The Harmay Beijing Hopson One store, designed by AIM Architecture, is distributed across two floors around a central vertical circulation element that defines its programmatic logic. Functionally, the warehouse unifies circulation, product display, and inventory, guiding visitors to the upper floor, where they will find long display sequences, archive cabinets, areas dedicated to K-Beauty collections, and face masks.
The warehouse was constructed using mobile metal mesh storage panels, wooden shipping crates, and shelving. The materials chosen form a restrained palette, including stainless steel, glass, polished concrete, and wood, with the aim of creating a minimalist structure that focuses attention on the displayed products.
Harmay Beijing Hopson One by AIM Architecture. Photograph by Seth Powers.
Project description by AIM Architecture
What if products were treated like art?
Collected rather than consumed, archived rather than displayed, experienced rather than sold.
Over the years, AIM Architecture and HARMAY have worked closely to redefine what a store can be, moving beyond retail to create spaces that foster curiosity, community, and cultural exchange. HARMAY, a pioneering beauty retailer known for its unconventional warehouse aesthetic and curated approach, has built a loyal following by turning shopping into a process of exploration.
Located in Beijing’s Hopson One Mall, the new HARMAY flagship continues this dialogue. The project interrogates one of the most utilitarian spaces of the art world—the storage facility—and repurposes it for one of the most democratic acts: shopping.
By blurring the line between art depot and retail archive, the design suggests that selecting a product can be an act of curation, and that a personal need can become a form of collecting. Finding a product on a shelf is reframed not as consumption, but as a conscious process of building oneself, assembling tools for future identity.
Spanning two levels, the store is structured around a vertical circulation element that visually and physically connects the ground floor and upper level. Rather than a monumental gesture, the staircase adopts a pragmatic, warehouse-inspired logic: a simple metal structure stacked on cargo boxes, which are integrated into the steps themselves. Circulation, display, and inventory merge into a single system, naturally guiding visitors upward while dissolving traditional retail hierarchies.
Movable metal mesh storage panels, wooden cargo boxes, and overhead shelving create a flexible, ever-changing environment. Industrial systems are stripped back and refined into a minimalist framework, allowing products to take center stage. Stainless steel, glass, polished concrete, and timber form a restrained material palette, raw yet precise, functional yet carefully composed.
On the upper level, long display sequences, archival cabinets, and dedicated zones for K-Beauty and mask collections evoke a futuristic repository, where beauty products are treated as objects of value rather than commodities. Integrated lighting enhances clarity and depth, reinforcing a sense of order, rhythm, and calm.
Ultimately, the store proposes a subtle but powerful cultural shift: that the structures we build to house art can teach us how to better house our lives. It becomes a manifesto suggesting that order, care, and conscious selection, principles intrinsic to museum storage, are themselves artistic practices, capable of enriching everyday existence.
By borrowing the language of art handling and archival logic, the design elevates the mundane ritual of shopping into a performative act of self-artistry. The customer becomes both archivist and artwork in progress, engaged in a continuous process of refinement.
