When FM Vintage's owner Li Zhi and his wife found us. I haven't even had a fairly complete understanding of concept of Vintage. There are some thoughtful points and interesting thought process. How to do a good job in a vintage store? how to convey the stories and values behind it? Especially, how to weaken their meaning of foreign products and enhance integration of local cultural characteristics. How to present new scenes and patterns in the ancient store. "Zhong Gu", comes from Japan, means "Second-hand" or "Old-fashioned" in Japanese consciousness, which is different from the concept of antique. And "Vintage" we normally said is included in "Old- fashioned" often refers to products that are old, used, but extremely classic, worthy of collection and use. The second-hand luxury goods is very popular in Japan. Thanks to Japan's booming economy in the 1970s and 1980s, when they bought designer handbags as often as they bought snacks. Most people will replace or sell their existing bags and buy some new one, and replace, like a cycle. Thus formed the largest second-hand luxury market today. But the local market has its own interpretation of vintage goods. Although it does not reach the cognition concept of antique, it is far beyond the cognition of second-hand. To some extent, the native vintage goods refused to be equated with second-hand goods. So, goes back to thinking at the consumer level. If the definition of Zhong Gu is so subtle, then, how can we present a vintage luxury store that is unprecedented in mainland China and content with market recognition? Since the cognition of Chinese consumers on vintage goods is between second-hand and antique. Vintage handbags cannot be classified as low-level goods. They are still luxury goods. Therefore, while keeping the space interesting, the sense of quality needs to be guaranteed. Attract people in and sit down. The space in front of the door is such logic of thinking, friendly spatial relationship, let the passerby have the desire to walk in. Then, the corridor(hallway), do not decorate too many products. This is to create a sense of mystery. And this kind of construction, only let you be full of curiosity further. The raised platform ensures the level and interest of the space, and sets the main product display area at the platform location. The position of the luxury bags cater to the consumers' psychology. After an elevated display area, the sunken space is divided into three components. The innermost space is for office and storage functions. The area on the right is the bar and goods maintenance area, full of ritual sense, indicating the former glory of these famous products from Europe. Opposite the bar is a spacious and comfortable leisure tasting area. As the owner of the choice of these vintage products, the core of the vintage store is not how many products they can supply, but pick out those exquisite flawless goods in those designer bags. Just right, just the core of FM Vintage. Interior space is also like that, we have always insisted on the appropriate treatment and selection of ways in soft outfit, artwork, even adornment material. At the same time, the theme concept of Encounter, not only points to the relationship between consumers and vintage products. It is also the spiritual core of our entire space design, which is more like the collision of two generations. Or,a conversation between two kind of design languages. Time-stamped vintage products will meet new owners, be reborn, and have a new spark with products from another era. The traditional and classical design language will also have a new dialogue with the modern and more concise design language. We use this kind of design language to reshape the whole space. First of all, in the form of decoration, we use western classical elements in functional structural Settings, such as doors, windows, partition, bar, display areas,etc. And in the remodeling of the spatial structure, a large number of modern and high-efficient processing techniques. In a sense, the logical relationship between these two processing techniques must be contradictory and conflicting. But we try to put these contradictions and conflicts together, and we want these two languages to actually produce some kind of meaningful dialogue. Moving forward is not about forgetting the past. I want to reexamine it in my own way. Therefore, delicate wood works, lines and shapes can coexist with bare and simple washed stones and walls. And such a state is not inconsistent, even a wonderful taste. Secondly, in the choice of soft outfit, we abandoned products with unified and popular style. But to a buyer's attitude to choose suitable furniture products. From Franco's Tre Pezzi to Jean Royere's Polar-bear to the legendary contemporary designer Philippe Starck's classic Costes Chair. All are salutes to the classics. Flos lamps and CC-Tapis carpets are examples of current product design. We put it all together, and it's interesting in this conflicted and wonderful space. Finally, I would like to conclude with the painting "Encounter" by contemporary artist Mr. Pang Maokun in this space. The series of Encounters is Mr. Pang's recollection of the Renaissance period, which is the inheritance and research of tradition, as well as the continuation and exploration and innovation of the new era. He looked at the combination of classical and contemporary development with his own identity. And this coincides with the design thinking of FM Vintage. As designers, we also look at this industry, consumer relationship and architectural carrier from our perspective. Development, is not only looking forward, sometimes, looking back, there will be unexpected wonderful things.