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DINZ德网 | 上瑞元筑 · 醉西湖,东方美学与现代质感的桥接

当代与东方的交融,不应只是囿于传统元素的嫁接,或是停留在符号的表面演绎,而是突破形式上的单纯,回归精神文化的内核,融合并映射人们在今时今地的生活方式和艺术追求。在醉西湖·臻宴,设计师将当地自然、文化特色融入当代设计,生成留有本地气韵的特别之作。

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.

将传统,解构,再重构

入口的镂空墙体是由陶砖匠人精心打造的釉面陶砖,以此体现中国古典建筑的时代元素。砖块堆叠的形式营造出一种江南独有的朦胧感,与后方红墙叠加,给予了空间上的层次感。

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.

釉面陶砖定制于陶都宜兴,经过原料调料、模具成型、自然晾干、手工上釉、高温烧制等多重工序烧制而成,细腻的质感及独特的色泽蕴含着丰富的生命力,随着时间的流逝越来越具有年代感。组装工作繁复,从加工生产、现场串联到上墙单挂的每个环节都经过反复测量调整,严格把控,将误差减到最小。

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.

陶砖 模型图

“当我们在做空间的时候,如何让传统的东西呈现现代的感受,首先是要解构,再重构。”将传统人文元素编织进现代的建构秩序中,在这个秩序里设计师运用能够传递更多历史信息的具象图案,将气氛有效的进行传递,空间的肌理与色彩都以一种更加含蓄的方式表达。做一个空间通常会有具象的部分,它们有助于让人对传统、对历史有更直观的感知。

"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.

分析图

设计师将具象的部分解构,再重构,让它形成一个图面的底,然后在抽象和具象之间,加入表达了中间状态的质感和肌理,这些质感和肌理也是对传统材料的再演绎、重构。

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、古画与案几,红墙、亭台与水景,枯山水静置隐喻的韵律,这些东方语境下的代表设计细节,在体块空间的对称与纵深中,静立。

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.

墙壁朦胧的影子是陶砖与光线的玩笑,大面积的木质调混合着朱红,营造出空间的清透与延伸,儒家的中庸在入口得以表达。反开放思维在美学复兴中逐渐丰富。突破旧有概念中笨重感的前台设计,东方语汇下的设计细节,成为一个又一个凸显秩序的存在。

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.

以宋之韵,借古表今

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.

在视觉艺术中,图像是形式,思想是内容。抽象艺术是指向主观概念的视觉艺术,而具象艺术是客观存在的。将客观融入主观,把抽象艺术融入具象艺术之中。几处餐位设计为西湖湖心亭的概念,营造出水景的氛围感。

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.

从入口进入,移步换景,体验游船、戏水、用餐的过渡,木材框出的三面围绕的正方体,是设计师以抽象概念塑造的湖心亭。四个亭子临水而筑,每个折角、屏风都用来构建移步换景虚实结合的抽象江南园林体验。

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.

用餐区的构思来自湖心亭,充满来自江南的风情,同时与灯具和隔断的肌理相呼应,产生一种虚实相生的美。设计师试图把古和今、当今和传统进行一种图底的呈现,在这里,采用了有传统韵味的亭台式布局,空间层层递进,并运用了对景,框景,端景等东方美学特点的造景手法,以传统的亭子为底,把现代的材料凸显,互为图底,产生戏剧性效果。

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.

人物的离场使得现场空寂,呈现出自身的形式美感,通过用局部的视角去切入,会获得一种具象与抽象之间的边界感,这种边界感十分微妙,也更具有视觉的张力。

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.

传承东方神韵之美,沿袭中国传统文化,色彩视觉总是传递着特殊的力量。取自宋画「听琴图」,餐厅整体风格偏向宋朝的简约委婉,所采用的色调也主要是朱色、青色、米色。以时空为枢纽,融入东方美学的雅致灵动,以不落窠臼的现代设计手法演绎中国意蕴,重塑东方美学之境。

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.

餐厅内采用了绢布加工而成的屏风,加以背发光的效果,产生迷幻的意境。既有古风古韵,又不失典雅。亭与亭之间的隔断也用到了夹竹帘玻璃,最大程度上还原江南朦胧美景的感觉。

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.

文明在孤寂中诞生,不踏高山,不入荒原,始终保有空间的温和与优雅。晦暗的光线漫射四周,将空间变为人与美食的「容器」,整体如柔焦的底片,将来宾的注意力焦点自然而然地牵引到桌面的菜品中来。

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.

进入后走廊,最值得注意的是路旁的小灯,采用了亭子的造型,下面发着微光的琉璃,真正打造出了一个小型的湖心亭的景观。竹帘夹在玻璃中,仿制了古典金砖造型的地砖,古典与现代之间,雕塑化的造型、理性的结构美、简雅的线条感,它们与交相辉映,呈现出一种默契的动态平衡。

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.

时空回溯,新旧合一

推开醉西湖·臻宴的包厢门,跟随光的指引,目光随空间延伸的方向,抵达室内的视觉焦点。柔和光线下大面积米色与朱色系带来温暖安逸的感觉,以映入眼帘的西湖古画打造江南之风,与错落点缀其间的中式家具配合,共同定义了一个纵深感鲜明,且不乏流畅舒适的空间印象,营造出新旧合一,古典与现代,抽象与具象的完美结合。

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.

设计师认为,中国文化的制高点就是在南宋文化,而南宋本身建都就是在临安,所以宋文化,尤其是南宋文化自然的跟西湖有着千丝万缕的联系。设计师将宋人美学与醉西湖餐厅相连接,将取自宋画的朱、青、米大面积挥洒其中,以传统为底,凸显现代。

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.

光影的明暗关系,构就空间的审美秩序对比,加深空间的戏剧性,烘托出一个富有故事的精神场域。以东方元素承启整个空间的始终,在一个精准的平衡点上呈现出一个具有东方文韵的当代空间,从视觉层面去获得建筑、艺术、情感间的必然体验。

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.

设计师遵循着心灵感受,将深植骨血的对东方文化的喜爱也施展在陈设上,通过空间虚实,轻重对比,整个室内与建筑外立面相互呼应,让人产生一种西境东韵的奇特时空回溯。

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.

在元素处理上,设计师大处见刚、细部现柔,在视觉上既能带动空间的节奏感,应用在软装上动静有度,色调细腻、克制而不张扬,把东方元素纳入当代秩序,体现出刚柔并济的中式美学态度。

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.

空间的整体色彩与大厅一脉相承,以取自宋画「听琴图」的以朱色、米色为主色调,搭配部分橘、红色饰品进行点缀,既有古风古韵,又不失典雅,朱色与米色的利落清爽,给人一种沉稳的感觉。东方意趣的边际融于现代,宁静与大气共生,含蓄与精致并存。

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.

让自然与艺术在此间产生嬗变,让宾客在体验服务的同时,又可尽得纵情食物的趣味。

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

包厢里,以东方的视野诠释洽谈属性,用自然营造当代秩序,丰富另辟蹊径的创新灵感,分解东方构图,达成空间与空间之间的互动。

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.

自然光在长几后玻璃门窗的平衡与稳定之下进入,不去阻挡事物的原理和法则,自然的在空间中生存,人来人往,不变的叙事感永存。

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.



时光轮转,四时而变,不变的是经历过沉淀,还能历久弥新的事物,是传承的东方文化,是自然的精神物质,是设计的融合与现代的思考和创新。

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.

抽象和具象之间

古典和现代之间

秩序美学

相互串联

把东方元素纳入当代秩序

用自然营造当代秩序

人来人往

不变的叙事感永存

平面图


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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