Framed by the gesture of "bringing the tree into the space," the studio establishes a direct reading between interior and its immediate surroundings.

The site is a narrow volume, approximately 6.3 m by 14 m, defined by tight spatial constraints. North-facing windows address an adjacent residential building, while an east-facing sliding opening draws a tree from outside into the field of perception, extending the interior into the landscape.

A curved curtain acts as the primary spatial device, introducing a continuous and softened boundary within the limited footprint. It organizes programmatic zones-entry, reception/meeting, workspace, and storage-while dissolving the rigidity of the linear plan. Spatial sequences unfold through movement, where enclosure and openness are constantly interplayed. A circular table placed near the east window aligns with the changing area, staging a quiet intersection between pause and exterior view.

The interior system is composed of off-the-shelf metal shelving and layered board surfaces. Standardized components are reconfigured to support daily office use while simultaneously operating as storage, display, and spatial partition. Flexibility emerges through reassembly rather than addition, with budget control embedded as part of the design logic.

The curtain, detailed with stitched outlines abstracted from window geometries and expressed through two signature brand colors, becomes the most visible spatial element. It operates both as a boundary and as a condensed expression of identity embedded within the space.

A three-day pop-up quietly took shape within a typical Shanghai Lilong dwelling. Timber roof trusses, aged steel-framed windows, and an enclosed courtyard together set up a spatial condition that is both restrained and layered, where light, structure, and domestic remnants overlap.

Under compressed time and limited resources, the design begins not with a form, but with SOH's existing furniture. Through gradual reordering and reinterpretation of the display system, these objects are loosened from their original logic and reassembled as spatial devices at once furniture, structure, and display. A new order is quietly introduced, within which the pieces are re-anchored into the existing architectural frame, entering into a subtle dialogue with the weight of the site.

What emerges is less installation than a temporary spatial arrangement-one that suspends the boundary between use and exhibition. The pop-up, as a short-lived condition, does not simply end with dismantling, instead, it extends itself forward: the strategy of transformation persists, and the project slowly shifts into a continuous retail environment, where the temporary becomes an ongoing state.