Original Design: An experiment in spatial clarity and freedom, set within the context of a small city
Faye’s Parlour is located in Changshu, Jiangsu—a satellite city near Suzhou and Shanghai that, despite its proximity to major urban centers, has long lacked a strong foundation for high-end retail. As a women’s fashion boutique, the project was designed as a strategic contrast: bringing top-tier design sensibilities and fashion-forward attitudes into a local market still in formation. The goal was to offer customers a sharp, contemporary spatial experience—without leaving their city.
We used curvature as the primary spatial language. Four sets of ruled surfaces connect the walls, ceiling, and floor into a continuous spatial system. These surfaces were broken down, rebuilt, and merged to form a seamless flow—where ceiling becomes wall, and wall becomes floor. Sharp corners were intentionally avoided and emphasized soft geometries to create a sense of warmth and approachability. This design language aligns with the brand’s identity: confident, open-ended, and independent. The attitude wasn’t built through expensive materials, but through geometry, layout, and construction logic. The space needs to feel progressive, but not flashy; distinctive, but not indulgent.
The lounge area became the conceptual core. It functions both as a reception space and as a platform for values shared by the client and designer—an informal room that frames an aesthetic point of view.
原始构想：在一座小城市里，尝试一场克制而自由的空间实验
Faye’s Parlour 设于江苏常熟，这座邻近苏州与上海的小城，尽管地理优越，却长期缺乏高端零售的文化土壤。作为一家女性时尚买手店，本项目是一种逆势而生的回应，也希望通过一次鲜明而克制的空间实践，将一线城市前沿的设计与时尚态度引入这座正在成长中的城市。让本地顾客无需远行，也能在日常中感受到高品质设计所承载的生活方式与审美意识。
我们尝试以“曲线”为空间语言，以四组连续的直纹曲面打通墙、顶与地，营造出如织物般柔性的空间结构。三维曲面被拆解、重构、交融，最终呈现出顶、墙、地浑然一体的视觉连贯性。为避免空间生硬，我们回避锐角，以柔和几何线条营造温暖而亲和的氛围。这种语汇呼应了品牌“不设限、有态度”的主张，也体现出我们对“用灵感而非堆砌”的坚持——前卫，但不过度；克制，却不乏独特性。
会客区被视为空间的“发声场”——它既是品牌与顾客交流的界面，也是设计者与主理人共同构建的一种审美立场。
Construction: Geometry × Fabrication × Execution
This project also clarified a belief I’ve always held: Good design isn’t about formal spectacle or high budgets—it’s about combining advanced tools with craft, and allowing geometry and material to carry the expression.
The spiral stair was the centerpiece. We originally planned prefabrication and crane installation. When that proved too costly, we switched to on-site welding, which required full responsibility for tolerance and constructability to shift to us as designers.
We produced a complete set of fabrication drawings, each steel plate unrolled, every fold and weld sequenced. Using Rhino and Grasshopper, we modeled, sliced, labeled, and issued every piece for construction. It was my first experience taking a system from model to site with no middle buffer—every joint, every step was a direct test of the design logic.
The construction crew was local. Many had roots in traditional Suzhou carpentry and hadn’t worked with compound geometry in years. At first, they were skeptical. But as the ruled surfaces took shape, they began to see that complex forms could emerge from simple, repeated operations.
建造过程：形式× 构造 × 实操
从建筑的角度来说，项目的建造过程，也让我更加坚定了一项对建筑的核心认知：真正有生命力的设计，不在于炫技的形式或昂贵的材料，而在于能否将先进的设计技术与在地的手工智慧有机结合——将数字与经验、几何与手感、未来性与地方性并置。
项目的核心构件是一座螺旋楼梯。原计划采用工厂预制，但因预算限制，最终改为现场焊接，所有构造尺寸与误差控制由设计方全面承担。
我们绘制了极为精细的图纸——从钢板展开、折边角度、焊缝顺序到拼装逻辑，均在 Rhino 与 Grasshopper 中拆解、编号与模拟出图。这是我作为设计师第一次深入控制从图纸到现场的全过程，也是一次真正意义上的“设计-建造”博弈。
施工团队是本地人，很多工人师傅出身苏州传统木作，但已多年未接触复杂几何。面对连续直纹曲面这一陌生体系，起初有些迟疑。但随着构造逐步搭建，他们逐渐意识到：复杂的曲面其实源于简单直线的旋转与叠合。
完工那天，一位年长师傅笑着说：“我们以前做线脚，也讲究顺转、带弧。你们现在把这东西做得这么整，真是没白干这几十年。” 那一刻我意识到，建筑很多时候不只是建造，更是一次代际技艺与当代表达之间的无声联结。
这座楼梯最终也成为整个空间中最具象征性的构件，也凝聚成Studio Curves 一贯的核心理念：在形式、构造与实操之间不断寻找真实而精准的平衡。