百新书局（上海福州路店）丨中国上海丨BobChen Design Office

一切始于1912年上海滩的一个旧书摊。在长达百年的生命周期中，它历经家族传承、扩张转型，也见证了中国现当代出版业与印刷业的兴衰更迭，并在种种机缘巧合以及经营者的努力之下被保留至今——2024年底，全面焕新后的百新书局在上海福州路620号正式启幕。

It all began at an old bookstore on the Bund in Shanghai in 1912. Over the course of its century-long lifecycle, it has undergone family succession, expansion, and transformation, and has also witnessed the rise and fall of China’s modern and contemporary publishing and printing industries. Thanks to a series of fortunate coincidences and the efforts of its operators, it has been preserved until today. At the end of 2024, the comprehensively revitalized Baixin Bookstore officially opened at 620 Fuzhou Road in Shanghai.

在“逛书店”逐渐被线上零售与数字阅读取代的今天，百新书局提出了新的运营策略，并邀请陈飞波为全新店面进行空间设计，共同探讨线下文化空间的理想状态，对当代城市生活及文化生态作出回应。

While shopping in offline bookstores gradually being replaced by online retail and digital reading, Bai Xin Bookstore has introduced new operational strategies. It has also invited Bob Chen to design the space for the new store, jointly exploring the ideal state of offline cultural spaces and responding to contemporary urban life and cultural ecology.

书店所在的福州路从20世纪初开始便有“文化第一街”的美誉：商务书馆、中华书局在这里设有总管理处，而开明书店、三联书店等数十家书店亦在此开业，一度推动了整个中国图书出版业的繁荣。福州路上的文化活动曾涵盖文学、艺术、戏剧与报业等多个领域，也因此成为文化交流与文人墨客的聚集地，鲁迅、张爱玲、梅兰芳等诸多文艺大家都在这里留下足迹。

Fuzhou Road, where the bookstore is located, has been renowned as the "First Cultural Street" since the beginning of the 20th century. The Commercial Press and Zhonghua Bookstore had their general management offices here, and dozens of other bookstores such as Kaiming Bookstore and Sanlian Bookstore also opened, once driving the prosperity of the entire Chinese book publishing industry. Cultural activities on Fuzhou Road have encompassed various fields such as literature, art, theater, and newspapers, making it a gathering place for cultural exchange and scholars. Many cultural celebrities such as Lu Xun, Zhang Ailing, and Mei Lanfang have left their footprints here.

空间体从街对面望去，百新书局简约、细长的金色外立面被镶嵌在周遭这片带有老上海意味的烟火气中，展现出精致的格调，成为城市界面中的独特肌理。块、地砖、天花灯带及射灯轨道、屏风与框架，共同构成了交叠的立体网格。丰富与简洁、活力与秩序在系统的一致性中达成平衡。

Viewed from across the street, the minimalist, slender golden facade of Bai Xin Bookstore is set against the backdrop of the surrounding atmosphere reminiscent of old Shanghai, exuding an air of refinement and becoming a unique texture within the urban interface.

为契合福州路餐饮密度的不断提升，百新书局亦于业态中加入了餐饮部分，取名“饱读 Bookstro”，谐音“book-stroll”（在书籍中漫步）。它位于整个书店的前厅——倘若面对“书局”的金色金属外立面与折叠窗，行人或许会因窗中的餐饮景象而感到迷惑与好奇，直到推门而入、继续向内探索，才会发现之后的别有洞天。

To match the increasing density of dining options on Fuzhou Road, Bai Xin Bookstore has also incorporated a dining section into its business format, named "Baodu Bookstro," a pun on "book-stroll" (strolling through books), which is located in the front hall of the entire bookstore. This dining area is situated in the front hall of the bookstore. When facing the golden metal facade and folding windows of the "bookstore," passersby may feel puzzled and curious about the dining scene visible through the windows. It is only after they push open the door and continue to explore inside that they will discover the delightful surprises that lie beyond.

落地玻璃与折叠窗不仅为室内提供了充足的自然采光，更令书店空间与街道相接。深色地砖与木饰面、木质家具与木屋顶造型结构进一步营造了轻松、熟络的空间氛围与社区关系。

The picture windows and folding windows not only provide ample natural light for the interior but also connect the bookstore space with the street. The dark floor tiles, wood veneer, wooden furniture, and wooden roof structure further create a relaxed and familiar spatial atmosphere and sense of community.

接棒百年老店的历史，焕新后的百新书局力图展现一种活跃而多元的文化场景，涵盖餐饮、展览、文化活动等板块的复合型文化社交空间为消费者提供更多到店的理由；而空间设计亦着力让人停留得更久一些，用“感受美好”赋予线下体验不可替代的价值。

Carrying on the legacy of a century-old shop, the newly refreshed Bai Xin Bookstore aims to present a vibrant and diverse cultural scene. The bookstore has created a multi-functional cultural and social space that integrates dining, exhibitions, and cultural activities, offering consumers more reasons to visit. The spatial design also focuses on making people stay longer, endowing the offline experience with irreplaceable value through the “feeling of beauty.”

⊚中庭装置作品《至柱》来自艺术家张鼎

店内约1200平方米，由“百物一新”“饱读Bookstro”“饱读书房”“汇丰纸行”“啼笑音缘”与“百新播客”六大空间组成，它们在“百新书局”的品牌下，演绎出一个多变且充满探索性的综合体。

ISpanning approximately 1,200 square meters, the store comprises six distinctive zones, under the parent brand of the “Hundred New Bookstore”, these areas collectively create a multifaceted and exploratory complex.

在功其所在空间原本为七间经营传统文房四宝的门面房，在经年累月的使用中，经历了不同的加建与改造；而在拆除与重构的过程中，空间原本的探索性与趣味性亦逐渐显露。能性空间如会议室中，也可见造型特征与材质的延续。至此，校区内的接待、服务及办公区域连贯统一，展现出专业严谨与人文精神兼备的团队面貌。

Originally, the space was occupied by seven storefronts dedicated to the traditional trade of stationery and calligraphy supplies. Over time, these spaces experienced various extensions and modifications. In the process of deconstruction and reconfiguration, the latent exploratory and playful qualities of the space have gradually been revealed.

陈飞波认为：“动线设计并非一定要规定人们的行动路线，也可以旨在让空间能够‘走通’，给予使用者各种探索的可能性，在具有自发性与随机性的路线中感受空间的丰富性和层次感，发现不同的惊喜，也不需要来一次就都全部看完，而是呈现出一种‘常见常新’的状态。”

Bob Chen posits that circulation design should not merely prescribe predetermined movement paths. Instead, its purpose can be to ensure that the space is navigable, providing users with a variety of exploratory possibilities. By engaging in spontaneous and random routes, users can experience the richness and multi-dimensionality of the space, uncovering unique surprises along the way. The design philosophy encourages repeat visits, as the space is intended to reveal new aspects with each encounter, embodying a sense of perpetual novelty.

空间设计理念可以概括为“开放性”与“可持续性”，聚焦功能、质感与体验。空间布局以中庭（或称“广场”）为中心，各个功能区域通过开放式的设计相互连接，又可以各自独立，形成了一个流动的、互相渗透的空间。

The spatial design philosophy is encapsulated by the principles ofopennessandsustainability, with a focus on functionality, texture, and user experience. The layout is centered around a central atrium (or a “plaza”). The various functional areas are connected through an open design approach, yet each maintains its own distinct identity. This arrangement fosters a fluid and interpenetrating spatial experience.

中庭作为核心的公共空间，为来访的消费者及宾客提供了交流和互动的场所，也为承载影音活动提供了相应条件。

The atrium, as the core public space, serves as a hub for interaction and communication among visitors and guests. It is also designed to accommodate audio-visual activities, providing the necessary infrastructure and environment for such events.

⊚正在展出陈旻策划的百物一新展之neooold新开物

围绕中庭，六个空间板块拥有各自独立的运营时间与内容方向，因而在能耗上也亟须独立，设计师通过置入各种不同结构的隔门来解决这个问题。每扇门都有它的独特之处——例如一楼展厅处的两扇巨大玻璃门，取代了传统“隔墙”的功能，在打开时，展厅与中庭广场连通，关上时，则隔出一个“橱窗”，当动线暂停，视线亦依然畅通。而展厅区域中原本封闭的墙体上开出的落地窗，也为整个中庭广场引入了一定的自然光，让通透的质感得以延续。

Surrounding the atrium, the six spatial zones each have their own independent operating hours and content focus. As a result, there is an urgent need for energy consumption to be managed separately. The designer addressed this issue by incorporating various types of partition doors with different structures. Each door has its own unique features — for example, the two massive glass doors at the exhibition hall on the first floor replace the function of a traditional partition wall. When open, they connect the exhibition hall with the atrium plaza, and when closed, they create a window showcase. Even when movement is paused, the line of sight remains unobstructed. Additionally, the floor-to-ceiling windows cut into the originally enclosed walls of the exhibition area allow a certain amount of natural light to enter the atrium plaza, maintaining a sense of transparency.

此外，一层走廊与二层均设置了多处内凹的子空间，用于书籍与艺术、设计作品的展示和陈列，抑或是以“布告栏”及“橱窗”的形式，定期呈现、更新内容。没有被严格界定的空间更能够引发访客的好奇心与探索欲。

In addition, multiple recessed subspaces are set up in both the first-floor corridor and the second floor. These are used for the display and presentation of books, as well as works of art and design. They also function as bulletin boards and window showcases, regularly presenting and updating their content. Spaces that are not strictly defined are more likely to arouse visitors’ curiosity and desire to explore.

坐在书店二层的阅读区，访客得以俯瞰整个中庭，大小空间相互嵌套，又通过廊道串联。店与店，人与人，如“邻居”一般，均相互可见；各个“店铺”之间并无明确的界限，访客可以在自由漫步中感受不同的空间氛围与内容。

Seated in the reading area on the second floor of the bookstore, visitors are afforded a panoramic view of the entire atrium. Spaces of varying sizes are nested within one another and connected through corridors. Stores and people are visible to each other, much like “neighbors.” There are no rigid boundaries between the various “shops,” allowing visitors to experience different spatial atmospheres and content as they wander freely.

在空间设计中，“百年老店”并不是一个被刻意强化的主题概念，设计师希望通过可持续的材料与使用方式，来保持和延续它的“历久弥新”。而在材料的选择上保持了一定的克制，强调材料本身的肌理与质感，运用了例如木材、宣纸、金属、大漆、石材等带有自然之感的材料，兼顾功能与美学；同时保留了部分裸露的梁柱，并通过灯光与材质的搭配，营造出一种自然和谐的氛围。

In the spatial design, the concept of a “century-old store” is not deliberately emphasized as a thematic focus. The designer aims to maintain and perpetuate its “everlasting freshness” through the use of sustainable materials and methods of utilization. In terms of material selection, the designer exercises a certain degree of restraint, highlighting the inherent textures and qualities of the materials. Natural-feeling materials such as wood, Xuan paper, metal, lacquer, and stone are employed, balancing functionality with aesthetics. Meanwhile, some exposed beams and columns are retained, and through the interplay of lighting and materials, a naturally harmonious atmosphere is created.

书店二层的“饱读书房”与餐饮区域“饱读 Bookstro”相呼应，专注呈现与饮食相关的书籍，同时也是一个灵活的多功能空间。宣纸制成的圆窗引入了朦胧的户外光线，连同深色橡木地板一并决定了室内的空间氛围，而模块化的茶水台与可移动及调节的定制书架作为家具，则为整个空间释放出更多的自由度与可能性，日常可以作为书籍展示，需要时也可以举办小型活动。

On the second floor of the bookstore, the “Baodu Study” complements the dining area “Baodu Bookstro.” It is dedicated to showcasing books related to food and drink and also functions as a versatile, multifunctional space. The circular windows covered with Xuan paper cast a soft, diffused natural light into the space. Together with the dark oak flooring, they establish the overall spatial ambiance. Modular tea stations and movable, adjustable custom bookshelves serve as functional furniture elements. These features not only provide flexibility and adaptability to the space but also offer multiple uses: they can be employed for book displays on a daily basis and can be easily reconfigured to host small events when required.

如果说书籍的选品是一个书店精神内核的自我宣言，那么文化交流与体验，则是书店物理空间的公共表达。克制的设计给予了空间更为广泛的自由度，也为其在未来使用提供了适应不断迭代需求的能力与可能性，同时避免重复装修带来的资源浪费，为空间的长效发展提供了一层基础保障。

Where the book selection serves as a self-proclamation of a bookstore’s spiritual essence, cultural exchange and experience constitute the public manifestation of its physical space. The practice of restrained design grants the space broader freedom, endowing it with the capability and potential to accommodate shifting demands in future uses. Moreover, it circumvents the resource depletion associated with recurrent renovations, thereby furnishing a foundational assurance for the space’s enduring development.

部分原文来自《Wallpaper中文版》

项目信息

项目时间：2024年7月

项目面积：1250平方米

项目地址：中国，上海

项目业主：上海美丽华集团

设计单位：BobChen Design Office

主创设计：陈飞波

项目管理：胡冰

室内设计组：王驰，潘鲁宁，张丁健

家具软装组：沈云峦，陈悦，茹燕

视觉设计组：留坚勇

项目策划：反应堆品牌顾问

项目摄影：云眠摄影工作室

工程施工：杭州峰起建筑装饰工程有限公司

部分品牌：TOUCH FEELING 触感空间，SOLIFE，感物地板，Enioy Space

Project Information

Project Schedule：2024.07

Project Area：1250 square meters

ProjectAddress：Shanghai China

Project Client：Shanghai Meilihua Group

Project Client：Hangzhou Zhijiang Culture and Art Co., Ltd

Design Unit：Bob Chen Design Office

Chief Designer：Bob Chen

ProjectManagement：Hu Bing

Interior Design：Wang Chi，Pan Luning，Zhang Dingjian

Furniture Design：Shen Yunluan，Chen Yue，Ru Yan

Visual Design：Liu Jianyong

Reactor Brand：DUI Brand Consulting

Photographer：YUUUUNSTUDIO

Construction：Hangzhou Feng Qi Building Decoration Co., Ltd.

Furniture Brand：TOUCH FEELING, SoLIFE, Ugan Concept, Enjoy Space