼可活动的墙面可以切换为展示界面或储藏系统，Walls transform into product shelves © Benny Chen

▼柜体与展示架变化过程，Cabinet and shelving transformation © Benny Chen

▼柜体与抽屉细部，Cabinet and drawer detail © Benny Chen

从概念到落地
Translating the Design

从最初的概念设想到最终落成，Atelier INDJ对施工与制造过程进行了高度精细的把控。设计并未止步于图纸，而是通过持续的现场介入，确保每一个设想都能够被精确落实。在施工阶段，我们围绕尺度、拼接方式与边缘处理，进行了多轮调试与现场校正，确保了所有的细节既能保留原有质感，也符合耐久与安全要求。空间最终呈现出的完成度，并非依赖装饰性的修饰，而是建立在结构逻辑、材料真实性与工艺精度之上——使概念在施工过程中得以完整落地。材料经历循环，场景随功能而切换，空间持续运转，話梅循环实验室使品牌逻辑呼应着城市的运作方式。在这个以“废弃物”和边缘物品铸就的系统中，一切充满生机。空间在时间中不断生成新的意义，被忽视的事物重获价值——这一切不正是当今时代我们所希冀的？

▼施工过程，Construction process © Benny Chen

From the initial concept to final completion, Atelier INDJ exercised a high level of control over the processes of fabrication and construction. The design did not end at the drawing stage, but was continuously developed through direct on-site involvement, ensuring that each idea was accurately translated into the built space. During construction, multiple rounds of adjustment and on-site calibration were carried out around material dimensions, junctions, and edge conditions. This process ensured that details retained their material character while meeting requirements for durability and safety. The final quality of the space is not achieved through decorative finishes, but through clear structural logic, material authenticity, and precision of craftsmanship—allowing the design intent to be fully realised through construction. Materials cycle, scenes shift with function, and the space continuously operates—HARMAY VIP Lounge aligns brand logic with the rhythms of the city. In this system forged from “waste” and peripheral objects, everything is brought to life. The space continually generates new meanings over time, and overlooked items regain value—is this not precisely what our contemporary era longs for?

▼平面图，Floor plan © Atelier INDJ

▼剖面图，Section © Atelier INDJ

项目名：話梅循环实验室
客户：HARMAY話梅
室内设计：Atelier INDJ 爱艺德杰设计事务所
设计团队：Ian Douglas-Jones, Benny Chen, Jing Zhou, Laura Polvara, Qi Zheng, Yuan Xiang Yuan Xiang.
摄影：Anthony Reed, Benny Chen, Ian Douglas-Jones
地点：上海市武康路55号4F
面积：150 平方米
完成时间：2026
材料：回收纸板、回收包装瓶、低碳钢、镀锌钢板、黑色防火橡胶、树脂

Project Name: HARMAY VIP Lounge
Client: HARMAY
Interior design: Atelier INDJ
Design team: Ian Douglas-Jones, Benny Chen, Jing Zhou, Laura Polvara, Qi Zheng, Yuan Xiang Yuan Xiang.
Photography: Anthony Reed, Benny Chen, Ian Douglas-Jones
Location: 4F, No. 55 Wukang Road, Shanghai
Area: 150 sqm
Year: 2026
Material: Recycled cardboard, recyced bottles, mild steel, galvanized steel sheet, black rubber, resin
Project URL: https://www.i-n-d-j.com/design/projects/harmay-vip-lounge
YouTube Video URL: https://youtu.be/Wg3VfbYX11c

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