當(dāng)購(gòu)物中心變成了圖書(shū)館、花園和博物館

Shhh. Do you hear that? It’s the sound of wind whistling through the abandoned malls of America as the Cassandras of contemporary retail cry their doom through corridors lined by fronds of lonely greenery: the end of a way of shopping, and all that.

噓。聽(tīng)到了嗎?這是呼嘯的風(fēng)穿過(guò)廢棄的美國(guó)購(gòu)物中心的聲音，當(dāng)代零售業(yè)的末日預(yù)言家們，在一排排陳列孤獨(dú)綠植的過(guò)道里宣告它們的末日：一種購(gòu)物方式終結(jié)了，所有這一切都終結(jié)了。

But train your ears toward another direction. In Asia, an entirely different story is being sung: one full of glimmer and potential; one that is not limited to luxury products but treats all customers as if they were buying luxury; one in which consumers are drawn like magnets to the physical reality of a — what to call it? Not a bazaar, really, or an arcade, or a plaza. An immersive aesthetic experience with shopping as a byproduct, perhaps.

但是把你的耳朵轉(zhuǎn)向另一個(gè)方向。在亞洲，一個(gè)完全不同的故事正在上演：這是一個(gè)充滿希望和潛力的故事;它不局限于奢侈品，而是把所有顧客都當(dāng)作奢侈品買(mǎi)家一樣對(duì)待;這樣一個(gè)實(shí)體地點(diǎn)像磁鐵一樣吸引著消費(fèi)者——該怎么稱呼它呢?不是集市、不是商場(chǎng)、也不是購(gòu)物中心。也許，這是一種沉浸式審美體驗(yàn)，購(gòu)物只是它的副產(chǎn)品。

In Shanghai, the Shanghai Village, an outlet shopping complex created by Value Retail (founder of Bicester Village in Oxford, England) in a Disney resort area, stretches for 473,612 square feet across the waterfront, its gleaming Art Deco promenades lined by 200 trees and featuring bathroom lounges covered in swirling mosaics in the styles of different artists and so eye-popping they are actually booked for local events on their own.

In Seoul, the 30,140-square-foot library in the COEX Mall includes approximately 50,000 books and magazines to browse, and offers couches and reading tables for passers-by as well as serving as a venue for cultural events.

上海的奕歐來(lái)上海購(gòu)物村(Shanghai Village)是一個(gè)零售購(gòu)物中心，由維泰集團(tuán)(Value Retail，英國(guó)牛津的比斯特購(gòu)物村[Bicester Village]的創(chuàng)建者)在迪士尼景區(qū)興建，它占據(jù)了473612平方英尺(約合4.4萬(wàn)平米)的濱水地帶，閃亮的裝飾藝術(shù)風(fēng)格步行道兩旁列著200棵樹(shù)，它的衛(wèi)生間休息室內(nèi)鑲嵌著各種藝術(shù)家風(fēng)格的旋動(dòng)馬賽克圖案，驚人到本身也成為舉辦本地一些活動(dòng)的場(chǎng)所。在首爾，COEX商場(chǎng)(COEX Mall)內(nèi)有一座30140平方英尺(約合2800平米)的圖書(shū)館，大約有5萬(wàn)冊(cè)圖書(shū)和雜志可供瀏覽，還為路人提供沙發(fā)和閱讀桌，并舉辦文化活動(dòng)。

To name a few.

這只是其中的幾個(gè)例子。

Together, these projects embody a new way of thinking about the physical space where stores congregate, one that borrows from the online playbook: prioritizing the idea of content over contents, and further demonstrating the way in which the real and virtual worlds increasingly intertwine. Not because they offer video screens or iPads for ordering (though they are on hand) but because of a more fundamental conceptual connectivity.

這些項(xiàng)目都體現(xiàn)了一種對(duì)商店聚集的實(shí)體空間的全新思考方式，它借鑒了網(wǎng)絡(luò)經(jīng)營(yíng)的方式：優(yōu)先考慮內(nèi)容的概念，而不是內(nèi)容本身，進(jìn)一步展示真實(shí)世界和虛擬世界如何日益交織在一起。這不是因?yàn)樗鼈兲峁┝艘曨l屏幕或iPad(雖然它們就在手頭)，而是因?yàn)樗鼈兲峁└镜母拍钚赃B接。

“It’s a core reality shift,” said Scott Malkin, the founder and chairman of Value Retail. “The war is over. Alibaba won. That means physical retail is no longer about the distribution of goods but building brand equity.”

“這是一個(gè)核心現(xiàn)實(shí)的轉(zhuǎn)變，”維泰集團(tuán)創(chuàng)始人兼董事長(zhǎng)斯科特·馬爾金(Scott Malkin)說(shuō)。“戰(zhàn)爭(zhēng)結(jié)束了。阿里巴巴贏了。這意味著實(shí)體零售不再是分銷(xiāo)商品，而是建立品牌資產(chǎn)。

And brand equity is created via the subliminal communication of ephemeral values: service and touch — what Mr. Malkin calls “the software” that surrounds the “hardware” of bricks and mortar (and marble and sandstone) reality. Which then becomes the place, he said, “where the interface behavior occurs.”

品牌價(jià)值是通過(guò)無(wú)形價(jià)值的下意識(shí)交流創(chuàng)造出來(lái)的：服務(wù)和格調(diào)——馬爾金稱之為“軟件”，它們依附于磚塊和灰泥(以及大理石和砂巖)所創(chuàng)造的現(xiàn)實(shí)“硬件”。他說(shuō)，這就形成了“相互作用的行為發(fā)生的地方”。

“The context for stores is more and more important,” said Luca Solca, head of luxury goods research at Exane BNP Paribas, “because you have to make people want to get out of their homes and away from their screens.

“商店的環(huán)境越來(lái)越重要，”法國(guó)巴黎銀行(Exane BNP Paribas)奢侈品研究主管盧卡·索爾卡(Luca Solca)說(shuō)。“因?yàn)槟愕米屓藗兿胍叱黾议T(mén)，遠(yuǎn)離屏幕。”

“It’s not just about the store itself,” he added. “It’s retail counter-standardization.”

“這不只是商店本身的問(wèn)題，”他補(bǔ)充道。“這是零售反標(biāo)準(zhǔn)化。”

If the old model — the merch emporium — gave way during the turn of the millennium to the flagship model, which saw stores become echoing and somewhat austere temples where consumers worshiped the handbag on the plinth, we are now entering a new stage. One embodied more by Apple or Starbucks than any previous fashion retail space.

如果說(shuō)老式的大百貨商場(chǎng)在世紀(jì)之交讓位于旗艦店模式，店鋪?zhàn)兂闪藢挸ǖ?、有些峻冷的殿堂，供消費(fèi)者膜拜放在基座上的手袋，那么現(xiàn)在我們正進(jìn)入一個(gè)新階段。蘋(píng)果(Apple)或星巴克(Starbucks)比以往任何的時(shí)尚零售空間都更能體現(xiàn)這一點(diǎn)。

One that takes the rising principles of the experience economy and the growing belief that millennial consumers — who hate anything smacking of marketing or overt product pushing — are increasingly choosing to spend their money on the unique event rather than on the aspirational product, and applies them to shopping.

這個(gè)模式采用體驗(yàn)經(jīng)濟(jì)的新興原則和越來(lái)越強(qiáng)大的信念，即千禧一代消費(fèi)者厭惡任何帶有營(yíng)銷(xiāo)或強(qiáng)行推銷(xiāo)意味的舉動(dòng)，正越來(lái)越多地選擇把錢(qián)花在獨(dú)特的事件而不是夢(mèng)寐以求的產(chǎn)品上，進(jìn)而把它們應(yīng)用于購(gòu)物。

One that says investing in a value system that surrounds the shopping experience will pay off in consumption. Because instead of taking home a postcard or a T-shirt to remember the visit, you take home a Prada shoe, or a Dior dress.

一種說(shuō)法是，投資于圍繞購(gòu)物體驗(yàn)的價(jià)值體系，將在消費(fèi)中獲得回報(bào)。因?yàn)槟銕Щ丶业牟皇且粡埫餍牌蛘咭患恤，而是普拉達(dá)(Prada)的鞋子或迪奧(Dior)的裙子。

Mr. Cheng first began exploring these principles in 2009 in his K-11 Art Mall developments in Hong Kong, Shanghai and Guangzhou, which originally combined art and shopping elements — a mix of high and consumer culture previously seen as heretical — and then expanded from there. The Shanghai Art Mall, for example, includes an urban farm where visitors can grow herbs that they eventually take home for their dinner. It’s not an obvious sales driver but, Mr. Cheng said on stage at The New York Times International Luxury conference in Hong Kong last week, foot traffic went up dramatically after it was opened.

2009年，鄭志剛在香港、上海和廣州的K-11購(gòu)物藝術(shù)中心開(kāi)發(fā)項(xiàng)目中首次探索這些原則。該項(xiàng)目最初是將藝術(shù)和購(gòu)物元素結(jié)合在一起，它進(jìn)行了高雅文化和消費(fèi)文化的融合，這在以前被視為一種異端的想法——然后在此基礎(chǔ)上進(jìn)行擴(kuò)張。例如，上海的K11購(gòu)物藝術(shù)中心有一個(gè)城市農(nóng)場(chǎng)，游人可以在那里種植各種香草，最后帶回家用于烹制晚飯。鄭志剛上周在香港舉行的《紐約時(shí)報(bào)》國(guó)際奢侈品大會(huì)(New York Times International Luxury conference)上說(shuō)，這并非一個(gè)顯而易見(jiàn)的銷(xiāo)售推動(dòng)力，但開(kāi)業(yè)后客流量大幅上升。

Not that the point was “about traffic,” Mr. Cheng said. “It’s about building a community. About grooming the audience and having access to their behavior, which then continues online.” The farm is the bait, in a sense.

這不是“客流量問(wèn)題”，鄭志剛說(shuō)。“這是關(guān)于建立一個(gè)社區(qū)，關(guān)于如何培養(yǎng)觀眾，以及了解他們的行為，然后在線上繼續(xù)。從某種意義上說(shuō)，那個(gè)農(nóng)場(chǎng)就是個(gè)誘餌。

Just whatever you do, don’t call it a “shopping center.”

無(wú)論你做什么，不要稱它為“購(gòu)物中心”就是了。