Showroom／Mori／CASA

The unique and calm architectural form of the building attracts the eye as one moves through the neighborhood. Two successive irregular entrances lead guests to explore the building, and the sense of horizontal and vertical space in the interior creates an expansive view. The light comes from the different facades of the building, giving people a sense of relaxation and contemplation. The designer Shen-Chiang Mao believes that "making people feel comfortable in the space" is the most important thing, even if the exhibition space does not lose the sense of flow in the building because of its function. Around the building, the philosophy of space is expressed in a simple picture.

Danish kitchenware brand VIPP is known for its simple, practical and beautiful style. The products are mostly designed in black, white and grey, which can be cleverly integrated into the home environment and coincide with Mao's architectural philosophy. He proposes the theory of "emptiness" as opposed to "existence". Architecture is the carrier of life, so he believes that architectural design should achieve "emptiness". The space should complement the furniture, ornaments, and even people's life, and the main body of the building should not overshadow the characteristics and fluidity of the objects inside. The earthy colors can bring out the beauty of everything and learn from nature. The structure of this exhibition room uses the most thoroughly researched fair-faced concrete, applying the grey tone of nature to the building, and using the surrounding calm walls to set off the aura of VIPP kitchen, allowing the "empty" space to show the "existence" of the objects in the room, and the two intertwine to create a living atmosphere. 

The outline of the building's volume also breaks with the usual squareness, challenging the use of diagonal lines, or geometric window shapes that are not square triangles, as well as irregular doorways on the walls that are developed from round shapes, exploring different possibilities for the building on the basis of squareness. For the display of objects in the space, Mao believes that there is no need for too much beautiful furniture or ornaments. Too many objects will take away the beauty of the objects themselves. The best ratio of space to furnishings is 100:1, with a maximum of 10:1. Therefore, instead of displaying too many products in this exhibition space, the focus is on creating an atmosphere that allows consumers to actually feel the image of VIPP kitchenware in their homes.

The rustic texture of the wall is obvious. The original concave and convex appearance was retained after the first mold, and the designers tried to find order in these irregular surfaces by controlling the precise horizontal and vertical lines to give a sense of visual flatness and stability. The building is based on Tadao Ando's Shimizu model vocabulary, using the depth of light and shadow of Le Corbusier and Louis Kahn’s addition of soft wood grain elements to concrete buildings, to feel and construct the architecture of the region from the classics. Having been in the architectural industry for decades, Mao continues to experiment with new possibilities. It is his demand to make architecture an eternal cycle of classics.

往返於街區，獨特而沉靜的建築造型吸引總是目光，連續兩個不規則入口將賓客引入探索，室內水平與垂直的空間感營造出舒廣視野，光線來自建築不同的立面，予人精神的放鬆與沉澱。設計師毛森江認為「讓待在空間裡的人感到舒服」是最重要的，即便是展示空間也不因機能而棄失建築裡的流動感，環繞建築，簡單的畫面中盡是空間哲學。

丹麥廚具品牌VIPP以簡約、實用又美觀的風格著稱，產品設計多為黑、白、灰色系，能巧妙融入居家環境中，與毛森江的建築哲學不謀而合。他提出「空無」與「存有」的相對論，建築是生活的載體，認為建築設計應該做到「空無」，空間要襯托出家具、擺飾，甚至是人們的生活，建築主體不能搶眼過室內物件的特色和流動性。而大地色能襯托出萬物風采，向大自然學習，這個展間結構使用設計者研究最透徹的清水混凝土，將自然中的灰色調性運用於建築上，以環繞的沉靜牆面襯托出VIPP廚具的氣質，讓「空無」的空間去展現室內物件的「存有」，兩者相互交織形塑生活氛圍。

牆面的樸質紋理顯著，在第一次的板模開模後便保留最原始的凹凸面貌，設計者試著從這些從不規則的面去找到秩序，透過精準水平與垂直線的控制，給予視覺平整與安定感。建築量體的輪廓也打破以往習慣的方正，挑戰運用斜線條，或者非正三角形的幾何窗型，以及圍牆上由圓形發展而成的不規則門洞，在正與方的基礎上摸索建築的不同可能。對於空間中的物品展示，毛森江認為美麗的家具或飾品不需過多，過多的物件反而會抹煞物件本身的美感，空間與擺設的最佳比例為100：1，最大值為10：1，因此在這個展間不擺放過多商品，而是注重氣氛的營造，讓消費者實際感受家中擺放VIPP廚具的畫面。

這棟建築習得安藤忠雄的清水模語彙，運用柯比意的光陰影深度，學習路易斯‧康在混凝土建築中加入軟性的木紋元素，從經典中去感受並建構出屬於這個地區的建築。從事建築業幾十載，毛森江依舊不斷嘗試新的可能，讓建築成為永恆循環的經典是他對於自我的要求。