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TRECA Chengdu Sleep Art Gallery
TRECA Chengdu Sleep Art Gallery
China
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Other Projects by X+LIVING
TRECA Chengdu Sleep Art Gallery
China
Firm
Type
STATUS
Built
YEAR
2026
SIZE
0 sqft - 1000 sqft
Designing a Brand Showroom: The Real Challenge Has Never Been "Creating a New Image"
Particularly when facing a mature brand with nearly a century of history, one that has already established stable recognition and distinct brand DNA, the questions design must answer become far more complex:
Why does a brand with history need to reinvent its space? Should the new space merely repeat the brand symbols already familiar to the market, or can it find a truly forward-looking expression from those genes that have settled through time?
TRECA Chengdu Sleep Art Gallery unfolds precisely under this proposition.
01 Why Does a Mature Brand Need to Reinvent Its Space?
TRECA's history itself is not lacking in stories.
From its beginnings in precision spring manufacturing, to its encounter with the Orient Express in 1931, to nearly a century of continuous exploration around sleep, comfort, and the French art de vivre—time has accumulated more than enough cultural assets for the brand.
But for design, the richer the history, the greater the risk: when history is only displayed, the brand remains trapped in the past.
Therefore, what the new-generation brand showroom must accomplish is not a reproduction of a century of history, but a reinterpretation.
What our design truly cares about is: How can history continue to move forward? How can elements already existing in the brand's memory cease to be merely archival documents in display windows, text on walls, and repeatedly quoted classic symbols, and instead become a force capable of generating space, shaping experience, and participating in the brand's present perception?
This was the project's initial design starting point.
At the entrance, the designer reinterprets the classic façade plaque form of the TRECA Paris flagship store. This plaque functions more like a seal of time. It tells visitors that this new space has a clear origin, yet has no intention of remaining there.
Echoing this is the "Centennial Journey Train" imagery that runs through the entire façade. Working with the existing column grid of the original building, the design transforms rational structural relationships into a series of depth-filled "train windows." Continuous framed views unfold in sequence, like fragments constantly passing by during a train's journey, embedding different facets of French life into the elevation.
This gradually leads the design to a more critical question:
Beyond the plaque, the train, French culture, and a century of history, what is the one thing truly impossible for any other brand to replicate?
The answer ultimately did not lie in any explicit visual symbol, but rather in the brand's smallest and most fundamental structure.
02 Re-understanding the Brand from Its Microscopic Structure
TRECA originated from precision spring manufacturing. The designer ultimately chose to re-understand the brand from such a microscopic structure—not because the "spring" possesses sufficient formal recognizability, but because within this seemingly ordinary structure lies TRECA's deeper brand logic: precision, support, elasticity, repetition, and the dynamic equilibrium continuously formed between pressure and release.
But the designer did not simply magnify the spring into a decorative object to be viewed. Instead, the form was further abstracted, extracting the "spiral" as a fundamental structure that becomes the rule by which the space operates.
Why do walls deflect? Why does circulation coil? Why does sightline continuously penetrate, only to be drawn anew by the next spatial layer?
These seemingly independent design decisions are all generated by the same structural logic.
The brand thus no longer remains at the level of being "expressed." It begins to truly participate in the architecture's generation.
03 From Brand's Underlying Structure to a Vast Spatial System
Traditional showroom interfaces, typically independent and parallel to one another, here begin to deflect, rotate, and connect, forming spatial boundaries with continuity.
The spiral further transforms into circulation.
The space no longer organizes all functions through a single explicit linear passage. Instead, through continuous curved surfaces, local constrictions and openings, it guides the body to constantly change direction.
Here, one does not travel from Point A to Point B. Rather, in the process of moving, one continuously discovers new spaces.
The spiral thus enters its third dimension—showroom layout.
Ten independent product spaces are embedded within the entire system. They are simultaneously autonomous yet maintain continuous relationships through the main corridor. Semi-enclosed curved contours cause each showroom to unfold naturally from the main space like a chapter.
Meanwhile, secondary circulation routes that continuously open on both sides keep the space always visible yet never fully exposed.
Thus, the space further generates depth of field.
Foreground, middle ground, and background are compressed within the same field of vision. People, rooms, and products continuously form local obstructions and intersections with one another.
One can always see the next space, yet rarely see everything at once. The desire to explore is precisely stimulated in this state of "not being fully informed."
The core cultural corridor further connects this structural relationship with brand time.
Continuously curving interfaces resemble a strip of cinematic film being unspooled. Brand history is no longer centrally displayed on a single wall, but gradually unfolds in the process of human movement. Thus, the originally abstract notion of "time" is transformed into a path that the body can truly measure.
From a tiny spring, to walls, circulation, showrooms, sightlines, and finally bodily movement—a microscopic structure ultimately grows into a vast spatial system.
And this is also one of the design's most important professional values: not creating a beautiful concept, but giving a concept the capacity to organize complex reality.
04 Once Equilibrium Was Established, We Chose to Break It
If the design ended here, it would already be a highly complete rational system. But completeness does not mean vitality.
Once structure, function, circulation, and display relationships had been precisely calibrated, the design began to actively introduce another force: freedom.
Color first entered the space.
Burgundy, with an almost velvet-like depth, covers the reception desk and local wall surfaces. It carries the mature, rich, and restrained emotion within French culture, while also establishing the deepest visual keynote for the entire space.
Meanwhile, vintage green, haze blue, dusty rose, and other low-saturation colors continuously appear. These colors do not follow a single, stable color system. They are more like emotional afterimages from different dream fragments, placed within different rooms, different materials, and different lighting conditions.
Brass metallic luster intersperses throughout. Mirrors continuously replicate and fold local light and color. Hand-painted botanical wallpapers, crystal chandeliers, soft textiles, and furniture with a sense of history further establish a spatial temperament difficult to define through any single style.
Floor textures draw inspiration from the brushstrokes of Van Gogh's The Starry Night. Lines of black, gold, blue, and white do not strictly follow the building's axis, but spread in an almost stream-of-consciousness manner. They form a striking tension with the highly rational spiral structure above.
The flowing, unstable, and even somewhat Art Informel visual quality that the design ultimately presents is not a deliberate imitation of any artistic style.
It is more like a natural outcome that emerges after the design system has been pushed to a certain extent. Like the spring itself: only when the structure is sufficiently precise can it possess true elasticity.
And what the designer pursues is neither absolute order nor complete freedom, but rather a balance capable of maintaining continuous tension between precision and freedom.
05 Ten Rooms, Ten Imaginations of Life
TRECA does not face an abstract artistic proposition. What it ultimately concerns is the relationship between people and sleep, bedrooms, the body, and private life.
Therefore, the ten independent showrooms were not designed as ten pure product display rooms.
They are more like ten proposals about life. Different colors, furniture, materials, and scenes together constitute their respective independent atmospheres.
One does not stand outside the space viewing a completed "showroom image." One enters it. Draws near. Touches. Sits down. Even imagines oneself truly living here.
The semi-enclosed spatial relationship provides each room with sufficient independence without creating completely sealed boundaries. When entering a showroom, one still vaguely perceives the external space. And when walking through the main corridor, one is continuously drawn by different rooms.
This keeps the entire experience suspended between "viewing" and "entering."
06 Letting Dreams Happen Through Real Construction
Today, generating a stunning image is becoming increasingly easy. New visuals, new styles, new fantasies can appear at unprecedented speeds. In an era where the virtual is becoming ever more abundant, reality is becoming an increasingly scarce value.
But architectural space must ultimately face reality.
This is where imagination truly becomes difficult—
Every curved surface needs to be actually built. Every wall deflection must respond to structure and construction. Every material must resolve its junction, forming precise relationships on site.
From a spring hidden inside a mattress, to a space that can truly be entered, walked through, touched, and lingered in, what TRECA Chengdu Sleep Art Gallery ultimately accomplishes is not merely a brand space update.
This persistence in bringing conviction to reality, from conception to realization, is itself a romantic and precious thing. Thus, this work has also become our sincere response to this era:
In a world flooded with the virtual, we must always use ultimate focus and passion to rebuild real, warm, human dreams.
Particularly when facing a mature brand with nearly a century of history, one that has already established stable recognition and distinct brand DNA, the questions design must answer become far more complex:
Why does a brand with history need to reinvent its space? Should the new space merely repeat the brand symbols already familiar to the market, or can it find a truly forward-looking expression from those genes that have settled through time?
TRECA Chengdu Sleep Art Gallery unfolds precisely under this proposition.
01 Why Does a Mature Brand Need to Reinvent Its Space?
TRECA's history itself is not lacking in stories.
From its beginnings in precision spring manufacturing, to its encounter with the Orient Express in 1931, to nearly a century of continuous exploration around sleep, comfort, and the French art de vivre—time has accumulated more than enough cultural assets for the brand.
But for design, the richer the history, the greater the risk: when history is only displayed, the brand remains trapped in the past.
Therefore, what the new-generation brand showroom must accomplish is not a reproduction of a century of history, but a reinterpretation.
What our design truly cares about is: How can history continue to move forward? How can elements already existing in the brand's memory cease to be merely archival documents in display windows, text on walls, and repeatedly quoted classic symbols, and instead become a force capable of generating space, shaping experience, and participating in the brand's present perception?
This was the project's initial design starting point.
At the entrance, the designer reinterprets the classic façade plaque form of the TRECA Paris flagship store. This plaque functions more like a seal of time. It tells visitors that this new space has a clear origin, yet has no intention of remaining there.
Echoing this is the "Centennial Journey Train" imagery that runs through the entire façade. Working with the existing column grid of the original building, the design transforms rational structural relationships into a series of depth-filled "train windows." Continuous framed views unfold in sequence, like fragments constantly passing by during a train's journey, embedding different facets of French life into the elevation.
This gradually leads the design to a more critical question:
Beyond the plaque, the train, French culture, and a century of history, what is the one thing truly impossible for any other brand to replicate?
The answer ultimately did not lie in any explicit visual symbol, but rather in the brand's smallest and most fundamental structure.
02 Re-understanding the Brand from Its Microscopic Structure
TRECA originated from precision spring manufacturing. The designer ultimately chose to re-understand the brand from such a microscopic structure—not because the "spring" possesses sufficient formal recognizability, but because within this seemingly ordinary structure lies TRECA's deeper brand logic: precision, support, elasticity, repetition, and the dynamic equilibrium continuously formed between pressure and release.
But the designer did not simply magnify the spring into a decorative object to be viewed. Instead, the form was further abstracted, extracting the "spiral" as a fundamental structure that becomes the rule by which the space operates.
Why do walls deflect? Why does circulation coil? Why does sightline continuously penetrate, only to be drawn anew by the next spatial layer?
These seemingly independent design decisions are all generated by the same structural logic.
The brand thus no longer remains at the level of being "expressed." It begins to truly participate in the architecture's generation.
03 From Brand's Underlying Structure to a Vast Spatial System
Traditional showroom interfaces, typically independent and parallel to one another, here begin to deflect, rotate, and connect, forming spatial boundaries with continuity.
The spiral further transforms into circulation.
The space no longer organizes all functions through a single explicit linear passage. Instead, through continuous curved surfaces, local constrictions and openings, it guides the body to constantly change direction.
Here, one does not travel from Point A to Point B. Rather, in the process of moving, one continuously discovers new spaces.
The spiral thus enters its third dimension—showroom layout.
Ten independent product spaces are embedded within the entire system. They are simultaneously autonomous yet maintain continuous relationships through the main corridor. Semi-enclosed curved contours cause each showroom to unfold naturally from the main space like a chapter.
Meanwhile, secondary circulation routes that continuously open on both sides keep the space always visible yet never fully exposed.
Thus, the space further generates depth of field.
Foreground, middle ground, and background are compressed within the same field of vision. People, rooms, and products continuously form local obstructions and intersections with one another.
One can always see the next space, yet rarely see everything at once. The desire to explore is precisely stimulated in this state of "not being fully informed."
The core cultural corridor further connects this structural relationship with brand time.
Continuously curving interfaces resemble a strip of cinematic film being unspooled. Brand history is no longer centrally displayed on a single wall, but gradually unfolds in the process of human movement. Thus, the originally abstract notion of "time" is transformed into a path that the body can truly measure.
From a tiny spring, to walls, circulation, showrooms, sightlines, and finally bodily movement—a microscopic structure ultimately grows into a vast spatial system.
And this is also one of the design's most important professional values: not creating a beautiful concept, but giving a concept the capacity to organize complex reality.
04 Once Equilibrium Was Established, We Chose to Break It
If the design ended here, it would already be a highly complete rational system. But completeness does not mean vitality.
Once structure, function, circulation, and display relationships had been precisely calibrated, the design began to actively introduce another force: freedom.
Color first entered the space.
Burgundy, with an almost velvet-like depth, covers the reception desk and local wall surfaces. It carries the mature, rich, and restrained emotion within French culture, while also establishing the deepest visual keynote for the entire space.
Meanwhile, vintage green, haze blue, dusty rose, and other low-saturation colors continuously appear. These colors do not follow a single, stable color system. They are more like emotional afterimages from different dream fragments, placed within different rooms, different materials, and different lighting conditions.
Brass metallic luster intersperses throughout. Mirrors continuously replicate and fold local light and color. Hand-painted botanical wallpapers, crystal chandeliers, soft textiles, and furniture with a sense of history further establish a spatial temperament difficult to define through any single style.
Floor textures draw inspiration from the brushstrokes of Van Gogh's The Starry Night. Lines of black, gold, blue, and white do not strictly follow the building's axis, but spread in an almost stream-of-consciousness manner. They form a striking tension with the highly rational spiral structure above.
The flowing, unstable, and even somewhat Art Informel visual quality that the design ultimately presents is not a deliberate imitation of any artistic style.
It is more like a natural outcome that emerges after the design system has been pushed to a certain extent. Like the spring itself: only when the structure is sufficiently precise can it possess true elasticity.
And what the designer pursues is neither absolute order nor complete freedom, but rather a balance capable of maintaining continuous tension between precision and freedom.
05 Ten Rooms, Ten Imaginations of Life
TRECA does not face an abstract artistic proposition. What it ultimately concerns is the relationship between people and sleep, bedrooms, the body, and private life.
Therefore, the ten independent showrooms were not designed as ten pure product display rooms.
They are more like ten proposals about life. Different colors, furniture, materials, and scenes together constitute their respective independent atmospheres.
One does not stand outside the space viewing a completed "showroom image." One enters it. Draws near. Touches. Sits down. Even imagines oneself truly living here.
The semi-enclosed spatial relationship provides each room with sufficient independence without creating completely sealed boundaries. When entering a showroom, one still vaguely perceives the external space. And when walking through the main corridor, one is continuously drawn by different rooms.
This keeps the entire experience suspended between "viewing" and "entering."
06 Letting Dreams Happen Through Real Construction
Today, generating a stunning image is becoming increasingly easy. New visuals, new styles, new fantasies can appear at unprecedented speeds. In an era where the virtual is becoming ever more abundant, reality is becoming an increasingly scarce value.
But architectural space must ultimately face reality.
This is where imagination truly becomes difficult—
Every curved surface needs to be actually built. Every wall deflection must respond to structure and construction. Every material must resolve its junction, forming precise relationships on site.
From a spring hidden inside a mattress, to a space that can truly be entered, walked through, touched, and lingered in, what TRECA Chengdu Sleep Art Gallery ultimately accomplishes is not merely a brand space update.
This persistence in bringing conviction to reality, from conception to realization, is itself a romantic and precious thing. Thus, this work has also become our sincere response to this era:
In a world flooded with the virtual, we must always use ultimate focus and passion to rebuild real, warm, human dreams.
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