kar是一家原创家居美学品牌，由steven yeung于2020年在中国创立。

kar studio is an aesthetic brand covering furniture and fashion design. It was founded by Steven Yeung in China 2020.

kar是梵文karma的词根，本意业力轮回，我们尝试在东方哲学里找到美学的本质，发现审美与小至人的情绪，大至这个宇宙所有发生的一切都相关，像共生与轮回，环环相扣，最终追溯回人的自我。kar的创作是感性的，更在乎“人的感受”，我们诚实地表达独立的审美并且不断探索工艺材质，找到艺术与实用之间的平衡，希望通过作品，与人产生共鸣。

Kar is the root of Sanskrit “karma”, meaning karmic reincarnation. The inspiration of kar is sourced from art, literature, culture, and unique experience, memory and emotion. We focus on sensibility in our design, at will but with restraint, aiming to convey emotion through the design for a resonance with people. Meanwhile, we are constantly experimenting craftsmanship and materials to express the forms of design in more possibility.

kar room阿那亚店是kar联合在地文化位于秦皇岛的全新店铺，是一个集家具、服装、器物和艺术一体的美学空间。  

“kar room Aranya” is a brand new store of “kar studio” united with “Local Landscape” in Qinhuangdao, Hebei. It is an aesthetic space integrating furniture, clothing, and utensils art.

Kar studio以玻璃钢家具被大家熟知。此次kar room阿那亚店首次选⽤家具的玻璃钢材料作为装饰建材， ⼴泛地⽤于外墙与店内陈列， 搭配以敦煌洞窟为灵感的圆弧形态与微水泥调色墙面， 为家具和服装提供⼀个载体。  

kar studio is known by the fiberglass furniture. For the first time, in this project, the material is used as the exterior decoration, presenting an extension of the elements of furniture from the indoor to outdoor. Combining with the arc element in the space which is inspired by the traditional Dunhuang Caves, and the texture of microcement coated walls, a carrier for the furniture and clothing is performed.

这个项目的灵感来自于敦煌石窟之旅，那里是丝绸之路的必经之地，也是世界上现存规模最大、内容最丰富的佛教艺术场所。佛教自古以来就是中国的重要信仰，在这样的宗教背景下，人们坚信因果报应、轮回生死。在敦煌这个佛教圣地开发石窟无疑是最直接又最能展现虔诚之心的事情，但是因为开发石窟需要巨大的人力物力，并不是一般的老百姓可以做到的，有钱有地位的贵族群体自然就拥有了这个特权，而他们也十分乐意成为石窟的供养人，不仅是为了祈祷，同时也能通过开凿华丽精美的石窟来展现自己的身份地位。

The inspiration of this project started with a trip to Dunhuang Caves, where the area is on the way of the Silk Road, also the largest and richest Buddhist art places in the world. Buddhism has been a pivotal belief in China since ancient times, under such a religious background, people strongly believe in karma and reincarnation of life and death. Developing a cave in Dunhuang, a Buddhist holy place, is undoubtedly the most direct and devout thing to do, but since the development of caves required huge manpower and material resources, it was not something that the ordinary people being able to achieve. The noble groups naturally had this privilege since they are wealthy, prestigious, and they were willingly to be the sponsors of the gorgeous and exquisite caves, not only for prayer, but also to show their status by doing so.

在建造石窟的过程中，很重要的一环是邀请手艺精湛的工匠把贵族和他们的家人、仆人的形象、以及佛教主题故事的绘画画在墙上，以给出资的贵族祈祷死后的舒适生活。这些壁画流传千年，成为中国宝贵的文化遗产，可惜的是，过往时代的壁画工匠们并没有署名的传统，所以我们永远都无法知道这些壁画的创作者是谁。

In the process of the development, a very important part is to invite talented artisans painting nobles and their families, servants, and Buddhist-themed stories on the walls, to pray for a comfortable life after death of the nobles. These drawings have been passed down for thousands of years and have become precious cultural heritage of China. Unfortunately, there was no tradition to leave the signature of artisans in the past, so we would never know who the creators of these drawings are.

设计师们被这批工匠无声的奉献所感动。 石窟因为他们精湛的绘画技巧才有了如今的辉煌，但他们并没有从中获得过多的名利。 因此，设计师希望将这种对奉献精神崇敬的情感带到项目中，通过现代方法和设计风格，在海边的阿那亚再现敦煌石窟。

The designers were moved by the dedication of these artisans. The Caves are precious for their superb painting skill yet they did not claim excessive fame and fortune from it. Therefore, the designer hopes to bring this emotion to the project, to worship the dedication through modern methods and design style, by reproducing the atmosphere of the Dunhuang Caves in Aranya community by the sea.

从涂料的选择开始，设计师就找了一种非常接近自然泥土的质感和颜色的涂料，把天花板、墙壁和地面都统一覆盖上，这样整个空间都是同样的色调，反而更突出了空间内要展示的物品和客人的存在。空间整体色调与洞穴的墙壁相近，使得客人走进店内就犹如进入了一段沉浸式洞穴之旅。

Starting from the choice of wall paint, the designer found a kind of paint that is very similar to the texture and colour of natural soil. After covering the ceiling, walls, and ground uniformly with it, the entire space is in the same colour tone, meanwhile highlighting the exhibited items and the presence of guests. Finally, the tone of the entire space are unified, walking into the store would just like an immersed tour in the cave

一进入kar room阿那亚店就能看到一个由玻璃钢砖组成的接待台，接待台侧边整齐地铺设了半透明的玻璃砖，每一块砖都经过师傅手工打磨，且颜色的深浅和质感都有些许的不同，这样在保留了玻璃钢外观的同时又确保了组装后吧台的利落有型。长方形中岛台的两条短边被设置成了弧形，呼应了贯通整个空间的一道道拱门，拱门的设计也是为了贴近真实洞窟的内部构造。

As soon as entering the“kar room Aranya” store, there is a reception counter composed of fiberglass bricks in the front, the translucent bricks are neatly laid on the side of the reception desk. Each brick is hand-polished by the artisans, and the colour, as well as the texture, are slight different, so the characteristic of the fiberglass bricks is preserved while ensuring the assembled counter is in a neat and stylish form. The two short sides of the rectangular counter are set as curve lines, echoing the arches that are drawn together the entire space.s.

其余空间被分为两个区域，家居区和服饰区，分别是在进门后的左手边和右手边。往右走，会先看到一个小分区，中间也是一个玻璃钢吧台，这个吧台用于展示kar的宣传物料和产品册。

The rest of the interior is divided into two areas, the furniture area and the clothing area. Turning right after entering, there is a small compartment with another fiberglass-brick-compose counter in the middle, which is used to set out the kar promotional materials and product brochures.

再往下走就到了家居区，这里展示了kar的家具产品。为此设计师特意保留了超大的玻璃窗，大部分的光照都是从正门的一面射进室内，所以我们拆除了大部分的墙，只留下基础的承重墙。空间里没有任何一堵不必要出现且没有实用价值的墙会挡到从东面透进来的光。被微水泥涂料覆盖的墙面的不规则凹凸感在阳光下更加有趣，涂料干透后留下深浅不一的暗黄色，也在这样的光照环境下与敦煌洞窟自然的土质更接近。更多的光照射到室内的家具上，由于玻璃钢的半透明特性，有机而随意的凹凸轮廓变得更加明显，充分展现了材质的美。Cubic Lounge chair就是设计师为这个拥有得天独厚条件的空间而定制的，是他尝试使用理性创作的成果。用规则的几何形扶手淡掉人们对外形的关注，转而充分运用玻璃钢优秀的透光性突出玻璃钢本身的纤维感和颜色深浅的变化。软包使用了高回弹海绵，一种极富弹性但是相对较硬的海绵，不仅能够延续玻璃钢扶手的立体规整感，还能更好地支撑使用者的身体，让他们在一个商业空间里能保持良好的坐姿。

Going further down there comes the home area, where kar furniture products are displayed. For such function, a few large glass windows are reserved. Most of the light comes into the space from the side of the main entrance, so we removed lots of the walls, leaving only the load-bearing ones. There is not an unnecessary and useless wall left in the space which will block the light coming in from the east. The unevenness of the microcement on the wall looks more interesting in the sunlight, it leaves a dark yellow tone in different shades after the paint dried, which appears more alike to the natural soil of the Dunhuang Caves in such a lighting environment. Due to the translucency of fiberglass, the organic and casual bumpy silhouette appears more obvious under the sunlight, demonstrating the beauty of the material. The Cubic Lounge chair is an creation inspired by this atmosphere, and it is the result of his attempt to create with rational thinking. The regular geometric armrests are used to distract people's attention away from the shape, and instead, the texture and the uneven tone of colour appearance of the material itself are highlighted by the light transmittance. The high-resilience sponge has been used to upholster the chair, it is a very elastic but relatively hard sponge, which can not only adopting the geometric style of the armrests, but also giving better support to the user's body, for maintaining decent sitting posture in the public. 

另一边是服饰区。这个区域的顶部用了两边弧形不对称的大拱顶，这是因为在自然界不存在任何整齐锐利的边角的，自然风蚀和时间的雕刻作用让每一个洞窟的形状都不一样，设计师最大程度地尝试还原他在敦煌的所见所感。六组挂衣服的黑色金属架被固定在墙上。服装都被按品牌和颜色有序地挂在架子上，鞋子则在衣服下方的地面放着，为客人提供搭配建议。中间是一个陈列中岛台，展示着特别挑选出来的时装配饰，配饰以自然为灵感，且都为手工制作。为了保证客人的隐私，服饰区还设有两个试衣间，用软性不透光的布料做分隔。每个试衣间内都有一个kar的挂钩和坐凳供客人使用。这两个产品的原始外观使得客人即使进入这个小隔间，也依然能沉浸在敦煌洞窟的氛围里。

The other side is the clothing area. Considering that there are no neat and sharp edges in nature, the wind erosion, and time changes effect, the shape of each Dunhuang Cave is different. To imitate such appearance, the top of the this area is a large vault with asymmetrical arcs on the sides. Six sets of black metal racks are fixed to the wall. Clothes are organized on racks by brands and colours, where shoes are placed on the floor below the matching pieces, to provide suggestions for the visitors. A display counter is set in the center of the room, with a few selected fashion accessories placed on the top, which are all nature-inspired and handcrafted. In order to provide better services and ensure the privacy of visitors, there are two fitting rooms in the clothing area. Curtains are used for separation between the fitting rooms and the main space, with one kar Cobble hook and a Curl-up stool in each room for users’ convenience. The original appearance of these two products allows visitors to continuing soak up the atmosphere of the Dunhuang Caves even behind the curtains.

考虑到项目地点是在海边，这一个独特的地理位置给设计师带来了很多新的思考。固然大海和沙滩保证了kar room阿那亚店有一个非常棒的景观，但是海风给建筑所带来的腐蚀作用使得海边建筑对外墙装饰面的要求要比一般的建筑更高。对于设计师来说，最后选定的外墙装饰材料必须要能够应付海风的侵袭，除此之外，还要能够展现kar品牌的性格和特质，毕竟在客人还没走进店内就会先看到外立面，以此形成对品牌的第一印象。于是玻璃钢成为了我们外墙装饰材料的最佳选择。首先，玻璃钢老化慢、防水、耐用，这些都使其能够抵抗海风。同时，玻璃钢的特性之一就是会随着时间的流逝加上自然环境的影响而渐渐发黄，比如在这个项目里的自然因素就是阳光、海风、雨水，而且每一块玻璃钢板材的发黄程度也会不一样。这样一来，设计师最后选择玻璃钢的理由就由以下两条组成：一是玻璃钢颜色逐渐发黄这种特质是对时间流逝的具象体现，与敦煌洞窟随着朝代更替被自然风蚀的变化很相像。二是kar room阿那亚店的位置紧靠海边。新的建筑不应该破坏这个地区原本的和谐，这是一个具有可持续性的建筑需要达到的标准之一。在这个项目里，玻璃钢外墙的颜色与沙滩的颜色可以很好地融合，给客人带来独树一帜的观感。

Considering that the project is located by the sea, this unique location brings a lot of new thinking to the designer. Although the sea and the beach ensure “ kar room Aranya” has a very good view, the corrosion effect of the sea breeze on the building still requires it decorated with the anti-corrosion material compared to the urban buildings. Fiberglass became the final selected material since it is capable to cope with the invasion of the sea breeze, and being able to show the ideas of kar, after all, the first impression of customer is gain by seeing the facade before entering the store. Slow to age, waterproof, and durable, the advantages of fiberglass make it became an ideal material for the seashore building. Moreover, the colour of the fiberglass panel will be affected by the natural environment, such as sunlight, sea breeze, rain, etc., which will make it gradually turn yellow, and the shades will be different from each other. According to the above, the designer believes that such a characteristics of fiberglass is a concrete manifestation of the passage of time, which is very similar to the changes in Dunhuang Caves eroded cause by natural wind as time goes by. Never the less, a new building should not disturb the original harmony of the location, which is one of the criteria a sustainable building needs to meet. Following such standard, the colour of the selected fiberglass exterior decoration is well integrated with the sand beach, bringing a unique outlook and sensitivity to the visitors.