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      DINZ德網 | 上瑞元筑 · 醉西湖,東方美學與現代質感的橋接

       德國室內設計網 2022-10-27 發表于廣東

      當代與東方的交融,不應只是囿于傳統元素的嫁接,或是停留在符號的表面演繹,而是突破形式上的單純,回歸精神文化的內核,融合并映射人們在今時今地的生活方式和藝術追求。在醉西湖·臻宴,設計師將當地自然、文化特色融入當代設計,生成留有本地氣韻的特別之作。

      The integration of the contemporary and the oriental should not be confined to the grafting of traditional elements or the superficial interpretation of symbols, but rather breaking through the simplicity of forms and returning to the core of spiritual culture, integrating and mapping people's lifestyles and artistic pursuits nowadays. At Zuixihu Restaurant, the designers have taken local landscape and characteristic culture into contemporary design to produce a special work with local charm.

      將傳統,解構,再重構

      入口的鏤空墻體是由陶磚匠人精心打造的釉面陶磚,以此體現中國古典建筑的時代元素。磚塊堆疊的形式營造出一種江南獨有的朦朧感,與后方紅墻疊加,給予了空間上的層次感。

      The openwork walls at the entrance are glazed ceramic bricks crafted by ceramic brickmakers as a way of reflecting the traditional elements of classical Chinese architecture. The stacking of the bricks creates a hazy feeling unique to Hangzhou and is superimposed on the red wall at the rear to give a sense of spatial depth.

      釉面陶磚定制于陶都宜興,經過原料調料、模具成型、自然晾干、手工上釉、高溫燒制等多重工序燒制而成,細膩的質感及獨特的色澤蘊含著豐富的生命力,隨著時間的流逝越來越具有年代感。組裝工作繁復,從加工生產、現場串聯到上墻單掛的每個環節都經過反復測量調整,嚴格把控,將誤差減到最小。

      Custom-made in the pottery capital, Yixing, glazed ceramic bricks are fired through multiple processes such as raw material mixing, mould forming, natural drying, hand glazing and high temperature firing, etc. The delicate texture and unique colour contains a rich vitality that becomes more and more age-worthy with the passage of time. The assembly work is complex, from processing and production, on-site assembly to hanging on the wall, each step is repeatedly measured and adjusted, strictly controlled to minimise errors.

      陶磚 模型圖

      “當我們在做空間的時候,如何讓傳統的東西呈現現代的感受,首先是要解構,再重構?!睂鹘y人文元素編織進現代的建構秩序中,在這個秩序里設計師運用能夠傳遞更多歷史信息的具象圖案,將氣氛有效的進行傳遞,空間的肌理與色彩都以一種更加含蓄的方式表達。做一個空間通常會有具象的部分,它們有助于讓人對傳統、對歷史有更直觀的感知。

      "When we are designing, how to make something traditional present a modern feeling is first to deconstruct and then reconstruct." Blending traditional humanistic elements into a modern constructed order, in which the designer uses figurative patterns that can convey more historical information, the atmosphere is effectively conveyed and the texture and colours of the space are expressed in a more subtle way. There are often figurative parts in a space, which help to give a more intuitive sense of tradition and history.

      分析圖

      設計師將具象的部分解構,再重構,讓它形成一個圖面的底,然后在抽象和具象之間,加入表達了中間狀態的質感和肌理,這些質感和肌理也是對傳統材料的再演繹、重構。

      The designer deconstructs and reconstructs the figurative part so that it forms a graphic base, and then adds textures that express an intermediate status between abstraction and figuration, which are also reinterpretations and reconstructions of traditional materials.

      置石、古畫與案幾,紅墻、亭臺與水景,枯山水靜置隱喻的韻律,這些東方語境下的代表設計細節,在體塊空間的對稱與縱深中,靜立。

      Stone, painting and table, red wall, pavilion and waterscape, the metaphor of the landscape, these representative design details in an oriental language, stand still in the symmetry and depth of spaces.

      墻壁朦朧的影子是陶磚與光線的玩笑,大面積的木質調混合著朱紅,營造出空間的清透與延伸,儒家的中庸在入口得以表達。反開放思維在美學復興中逐漸豐富。突破舊有概念中笨重感的前臺設計,東方語匯下的設計細節,成為一個又一個凸顯秩序的存在。

      The hazy shadows on the walls are jokes between the ceramic bricks and the light, and the large wooden tones mixed with vermilion create a clear and extended space, where the moderation in Confucian culture is expressed at the entrance. Anti-open thinking is gradually enriched with the renaissance of aesthetics. Breaking away from the old concept, a bulky reception design, the design details in the oriental language become the presence of highlighting the order one after another.

      以宋之韻,借古表今

      在東方秩序美學中,借鑒中軸對稱關系,局部運用借景的巧思,模糊室內與室外的界限, 同時,注重光線之間的搭配,把現代元素和自然山水相結合,相得益彰。以當代自然的設計語言,描繪現代東方的詩情畫意,刻畫細膩,有若自然。

      It draws on the axisymmetric from the aesthetics of oriental order and the use of borrowed scenery in parts, blurring the boundaries between interior and exterior, while focusing on the change of light, combining modern elements with natural landscapes, that everything is in harmony. The design language of contemporary nature is used to portray the poetic atmosphere of the modern East, with a delicate and naturalistic portrayal.

      在視覺藝術中,圖像是形式,思想是內容。抽象藝術是指向主觀概念的視覺藝術,而具象藝術是客觀存在的。將客觀融入主觀,把抽象藝術融入具象藝術之中。幾處餐位設計為西湖湖心亭的概念,營造出水景的氛圍感。

      In visual art, image is the form and idea is the content. Abstract art is visual art focusing on subjective concepts, while figural art is objective existence. Integrate the object into the subject and integrate abstract art into figural art. The dining spaces are designed by the concept of a mid-lake pavilion on the Wests Lake, creating an ambience of waterscape.

      從入口進入,移步換景,體驗游船、戲水、用餐的過渡,木材框出的三面圍繞的正方體,是設計師以抽象概念塑造的湖心亭。四個亭子臨水而筑,每個折角、屏風都用來構建移步換景虛實結合的抽象江南園林體驗。

      Entering through the entrance, landscapes change, to experience the transition from boating, playing with water and dining. The square space framed by timber and surrounded on three sides is the mid-lake pavilion shaped by the designer's abstract concept. Four pavilions are built near the water, with each angle and screen used to build an abstract Jiangnan garden experience that combines the real with the virtual.

      用餐區的構思來自湖心亭,充滿來自江南的風情,同時與燈具和隔斷的肌理相呼應,產生一種虛實相生的美。設計師試圖把古和今、當今和傳統進行一種圖底的呈現,在這里,采用了有傳統韻味的亭臺式布局,空間層層遞進,并運用了對景,框景,端景等東方美學特點的造景手法,以傳統的亭子為底,把現代的材料凸顯,互為圖底,產生戲劇性效果。

      The idea of the dining area comes from the mid-lake pavilion, full of Jiangnan atmosphere, while echoing the texture of the lamps and partitions, producing a kind of beauty of reality and fiction. The designer attempts to present the ancient and the modern, the present and the traditional in figure ground. Here, a traditional pavilion layout is used, with layers of space, and oriental aesthetic techniques such as oppositive scenery, enframed scenery and end scenery are used to create a dramatic effect, with the traditional pavilion as the base and modern materials highlighted, as figure grounds for each other.

      人物的離場使得現場空寂,呈現出自身的形式美感,通過用局部的視角去切入,會獲得一種具象與抽象之間的邊界感,這種邊界感十分微妙,也更具有視覺的張力。

      The departure of people lets the scene empty and silent, presenting its own sense of formal beauty. By cutting through with a partial perspective, a sense of the border between figuration and abstraction is obtained, which is very subtle and more visually tense.

      傳承東方神韻之美,沿襲中國傳統文化,色彩視覺總是傳遞著特殊的力量。取自宋畫「聽琴圖」,餐廳整體風格偏向宋朝的簡約委婉,所采用的色調也主要是朱色、青色、米色。以時空為樞紐,融入東方美學的雅致靈動,以不落窠臼的現代設計手法演繹中國意蘊,重塑東方美學之境。

      Inheriting the beauty and charm of the oriental and following the traditional Chinese culture, colour vision always conveys a special power. Taken from the Song painting 'Listening to the Qin', the overall style of the restaurant leans towards the simplicity and elegance of the Song Dynasty, and the colours used are mainly vermilion, cyan and beige. Using time and space as a pivot, the restaurant incorporates the ethereal elegance of oriental aesthetics and reinterprets the Chinese meaning with a modern design approach that is not according to the tradition, recreating the realm of oriental aesthetics.

      餐廳內采用了絹布加工而成的屏風,加以背發光的效果,產生迷幻的意境。既有古風古韻,又不失典雅。亭與亭之間的隔斷也用到了夾竹簾玻璃,最大程度上還原江南朦朧美景的感覺。

      A screen made of silk fabric is used in the dining room, with a back-lit effect to create a psychedelic mood. It has an old-fashioned charm without losing its elegance. The partition between the pavilions is also made of bamboo curtain glass to restore the hazy beauty of Jiangnan to the greatest extent.

      文明在孤寂中誕生,不踏高山,不入荒原,始終保有空間的溫和與優雅?;薨档墓饩€漫射四周,將空間變為人與美食的「容器」,整體如柔焦的底片,將來賓的注意力焦點自然而然地牽引到桌面的菜品中來。

      Civilisation is born in solitude, not in the mountains, not in the wilderness, always retaining the gentleness and elegance of the space. The obscure light diffuses around, turning the space into a 'vessel' for people and food, and the whole is like a soft-focused negative, drawing the guests' attention naturally to the dishes on the table.

      進入后走廊,最值得注意的是路旁的小燈,采用了亭子的造型,下面發著微光的琉璃,真正打造出了一個小型的湖心亭的景觀。竹簾夾在玻璃中,仿制了古典金磚造型的地磚,古典與現代之間,雕塑化的造型、理性的結構美、簡雅的線條感,它們與交相輝映,呈現出一種默契的動態平衡。

      Entering the rear corridor, the most noteworthy feature is the small roadside light, which takes the shape of a pavilion with shimmering glass underneath, truly imitating the landscape of a small mid-lake pavilion. The bamboo curtain is sandwiched between the glass and imitates the classical gold-brick-shape floor tiles. Between the classical and the modern, the sculptural shape, the rational structural beauty and the simple sense of line, they intersect with each other to present a tacit dynamic balance.

      時空回溯,新舊合一

      推開醉西湖·臻宴的包廂門,跟隨光的指引,目光隨空間延伸的方向,抵達室內的視覺焦點。柔和光線下大面積米色與朱色系帶來溫暖安逸的感覺,以映入眼簾的西湖古畫打造江南之風,與錯落點綴其間的中式家具配合,共同定義了一個縱深感鮮明,且不乏流暢舒適的空間印象,營造出新舊合一,古典與現代,抽象與具象的完美結合。

      When you open the door to the private dining room at Zuixihu restaurant, you walk towards the light and your eyes follow the direction of the space to reach the visual focus of the room. The large area of beige and vermilion colours under the soft light brings a warm and restful feeling, and the ancient painting of West Lake creates a Jiangnan style, which, together with the Chinese furniture dotted around, defines a space with distinctive depth and smooth and comfortable impression, creating a perfect combination of old and new, classical and modern, abstract and figurative.

      設計師認為,中國文化的制高點就是在南宋文化,而南宋本身建都就是在臨安,所以宋文化,尤其是南宋文化自然的跟西湖有著千絲萬縷的聯系。設計師將宋人美學與醉西湖餐廳相連接,將取自宋畫的朱、青、米大面積揮灑其中,以傳統為底,凸顯現代。

      The designer believes that the high ground of Chinese culture is Southern Song culture, which capital is  in Lin'an, so naturally Song culture, especially Southern Song culture, is inextricably linked to West Lake. The designer has connected the Song aesthetic with the Zuixihu restaurant, splashing in a large area of vermilion, green and beige taken from the Song paintings, highlighting modernity with a traditional base.

      光影的明暗關系,構就空間的審美秩序對比,加深空間的戲劇性,烘托出一個富有故事的精神場域。以東方元素承啟整個空間的始終,在一個精準的平衡點上呈現出一個具有東方文韻的當代空間,從視覺層面去獲得建筑、藝術、情感間的必然體驗。

      The relationship between light and shadow creates an contrast aesthetic order in the space, deepening the drama of the space and creating a spiritual field rich in history. The oriental elements are used to anchor the entire space, presenting a contemporary space with an oriental charm in a precise balance, and a visual dimension to gain an inevitable experience between architecture, art and emotion.

      設計師遵循著心靈感受,將深植骨血的對東方文化的喜愛也施展在陳設上,通過空間虛實,輕重對比,整個室內與建筑外立面相互呼應,讓人產生一種西境東韻的奇特時空回溯。

      The designer has followed his heart, and his deep-rooted love of oriental culture is also expressed in the furnishings. Through the contrast between reality and virtual, light and heavy, the whole interior and the building facade echo each other, giving a special time and space retracing of the western object and the eastern charm.

      在元素處理上,設計師大處見剛、細部現柔,在視覺上既能帶動空間的節奏感,應用在軟裝上動靜有度,色調細膩、克制而不張揚,把東方元素納入當代秩序,體現出剛柔并濟的中式美學態度。

      In the treatment of the elements, rigidity in the whole and the softness in details, it visually drives the rhythm of the space, applied to the soft furnishings in a measured manner, with delicate, restrained and unobtrusive tones, incorporating oriental elements into the contemporary order, reflecting the aesthetic attitude of both rigidity and softness in Chinese culture.

      空間的整體色彩與大廳一脈相承,以取自宋畫「聽琴圖」的以朱色、米色為主色調,搭配部分橘、紅色飾品進行點綴,既有古風古韻,又不失典雅,朱色與米色的利落清爽,給人一種沉穩的感覺。東方意趣的邊際融于現代,寧靜與大氣共生,含蓄與精致并存。

      The overall colour of the space is in keeping with the hall, with vermilion and beige colours taken from the Song painting 'Listening to the Qin', matched with some orange and red ornaments, both ancient and elegant, the vermilion and beige colours are sharp and refreshing, giving a sense of calmness. Oriental interest melts into modernity, serenity in the air, subtlety and refinement coexist.

      讓自然與藝術在此間產生嬗變,讓賓客在體驗服務的同時,又可盡得縱情食物的趣味。

      Allow the happen of the transformation of nature and art, allow guests to experience service and indulge in food at the same time.

      包廂里,以東方的視野詮釋洽談屬性,用自然營造當代秩序,豐富另辟蹊徑的創新靈感,分解東方構圖,達成空間與空間之間的互動。

      In the private dining room, an oriental vision is used to interpret meeting function, using nature to create a contemporary order, enriching the unimaged creative inspiration to break down oriental compositions and achieve interaction between spaces.

      自然光在長幾后玻璃門窗的平衡與穩定之下進入,不去阻擋事物的原理和法則,自然的在空間中生存,人來人往,不變的敘事感永存。

      Natural light enters from the balanced and stable glass doors and windows behind the long table, without blocking the principles and laws of things, naturally living in the space, where people come and go, and the unchanging narrative lives on.



      時光輪轉,四時而變,不變的是經歷過沉淀,還能歷久彌新的事物,是傳承的東方文化,是自然的精神物質,是設計的融合與現代的思考和創新。

      Time flies, but what remains are the things that have undergone sedimentation and still keep with the fashion, which is the inherited oriental culture, the natural spirit, the fusion of design and contemporary thinking and innovation.

      抽象和具象之間

      古典和現代之間

      秩序美學

      相互串聯

      把東方元素納入當代秩序

      用自然營造當代秩序

      人來人往

      不變的敘事感永存

      平面圖


      項目名稱 | 醉西湖·臻宴
      項目地址 | 浙江省 杭州市 鴻寧路 山水時代大廈
      項目面積 | 880㎡
      空間設計 | s5design上瑞元筑設計
      設計總監 | 范日橋
      設計團隊 | 陳駿、陸榮華、王晶、朱希 
      軟裝設計 | 包大人工作室
      燈光顧問 | Artluci  阿特露祺
      施工單位 | 上海容盛建筑裝飾工程有限公司
      設計時間 | 2021年12月
      完工日期 | 2022年08月
      項目攝影 | 十攝影工作室/譚嘯

      2003年公司成立伊始,即致力于商業空間設計的探索與實踐,于經營理念、設計執行、市場研判等諸方面不斷審時應變,追求精準時效,在設計方法論上醉心于本土語言的國際化敘述,并不斷銳意創新。建司至今在餐飲、酒店、商業地產、休閑娛樂、商展等業態空間與公共空間均有經典案例呈現,在舊建筑改造、樣板房設計、街區業態規劃、文化主題空間和城市綜合體概念策劃等諸多領域佳績斐然。卓越的設計創造能力與專業的商業空間整合解決能力令公司品牌效應享譽業界,躋身于國內前沿商業設計機構行列。上瑞元筑為百勝、 海底撈、星倫多、七欣天、 喜粵八號、海味觀等客戶提供長期戰略設計服務,公司目前在上海、無錫各設設計機構,服務范圍覆蓋全國,在長三角、香港、美國等地區均有長期穩定的客戶資源。
      近 期 案 例
      冶春茶社

      海味觀餐廳上海老西門旗艦店

      和子SPA會館


      GNU金秋設計 | 清遠北部萬科城

      bk藍騎士設計 | 蘇州私宅
      目后空間設計 | 與喜歡的一切在一起

      李友友 | 廣州力迅私宅

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