该店铺在街区转角处的一楼，并租下了对应的二楼立面以做门头。这意味着，占地160平方米的店铺，却拥有215平方米的立面。

The shop is located on the first floor at the corner of the block, and the corresponding second floor facade is rented for the signboard. This means that the shop covers an area of 160 square meters, but has 215 square meters of facade.

▼项目概览，Overall view

密斯曾说“不是每个建筑都需要被做成教堂”，但当移动互联网时代，一家路边咖啡馆都有机会获得过去大教堂才有的关注度时，它便也有了类似的形式诉求，而其能调动的社会资源却不可能同比例的增长。在这个不等式下，所谓“网红”建筑的挑战，在于如何调用咖啡馆级别的资源去完成一个大教堂级别的效果。

Mies once said that “not every building needs to be made into a cathedral”, but in the era of mobile Internet, when even a sidewalk cafe has the opportunity to get the attention that cathedrals used to get, it would has a similar formal appeal, but the social resources it can mobilize cannot increase in proportion. Under this inequality, the challenge of so-called “influencer” architecture is how to use the resources of a cafe to achieve a cathedral-level effect.

▼户外座位区，Outdoor seating area

面对如此巨大、带转角的展示面，已经很难用门头或招牌设计去处理，这里需要的是一个有体量的符号。我们决定直接使用该店面的品牌形象：两只吱丘鸟，和它们的家：鸟巢，去占据整个外立面（原计划为真鸟巢，后因清理不便，将其中绝大多数封闭了起来）。这是一种总体性的象征化，就像文丘里当年赞许过的“鸭子”餐厅，而在文丘里心目中，“鸭子”在本质上就是与大教堂同构。这是50年前汽车时代的商业建筑之于严肃建筑学的巨大冲击，而在信息时代的当下，它变得愈发猛烈。

▼文丘里的“鸭子”，The “Duck” by Venturi

In the face of such a large, angular display surface, it is already difficult to use the door head or signboard design to deal with, what is needed here is a symbol with volume. We decided to use the brand image of the store directly: the two birds, and their home: the nest, to take up the entire facade. It’s a kind of overarching symbolism, like the Duck restaurant that Venturi once praised, and the Duck, in Venturi’s mind, is essentially the same structure as the cathedral. This is the great impact of commercial architecture on serious architecture 50 years ago in the age of the automobile, and in the current information age, it has become even more violent.

▼门店主立面，Main facade