The project is located near the Old City in Shanghai, offering a panoramic view through the windows of the living room and study, where the traditional City God Temple and the Lujiazui skyline blend together. After the complete demolition of all non-load-bearing walls in the original three-bedroom apartment, the open space now resembles a neat rectangle. The design divides the space along its depth into five rectangular areas of equal length but varying width: a kitchen and entryway, living and dining area, study and storage area, two bathrooms, and the master bedroom suite. From a floor plan perspective, it resembles a traditional Chinese architectural layout with five bays.
Apart from the minimal partition walls added in the bathroom area, no other visible rigid partitions were introduced between these spaces. In this design, the partitioning function, which is intended to provide visual blocking and spatial division, is naturally integrated through a well-considered floor plan that uses sliding doors, cabinetry, utility shafts, tatami mats, bookshelves, and countertops.
Inspired by Kazimir Malevich's 1918 suprematist painting Suprematist Composition: White on White, the five bays’ ceiling, floor, and walls are presented through the juxtaposition and interweaving of two materials. In the vertical direction, pure white latex paint and light beige plaster are used to finish two spacious, open living areas (the second and fifth rooms from the east) and three compact, private service spaces (the first, third, and fourth rooms from the east). The contrasting atmospheres are created on the two similarly toned walls by the tactile qualities of the materials, transitioning from cold to warm, while the spatial scale changes from expansive to intimate. This subtle approach allows for clear yet ambiguous (blurred) spatial divisions and transitions in function.
The skin-like light beige plaster flows down from the walls, wrapping around the kitchen bar counter, bookshelves, tatami base, storage racks, washbasin, and bathtub, all formed from basic geometric shapes. The deliberate repetition of materials erases the typically distinct boundaries between architectural structures, which serve as background elements, and fixed furniture. The fixed furniture sheds its individual object-like form and instead takes on the unified shape of abstract geometric sculptures, seamlessly integrating with the overall space. This approach not only preserves their practical functionality as essential home furnishings but also enhances the simplicity and purity of the spatial composition, while reinforcing the expression of pure form in the overall design.
Horizontally, the pure white ceiling is assigned two different heights. The entire ceiling is interrupted by several full-height volumes or beams that run through the space, allowing the pure white to intersect or juxtapose with the light beige in different directions. The layering of white on white is reiterated at the points where boundaries meet and transitions occur. The play of light and shadow, on the three-dimensional canvas of the space, sketches out the beauty of volumes, depth, and structure for the eyes, much like a pencil drawing.
As the gaze lowers to the floor, the stone and oak flooring correspond to two types of functional spaces: hydrophilic (the first and fourth rooms from the east) and hydrophobic (the second, third, and fifth rooms from the east). The flooring is laid in the direction of the flow of people, with herringbone seams forming at the corners. The arrangement of the flooring not only guides and suggests the movement and direction of traffic but also subtly surrounds and positions the two beds—spaces for rest—at the spiritual center of the home. The fully open and continuous floor plan allows for a seamless flow throughout the entire space. When the occupant needs to create a sense of protection and privacy in the resting area, the four frameless oak sliding doors, with a single door reaching the ceiling, elegantly perform this task like tall guardians.
In summary, this interior design sensibly explores the various possibilities of interaction between the human body, the five senses, and the living space, creating points of contact. Instead of relying on external forms or styles, the design begins by examining the relationship between people and form from the space's original atmosphere and structure. Ultimately, it results in sculptural forms that are both independent and integrated with the environment and human activities.
Information
Location: Shanghai, China
Project Type: Residential
Area: 116 m²
Interior（Architectural） Design: Ao-ArchLab
Back to Homepage