DINZ德网 | 上瑞元筑 · 醉西湖,东方美学与现代质感的桥接


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.



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.


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.

陶砖 模型图


"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.



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.


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.


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.


在东方秩序美学中,借鉴中轴对称关系,局部运用借景的巧思,模糊室内与室外的界限, 同时,注重光线之间的搭配,把现代元素和自然山水相结合,相得益彰。以当代自然的设计语言,描绘现代东方的诗情画意,刻画细腻,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.


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.


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.


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.


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.


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.


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.


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.


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.



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.


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.


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.


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.


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.


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.


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


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.


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.


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.










项目名称 | 醉西湖·臻宴
项目地址 | 浙江省 杭州市 鸿宁路 山水时代大厦
项目面积 | 880㎡
空间设计 | s5design上瑞元筑设计
设计总监 | 范日桥
设计团队 | 陈骏、陆荣华、王晶、朱希 
软装设计 | 包大人工作室
灯光顾问 | Artluci  阿特露祺
施工单位 | 上海容盛建筑装饰工程有限公司
设计时间 | 2021年12月
完工日期 | 2022年08月
项目摄影 | 十摄影工作室/谭啸

2003年公司成立伊始,即致力于商业空间设计的探索与实践,于经营理念、设计执行、市场研判等诸方面不断审时应变,追求精准时效,在设计方法论上醉心于本土语言的国际化叙述,并不断锐意创新。建司至今在餐饮、酒店、商业地产、休闲娱乐、商展等业态空间与公共空间均有经典案例呈现,在旧建筑改造、样板房设计、街区业态规划、文化主题空间和城市综合体概念策划等诸多领域佳绩斐然。卓越的设计创造能力与专业的商业空间整合解决能力令公司品牌效应享誉业界,跻身于国内前沿商业设计机构行列。上瑞元筑为百胜、 海底捞、星伦多、七欣天、 喜粤八号、海味观等客户提供长期战略设计服务,公司目前在上海、无锡各设设计机构,服务范围覆盖全国,在长三角、香港、美国等地区均有长期稳定的客户资源。
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