인터넷 심의위원회 배너
.베스트 디자인 미디어 상
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윤리경영 이미지
The Highest Quality & Retention of Design
디자인 트렌드를 선도하는 대한민국 프리미엄 미디어 그룹
The Highest Quality & Retention of Design

RYÙ

Ryù는 캐나다 몬트리올 서부의 웨스트마운트(Westmount)에 오픈한 일본 음식 전문 레스토랑이다. 디자인을 맡은 MRDK는 방문하는 이들에게 친근하고 편안한 느낌을 주는 공간을 만들기 위해 자연 소재를 최우선으로 선택했으며, 일식집이라는 레스토랑의 성격은 잃지 않으면서도 현대적인 아름다움이 묻어나는 공간을 완성했다. 여기에 스틸, 벽돌 등 인더스트리얼 요소를 사용해 상업공간 특유의 세련미를 더하고, 일식집에서 흔히 볼 수 있는 다찌(입식형 테이블)를 마련해 일본 레스토랑만의 아이덴티티를 강조했다. 40평 규모의 Ryù는 기능과 역할에 따라 공간을 구획했으며, 모든 것의 중심에는 오픈형 주방이 있다. 요리와 서빙이 이루어지는 메인 다찌 공간을 중심으로 양쪽에는 주방장과의 소통보다는 프라이빗한 식사를 즐길 수 있는 곳, 바깥 풍경을 바라보며 식사할 수 있는 곳이 마련되어 있다. 친환경적인 소재와 자연요소를 사용한 만큼 건강하고 풍성한 Ryù는 공간을 휘감는 듯 곡선 형태를 띤 의자와 칸막이가 인상적이다. 의자와 등받이에는 견고한 원목과 부드러운 벨벳 소재를 함께 사용해 상반된 매력이 어우러지며, 아늑하면서도 고급스러운 느낌을 동시에 가진다. 메인 공간은 작은 알루미늄 조각과 황동 슬라브를 활용해 빛에 따라 미묘한 변화를 보이게끔 디자인했다. 또한, 스시 바(Bar)에 반투명 폴리카보네이트 판넬을 사용해 저녁이 되면 빛의 반사와 함께 랜턴을 밝힌 듯 화사한 분위기를 풍긴다. 공간에는 조명, 스툴, 의자 하단 포인트 등 반복적으로 원형을 사용했는데, 이는 기하학적이고 유니크한 느낌을 더함과 동시에 일본 국기를 상징하기도 한다. 천장에는 하늘에서 쏟아질 듯한 공중 정원과 두 개의 채광창을 만들어 친환경적인 무드를 강조하면서도 공간에 생명과 빛을 불어넣고자 했다. Ryù is a Japanese restaurant chain who opened their latest in Montreal’s Westmount neighbourhood. MRDK used a contemporary design approach with a Japanese sensibility prioritizing hand-worked natural materials that would patina with age and whos beauty would be enhanced with their imperfections. A play of light and dark wood slats suspended from a long bulkhead spans the length of the restaurant. This dynamic play of wood creates an optical effect that gives movement as you pass through the space. This movement continues in the design of a suspended light that follows the shape of the counter which was fabricated from 467 pieces of aluminum and 1868 brass sleaves. Transluscent polycarbonate panels were used to divide the kitchen from the sushi bar. This creates a lantern effect at night and shows hints of the action happening within. A recurring use of the circle appears in many of the custom designed elements. This recurring geometry, reminiscent of the Japanese flag, gives a certain unity to these elements. A heavy sushi bar made from concrete bricks supports cantilevered wood swivel chairs. Above, hanging gardens outline the two large skylights adding plant life and filtering the light.

ANHUI STYLE AND CHARM I DINGSHANGHUI

Trace the original simple taste of food, and such spirit originates from the gratitude to nature. Seek the beautiful relationship with nature with food materials as the media and sincerity as the bridge. Seek the recognition of lifestyle gradually from food and life, enjoy the satisfaction brought by a healthy life and the harmonious coexistence with nature, and experience the truly healthy life. As the first experience store to lead the Anhui-style catering brand upgrading strategy, the restaurant is positioned to provide a simple and welcoming dining experience for young people in the city. Free from the mainstream business operation problems, the design starts from the creation of the internal environment to render a deep reflection of the relationship between food and culture, between fashion and tradition. Extracting the traditional architectural pattern and order as well as the inherited style and etiquette, the design has evolved into a channel to express internal feelings and have exchanges, depicting a profound and warm landscape picture combined with the beautiful memory of home and the tedious and fast-paced modern urban life. Through the silhouetted design, the organic form of mountains in nature is extracted into specific and tough forms, the irregular arrangement makes the mountains look like hidden in the cloud while the strong rhythm becomes the absolute visual protagonist. In the shape design, the curved grille of the landscape creates the softness of the visual and the sharpness of the division of different regions. The natural “flowing” sense of line echoes the mountain shape that can be seen everywhere. The glass bricks separated by the area show a faint translucent shape, which simulates the visual effect of the mist in the mountains. They are all extractions from nature just like the sincere gratitude towards nature. Through the dismantling and transformation of modern design, the mezzanine space is a unique semi-enclosed compartment, which uses its own height difference to form a corresponding dining area with the surrounding area, creating a variety of different dining experience spaces. The surrounding views can be obtained at the space. Isn’t it a pleasure to have a harmonious integration with house and gardens! Following the sequence of the stainless steel tube of the corridor, the view become suddenly open, bringing excitement and confidence in the hidden environment. The white steel plate half-opening window of the window interface will filter the natural light, integrating the delicacies with life in a subtly manner.

ESTUDIO PRETTO

브라질 남부 지방 포르투알레그리(Porto Alegre)에 위치한 Estudio Pretto는 훈련 및 스포츠를 전문으로 하는 공간이다. 설계 및 디자인을 맡은 Arquitetura Nacional은 더욱 쾌적하고 유니크한 공간을 완성하기 위해 기존의 콘크리트 슬래브는 그대로 유지하고, 거기에 시각적 ∙ 기능적인 요소만을 더했다. 상업 공간의 한층 전체를 차지하고 있는 Estudio Pretto는 이용자와 트레이너의 지속적이고 원활한 커뮤니케이션이 필수였기에 시각적으로 자연스럽게 연결되고, 한눈에 공간을 파악하기 쉽도록 설계했다. 운동을 위한 메인 공간은 회색과 검은색 등 어두운 컬러를 베이스로 하며, 여기에 5가지 색상의 로프가 천장을 가로 지르며 뻗어 나가 활동적인 분위기를 띤다. 리셉션과 라운지 공간, 라커룸, 준비운동 및 훈련 공간 등 각 공간은 기능과 역할에 따라 구획이 이루어졌다. 구획의 기본 요소를 컬러로 삼아 라운지와 리셉션 구역은 벽과 천장, 바닥에 모두 화사한 노란색을 적용했다. 운동 중 쉬기도 하고, 서로 소통하면서 사람을 사귈 수도 있는 유연한 곳으로 기획해 가벼우면서도 밝은 느낌의 공간으로 연출했다. 또한, 포인트 컬러를 활용한 네온사인과 푸른 식물, 소파, 카펫 등 편안한 분위기를 고조시켜줄 아이템들을 함께 배치했다. 이외에도 공간을 상징하는 옷걸이, 물병, 간판 등 인포그래픽을 활용한 노란 네온사인을 적용해 공간의 아이덴티티를 확실히 함과 동시에 딱딱하고 차가운 운동 공간에 가벼운 재미 요소와 빈티지한 매력을 더했다. 훈련 공간과 자유로운 소통을 추구하는 라운지를 지나 옷을 갈아입는 곳임을 상징하는 노란 옷걸이 모양 네온사인 너머 공간에는 라커룸과 샤워실이 있다. 블랙을 메인컬러로 택해 군더더기 없이 깔끔한 라커룸은 회원들이 고된 훈련을 마치고 사용하는 공간으로 무늬가 없는 검은 타일을 활용해 최대한 심플하게 완성했다. 여기에 훈련 공간 및 라운지와 같은 노출형 콘크리트 천장을 유지해 전체 공간에 통일성을 유지했다. 샤워실은 라커룸과는 상반되는 화이트 컬러를 적극 활용했다. 전체적으로 하얀 타일만 사용하면 시각적으로 착시 등의 혼돈이 올 수 있는 것을 고려해, 샤워실 입구에는 바둑판이 연상되는 흑백 컬러의 도어로 작은 변화를 가미했다. 라운지와 라커룸을 지나 더 안으로 들어가면 필라테스와 물리치료를 받을 수 있는 공간이 마련되어 있다. 넓은 여유를 가진 메인 교육 공간과는 다르게, 기구 배치와 필요한 만큼의 공간만을 활용해 효율적으로 꾸몄다. 이처럼 다채로운 공간과 빈티지한 매력을 갖춘 Estudio Pretto는 공간 곳곳의 재미요소로 힘든 훈련 속에서도 회원들에게 즐거움을 제공하는 공간이 되어주고 있다. Estudio Pretto specializes in Functional training and Sports Conditioning. They hired Arquitetura Nacional to design their new - and much largerspace. Located in the same neighborhood - Moinhos de Vento - the studio now occupies an entire floor of a newly built commercial space, featuring original concrete slab that was kept intact and aparent. The proposal sought maximum visual integration of spaces - as the training requires constant communication between teachers and students. However, compartmentalization of the respective areas was necessary: the reception and lounge area, the locker rooms, warm-up area and training - achieved through changes in the floors designs. The lounge and reception area received a stronger marking: floors, walls and ceiling were painted yellow. The idea was to create a living space - previously non-existent in the old space - an area where the students can rest and, more importantly, socialize out of training hours. The training area divides in shades of gray and black. The goal is that a student can intuitively understand the spaces the moment he enters the training zone, preparing the mood. The specific floors for each type of practice alternate in space, respecting circulation flows. Ropes in 5 different colors run throughout the ceiling - starting all together and following the paths of the concrete beams until each one follows it's own course. Main partitions are made of iron frames, with checkerboard shape, remembering old industrial buildings. The use of small tiles and neon lights also bring a vintage mood for the studio. The idea is that it is a timeless space with elements that refer to good things from the past, but with a simple and contemporary language. In this sense, the choice of furniture also had the same objective: the studio can grow healthily, with a strong character that lasts over the many years of future success.

WATER IN THE MIRROR, FLOWERS LIKE THE MOON

“Era” that’s the first word that comes to mind before we do this project. If the previous case of ORCHID SPA was to explore new qualities and fields, then as the second project we designed that it must be more pioneering and innovative, so “Era” is a new start. The traditional oil massage space is mostly dark and mysterious, but people often ignore that the core problem of this type of space should be “clean”. A clean and comfortable space is very important for users of the experience. Based on such basic needs, we want to create a clean, comfortable and pure space. “A picture reflected by a mirror opened up a new Era. Developed a piece of pure land in the complex world for who come here for massages eliminate fatigue and relax their bodies.” That’s what we expect when we design this space. In terms of space experience, we are no longer satisfied with the traditional arc and arch. But through scale adjustment, let it produce new change, like going from 2d vision to 3d space. Dimension is a word that transcends spatial category. This is a very clever design of putting mirrors on the walls of the narrow corridor and allowing the space of the semi-arch corridor to extend to the entire wall to present a complete visual archway. And the top of the semicircular mirror stainless steel, so that the unreal mirror space once again expanded the dimensions. So a half – arched corridor space extends out into three mirror Spaces. There is truth in the virtual and vice versa such as . The effect of expanding the dimensions of space through the mirror stainless steel is like ripples produced when a dragonfly touches the water. Just as Song Yanyu said in :” The beauty of them is that they are so penetrating and exquisite that they are difficult to grasp directly, just like the sounds in the air, the colors of their appearance, the moon in the water, the image in the mirror, and no amount of gorgeous language can be described.” The design of the functional space reflects the concept of “interweave and separate”. The accommodating, classic office area is interspersed with the display space, with the walls featuring a variety of textures and forms to allow designers to choose from a range of different shooting backgrounds. The multifunctional workstations have been built to arrange cables and storage items to fit the design brief of seamless integration/separation and ensure that the area is kept tidy and productive. Simultaneously, the interior of the arc wall is specifically designed to provide more storage space for current and future stock, maximising space efficiency.

SOJEEZ RESTAURANT

The project locates in Danzishi Old Street in Chongqing Province where there are lots of historical buildings. The total area is 130 square meters with three arched doorways facing the street. The priority in the design of this project is, on the one hand, to keep its brand attitude of making complex things simple, and on the other hand, to exploit the advantages of the historic streets. The aim is to provide costumer with perfect dining experience without many decorative elements, which can keep the integrity of the space. SoJeez is a light meal brand whose philosophy is making complex things simple. Basing on its idea, we raised the concept of “Subtraction Space”, which can not only get rid of the complicated decoration, but also keep the building’s original condition. Besides, chiseling the wall can make it rough and it can create a better dining atmosphere, too. We choose the brushed metal as the main material for it can present a striking contrast to the rough wall. Comparison can add to space dimension and furthermore add to spatial experience. After the elaborate collocation of the rough materials like concrete, metal, log and stone, the space layers are enriched and details are refined. In the original site, the whole space is cracked with a structure column beside the window breaking its integrality. The normal way would use structured seats which can make it orderly. We, on the contrary, break the space, placing long tables, odd seats and booth according to the specific scene, which can make customers feel more comfortable. In this way, the space is variable and customers can have different experience even if they are in the same area. In the meantime, the flexibility of the seats provides customers with the flexibility of their dining form. As a result, the availability of seating capacity raised, too. In addition to Subtraction, breaking the original wall is another way to make things simple. At the end of the narrow aisle, we break the wall to make an arched doorway that can bring more natural light and make the brushed metal material glossier. Also, the doorway can borrow the unique street view into the space. Thus customer’s dining experience will be better. As for the space shaping, we continue to adopt the concept of subtraction by employing the basic geometrical element. Whether it is the rectangle color blocks on the wall or it is the wire drawing plates running through the space are the uses of geometric figures, which can make the space changeable. The combination of metal round table and wooden bench can make the space smooth and fine, full of details. In this project, we aim at conveying a new way of viewing things, and it is also the concept of SoJeez which is making things simple and using the unpretending will to face the difficulties bravely.

Miss Wong

캐나다 퀘백(Quebec) 라발(Laval)이라는 도시에 위치한 Miss Wong은 눈이 시리게 강렬한 붉은 색감과 중국, 홍콩 특유의 화려한 분위기를 입은 레스토랑이다. 1920~30년대를 주름잡던 중국계 미국인 여배우 Anna May Wong의 이름을 딴 레스토랑은 1970년대 중식당에서 볼 수 있었던 키치함과 드라마틱한 요소의 조화가 인상적이다. 디자인을 맡은 MRDK의 건축가 Guilaume Menard와 David Dworkind는 샌프란시스코와 벤쿠버의 차이나타운을 방문한 후, Miss Wong Restaurant의 전체 컨셉 및 기획을 완료했다. MRDK 디자인 팀은 차이나타운 거리에서 느껴지는 활기찬 분위기와 하늘로 향하는 시선에 닿는 화려한 네온 간판, 쏟아질 듯 천장에 매달린 등불에서 영감을 얻었고, 이를 Miss Wong에 녹여냈다. 입구에 들어서면 금빛 고양이 인형과 아치형 게이트가 맞이해준다. 레스토랑의 입구는 천고가 높은 내부와 달리 비밀스러운 공간으로 이어지는 듯한 낮은 천장을 특징으로 하며, 아치형 문과 초상화를 지나면 7m 높이에 이르는 메인 공간이 등장한다. 조금은 어둡고 세련된 바의 분위기와 등불, 네온사인 간판, 화려한 조명 등이 어우러진 메인 공간은 중국의 거리를 떠오르게 하는 다채로운 요소로 가득해 시각적인 풍성함을 전달한다. 상점의 이름이 적혀 있어 마치 사람들을 상점 안으로 이끄는 듯 반짝이는 라이트박스는 가상의 상점을 홍보하고 있는데, 이는 이곳이 실제 중국 거리의 시장인지 레스토랑 내부인지 구분하기 힘들게 만큼 사실적이고 아름답게 표현되었다. 내부는 환상적인 분위기를 그대로 느낄 수 있는 다채로운 공간으로 구성되어 있다. 많은 이들과 소통할 수 있도록 트여있는 오픈형 공간과 비밀스러운 프라이빗 공간, 사람들의 시선에서 조금 벗어날 수 있는 아늑한 반오픈형 공간이 마련되어 있다. 캐나다 퀘백에 위치한 레스토랑이지만, 차이나타운을 모티브로 한 만큼 중국에서 행운의 색으로 통하는 ‘레드’가 전반적인 기본 색조로 선택됐다. 280평 이상의 넓은 규모를 자랑하는 Miss Wong은 총 4개의 별도 공간이 마련되어 있는데, 공간마다 조금씩 다른 인테리어 요소로 각기 다른 분위기를 풍긴다. 가장 안쪽에 구부러진 골목길처럼 자리한 공간은 높은 천장을 아름답게 수놓은 붉은 등불로 동양 특유의 고전적이면서도 신비로운 아름다움을 보여준다. 또한, 붉은 등불을 통해 공간 전체로 쏟아지는 빛은 강렬하면서도 아찔한 Bar의 분위기를 고조시킨다. 내부 4개 공간 중 하나인 이곳은 퍼걸러(pergola) 그리고 중국의 아편굴에서 영감을 받은 공간으로 어두운 조명과 함께 신비로운 느낌을 자아낸다. 또한, 바닥에 짙은 녹색 카펫과 천장을 가득 메운 등불은 동양의 오리엔탈한 느낌을 북돋는다. 별도로 마련된 4개의 내부 공간은 웅장하고 깊은 느낌의 천장을 자랑하는 메인 공간과는 달리 친밀감을 형성할 수 있는, 프라이빗한 분위기를 풍긴다. 화려함과 장엄함이 물씬 풍기는 메인 공간은 바닥부터 천장까지 이어지는 커다란 두 개의 기둥과 그를 중심으로 넓게 조성된 좌석 영역을 중심으로 한다. 중국 하면 떠오르는 강렬한 레드 컬러와 그와 보색인 딥그린 컬러가 주된 색상으로 사용되었고, 공간 곳곳에 고급스러운 골드 메탈과 소품, 세심한 디테일 등으로 고급스러우면서도 웅장하다. 6개의 대형 라이트 박스와 커스텀 램프는 차이나타운에 들어선 것 같은 신나고 풍성한 느낌을 만든다. 많은 디테일과 소품, 화려한 네온사인으로 인해 자칫 산만해 보일 수 있지만, 디자이너는 포인트 공간과 메인 컬러를 명확히 하고, 맞춤 설계된 강렬한 조명 배치를 통해 누구나 집중할 수 있는 매력적인 공간을 완성했다. After a few days visiting the Chinatowns of San Francisco and Vancouver, the architect designer team Guillaume Ménard and David Dworkind (MRDK) developed a clear design intention for the Miss Wong restaurant in Laval. They were inspired by the vibrant neon signage, the classic folding scissor gates, and the hanging lanterns, all of which created a bright and exciting atmosphere. The user enters the restaurant under a low ceiling and passes through a vintage Chinese arch framing a portrait of Miss Wong herself. This compressed space then opens up into the main area of the restaurant, which is an enormous 10000 square foot space with 22-foot-tall ceilings. This area is divided symmetrically by two bars and areas of raised seating. Hanging on the columns are 6 large neon and lightbox signs advertising fictional shops. These signs, and the custom lamps on the tables, create a street market like ambiance. The main area then breaks off into four different zones that surround it. These areas are smaller and more intimate. Each of them has its own unique characteristics, allowing people a different dinning experience every time they visit. One of these areas is a recreation of a Chinese pergola. Another is inspired by a Chinese opium den, with a green carpet, and a ceiling covered in glowing lanterns. Custom designed lights and stools give the space an entirely unique character.

BLUE CITY, LISTENING TO BLUE TEA SPACE

Design materials: Rhine marble, American walnut, oak, Texas rock board, wood grain fire-proof board, lamp film, water corrugated diatom mud, tendon ash, etc. Design description, This design case is to redesign the building space of an original factory, synthesize the management orientation of the project and the demand of the visitors, connect the scattered state of the original building through the addition of space, and set up three areas of tea exposition, tea experience and tea therapy through micro-landscaping of a mountain and river theme, the natural environment for tea production. Ascending the shaded mountain path, The prelude to the project is the Tea Exhibition Area. Through excavation and extraction of the original building, a path is formed, which is visually accessible from top to bottom. Different kinds of tea products are scattered on both sides of the visual axis, contemporary tea culture gathering emanating from the Tea Shop is displayed comprehensively through different tea related themes. The diversity of the exhibition, In the beginning of space, the concept of time axis of tea history is introduced, and the origin of tea culture to the development of modern tea culture is deeply perceived by means of "view" and "touch". Without the city, the mountains and rivers are filled with mountains and rivers and off course tea. The tea experience area is located in the core area of the project. After having a preliminary impression of tea, "listening, smelling and tasting", smelling is the part pursued in this section. In the whole central axis, it is divided into two parts: the first floor is set up as an open part, and the second floor is a relatively private space. Therefore, the tea boxes with seven different themes, board games, calligraphy, painting, poetry, wine and tea, are set up to map different tea drinking modes with different complimentary themes. Through the contemporary deduction of Song Dynasty culture such as the ritual sense of using tea outside in the courtyard as the main creation prototype, this expresses the continuation of the traditional cultural imprint of contemporary tea on modern people and the creation of the space experience with oriental tea space comfort in mind. The use of space and spiritual dual borrowings, so that the space exhibits internal and external communication, so that the outdoor landscape continues, and lets the visitors mind interact and sublimate into a spiritual fusion. Octagonal windows are design elements throughout the space, the first floor shows penetration but secrecy of the second floor and is adjustable by window configuration, so that different personalities of tea lovers can find the right way to taste tea. The space on both sides of the transverse axis is also like a water wharf. Leaves are the boat. When you step on a pedestal, you can sit in front of the tea table and get over your depression by way of elegant tea ceremony. You can clean off the dust and cultivate yourself. You can light a stick of incense on the octagonal window and revitalize with a cup of tea in good company. Tea therapy space, open to the outside is a shockingly large tea store, selling a great variety of different teas, similar in style to an ancient pharmacy to cater to the pulse of any tea mood, visitors can experience tea courtesy, good heartedness, benefiting others and well-being.

THE ROAST ROOM

네덜란드 암스테르담의 핫플레이스이자 독특한 인테리어의 The Roast Room은 맛있는 음식뿐만 아니라 특별한 경험을 선사해주는 레스토랑으로 유명하다. The Roast Room은 1층 Roast Bar와 2층 Rotisserie로 구성되어 있다. 다리 모양의 조형물이 걸린 입구를 지나면, 간단한 식사와 맥주를 즐길 수 있는 Roast Bar가 있다. 푸른색과 금색이 가볍지만 감각적인 분위기를 조성하며, 나무 고유의 결이 그대로 느껴지는 테이블과 구리로 만든 조명이 색다른 조화를 이루고 있다. 1층은 블루, 민트, 골드 등 화사한 컬러를 사용해 밝고 쾌활한 느낌을 강조했다. 가구와 대리석 바, 특수 조명, 청동 문 손잡이까지 다양한 곳에 포인트를 준 Roast Bar는 자유분방한 분위기를 추구했다. 오픈 키친 구조를 취하고 있어 손님은 언제든 요리하는 과정을 지켜볼 수 있고, 청동 조형물과 천장에서부터 길게 떨어지는 구리 펜던트 조명은 캐주얼하고 즐거운 레스토랑의 분위기를 더욱 고취시킨다. 고기와 맥주를 함께 즐길 수 있는 The Roast Room에서는 음식점을 상징하는 요소들을 공간 곳곳에서 찾을 수 있다. 주방 앞쪽에는 커다란 맥주 탱크가 보이고, 대리석 바에서 바라보면 민트 컬러 상자와 같은 또 다른 오픈형 공간이 있다. 이곳은 시험적이고 대범한 공간으로 레스토랑 안의 작은 정육점(the butcher's)이라 불린다. 커다란 바퀴를 돌리면 창문이 열리는 구조로 즉석에서 요리에 쓰일 고기를 신속하게 해체하는 모습을 볼 수 있다. 2층 Rotisserie로 향하는 계단은 도마를 형상화하고 있으며, 이는 1층과는 다른 느낌을 풍기는 레스토랑으로의 연결을 의미한다. Rotisserie는 푸른 천장과 금빛 조명 등 1층과 의 연결성을 위한 메인 요소를 유지하고 있다. 그러나 캐주얼 했던 1층보다 고급스럽고 우아한 분위기를 강조했다. 크림색 바와 황동 조명, 멋진 하늘을 감상할 수 있는 넓은 창, 테라스 등 품격 있는 식사 시간을 만들어줄 요소가 가득하다. 디자이너는 컬러와 소재를 적절히 활용해 같은 건물이지만, 사뭇 다른 분위기의 레스토랑 두 곳을 완성했고, 이에 The Roast Room은 암스테르담을 대표하는 유니크한 인테리어의 레스토랑으로 평가받고 있다. THE ROAST ROOM is the unique meat eating experience of The Netherlands. Surrounded by the craftsmanship, open kitchens with Beech ovens and the sturdy, yet classically designed interior, you can enjoy the best cuts of meat, burgers, charcuterie and sausages from the restaurant’s own butchery. THE ROAST ROOM consists of THE ROAST BAR and the ROTISSERIE. THE ROAST BAR is a brasserie style restaurant on the ground floor. The ROTISSERIE is our fine dining restaurant on the first floor. Interior architects Studio Modijefsky and interdisciplinary designers Studio Molen are responsible for the design of The Roast Room. The interior has been designed with great detail and has been hand made by the contributing parties - from the furniture pieces, the bars and the butcher, to the special lighting, the tiling and the bronze doorknobs. The studios have worked together before on Deenik’s first restaurant, Visaandeschelde, just a stone’s throw away from his new business. On the first floor of The Roast Room you will find a brasserie-style restaurant. Sitting at large cutting boards you have a view of the kitchen and a bar with large copper beer tanks hanging above it. In the marble bar, display windows showcase the goods of the in-house butcher’s shop. By turning a giant wheel, the butcher opens his shop window so guests can see him cutting and boning the meat. A stairway resembling a chopping block leads to the Rotisserie on the first floor. Here, a creamy white bar, a pitch-black kitchen and a sky of brass light fixtures make up an intimate setting for some fine dining. The centrepiece is a light sculpture, Ginger Blimp, which connects the two floors. Studio Molen made this monumental chandelier, just like the other bronze works, especially for the restaurant. Transparency and durability are the main ingredients for The Roast Room and this is made visible in the restaurant’s design. Studio Modijefsky and Studio Molen created an interior with an open, robust and timeless character. The attention and love for the food being served echoes in the dedication with which the interior has been made.

CATCH SEAFOOD RESTAURANT

우크라이나 키예프에 위치한 Catch Seafood Restaurant은 빛과 반사, 우아함을 메인 키워드로 하는 해산물 레스토랑이다. YØDezeen Studio는 불필요한 장식을 배제하면서도 고급스럽고 풍성한 공간을 기획했고, 해산물 레스토랑만의 특색을 살리기 위해 다양한 연출을 시도했다. 전체적으로 빈티지함이 묻어나는 레스토랑에는 손님들이 게와 랍스터 등 신선한 재료를 볼 수 있도록 3단에 이르는 거대 수족관을 배치했고, 짙은 바다색 수족관은 내부에 웅장한 느낌을 더한다. 약 170평에 이르는 공간은 크게 메인 홀과 연회장, 샴페인 룸으로 나뉜다. 1층은 손님들이 와인과 신선한 해산물을 즐길 수 있는 바(bar)와 주방, 여러 종류의 해산물을 보관하는 약 3m 길이의 쇼케이스, 와인 랙(Wine Rack), 식사를 즐길 수 있는 대규모 공간으로 구성되어 있다. 빛, 공기, 반사 그리고 이 모든 것의 순환을 컨셉으로 한 Catch Seafood Restaurant은 오래된 창문과 발코니를 제거하고 수직적인 구조를 취해 웅장하면서도 확장감 있는 공간으로 완성됐다. 인테리어는 현대적인 유럽풍을 기반으로 하며, 볼거리 많고 화려한 장식 요소와 독특한 자재의 활용이 특징이다. 가장 눈에 띄는 것은 450개의 원형 유리 조명으로 만들어진 샹들리에로 20명이 앉을 수 있는 긴 테이블의 천장에 길게 수놓아져 있다. 낮에는 비즈니스를 위한 미팅 장소로 사용되는 이곳은 저녁이 되면 은은한 조명의 효과를 통해 낭만적인 느낌의 레스토랑으로 분위기를 바꾼다. 벽돌과 메탈, 콘크리트 기둥 등 거칠고 가공되지 않은 날 것의 느낌을 강조해 빈티지하면서도 독특한 분위기를 자아낸다. 빛의 반사와 순환을 위해 실내 곳곳에는 거울과 펜던트 램프 등 광택이나 반사가 있는 요소를 배치했고, 원목 바닥과 식물 등 자연적 요소를 가미해 풍성한 공간으로 꾸몄다. 450개로 이루어진 유리 샹들리에 이외에도 원형 펜던트 조명을 식사 테이블 위마다 배치해 은은한 조명과 함께 낭만적인 식사 분위기를 조성했다. 중후함을 자랑하는 메인 홀을 지나면 만나볼 수 있는 연회장은 화려함을 기반으로 한 세련미를 강조했다. 몰딩과 샹들리에, 블랙과 블루 컬러의 가죽 가구, 흑연 거울, 금속 프레임 등 톤 다운된 컬러와 감각적인 패턴, 소재들이 어우러져 우아한 분위기를 자아낸다. 진정한 미식가를 위한 Catch Seafood Restaurant은 전체적으로 차분함과 모던함, 고급스러움이 완벽한 조화를 이루고 있다. The new fish restaurant CATCH is located in the heart of Kiev - 12 Vladimirskaya st. The owners of the place, La Famiglia team, hosted together everything appreciated by true gourmets. Here you can find the most extensive selection of fish and seafood in the capital, 8 kinds of oysters, 150 kinds of champagne, and a large assortment of white wines - more than 200 kinds. Actually, the main seafood direction of the restaurant defined its name. YoDezeen Architectural Studio, the authors of the projects, were set an objective to create a high-class elegant and respectable restaurant. As a result, we have a quality modern European interior. To start with, the architects cleared the space as much as possible to flood the interior with light and air in. The old windows were replaced with a new thin profile façade, the inner balconies were completely removed and the ladder was relocated, thereby creating a vertical axis of space development. The restaurant is roughly divided into two parts with the main hall on the ground floor and the banquet hall on the first floor. It was decided to split the ground floor space into two zones - the bar with a communal table and the main dining room with the help of three-meter seafood showcase, wine racks, and refrigerators. Thanks to a large number of pendant lamps, mirror and glossy surfaces the space of the main hall is filled with the tricks of light and reflections. In the daytime, CATCH is intended more for business meetings, as the atmosphere here is stylish, but at the same time cozy and not too formal. In the evening, because of different lighting options, the situation is changing and the restaurant turns into a very romantic place. The restaurant is filled with rough unprocessed surfaces - complex brickwork, metal parts, concrete columns.

JING FAN

Cat and Fan at the end of hutong in Beijing Not long ago, I went to the South luogu Lane (old hotong in Beijing) again. Walk in this familiar place which I have visited uncountable times and enjoy the environment of the Hutong, I found a fan shop hidden behind two locust trees at the end of the hotong. Standing in front of the entrance and under the shadow of the tree, visitors can look through the big simple window. In this hot summer, even though there is shadow, the heat is still unbearable. When I stepped on the stairs, suddenly, my eyes were catch by a black cat sitting on the eaves. She seems like an agile black dress swordsman standing on the top and flaunt her prowess. There are two old trees which is a wonderful place for the cat to have fun in front of the entrance. Walk into the shop, there is a fan retail space, various of fans displayed on the exhibition booth. Large area of wooden decoration is simple and quiet, willing to make a backing. Fans were displaying on exhibition booth, lots of customers were picking fans. Some of them like gentle round silk fan, some people like elegant and romantic folding fan, with the busy communication between customers and staffs. The cabinet under the showcase is much narrower than normal cabinet, because of the size of the fan. Light through the glass made fans have a great quality. Keep going, the most pleasant courtyard in the space is on the opposite of the cashier bar. An entire glass wall not only sprinkles natural light into the interior, but also brings the landscape view of the courtyard into the interior. Customers slow down when they pass here. At the mention of fan bone, it is extremely fastidious, just for choosing material there are many difference, Jade bamboo, Phyllostachys aurea, Mottled bamboo and Meilu bamboo... For the shape, the bone is thin or thick and different types of fan head are all complex. There is a long table in the middle of the inside room. It is a lovely place for drinking tea and having a conversation. Sitting at the table, looking at the magnolia tree in the courtyard, a black cat which seems like the one I saw in front of the entrance is walking around the magnolia tree, and attracts a lot of attention. Staff told me, her name is Gege, and she looks like a real princess. This store named 'Jing Fan', located in Beijing, concentrate on making traditional Chinese fans. This store in South Luogu Lane is not only a selling space, but also a place for refined tastes people to drinking tea and having onversations. This fan shop designed by Golucci Interior Architects. It is a new experience for Golucci who focus on restaurant space design to create a retail store: "When people go through the South Luogu Lane, we try to create a leisurely and relaxed space for customers --- the feeling like a person of refined tastes with a fan, a courtyard, a magnolia tree and a silent black cat 'Gege', enjoy this wonderful and cozy place."

FROM AUTUMN TO SPRING CLUBHOUSE

“Without any unnecessary design languages, it will bring something exciting – pureness.” - Kamare Living in an era of great changes today, people experienced life from poverty to affluence, but the subjective well-being has not been promoted correspondingly. On the contrary, modern people become more restless and uneasy, which is due to the lack of calmness in the heart; and this calmness can be gained only after hustle and bustle fades away. Only when the material is reduced to the essence can it lead to its spiritual level, which is the goal of this project. In the design process, the building is regarded as a poetic imagination, and the project conveys a philosophy of confronting loneliness in stride. Strict business tone is deliberately avoided in order to create a welcoming atmosphere where guest can feel at home. Minimalism is easy to be cold; in order to avoid this problem, great attention has paid to the color and texture of material. On one hand, wood veneer and floor adopt very light color, making the overall space atmosphere comfortable. On the other hand, a nonopaque paper is applied to make the light appear soft and warm, thus becoming “very welcoming”. All comes from a conversation with the owner: "I hope this space is just like a human, who has neither weakness nor armor, being elegant and calm!" The temperament and charm of a space has been hidden in the nature of site from the moment the place was selected. There is no answer to the question who came first: environment or building. The greening of the west and north sides of the building is very good, but there is no window on both sides, objectively forming the alienation of the building from the existing environment. Therefore, the first step of design is window cutting. Despite the difficulty of design and construction, an especially large-size insulating glass is adopted boldly here. . The 13 pieces of glass form 13 giant paintings, bringing the outside scenery in front of people like scroll paintings. The different light and shadow effects in different time actually make the number of dynamic pictures far more than 13. The changing seasonal scenery is integrated with the living indoors. Without the interference of rights or wrongs, one just need to live the life and let nature take its course. With a peace mind, one will naturally have a free and pure life no matter how hustle and bustle the world is.

Inbetween A Thai Street

레스토랑이 위치한 Xinyi district의 Breeze Center는 대만의 현지인들과 관광객들 모두가 즐겨 찾는 복합 쇼핑센터다. 레스토랑은 쇼핑센터 내에서도 매우 좁고 길다란 형태의 공간에 자리했다. J.C. Architecture의 목표는 사이트가 가질 수 있는 단점을 극복하고, 나아가 실내에서도 태국의 길거리 분위기가 자연스럽게 녹아드는 매장을 만들어내는 것이었다. 디자이너는 여러 방식을 동원해 레스토랑을 태국 길거리 시장의 분위기로 꾸미고자 했다. 이를 위해 Dictator for Architecture and Design Thailand의 Bannavis Andrew Aribyatta와 공동작업을 진행했다. 공간은 대나무 그물, 이국적인 무늬의 타일, 그리고 수제작한 그네 등으로 채워져 있다. 레스토랑의 천장과 벽체를 구성하는 모든 대나무 구조물은 열대성 기후를 가진 태국의 휴양지 분위기를 자아낸다. 레스토랑은 쇼핑센터 실내에 위치했으면서도 야외에 있는듯한 느낌을 줄 수 있는 방식으로 공간을 구획했다. 천장의 캐노피가 이어져 내려와 레스토랑 외부의 시선을 은근하게 차단하는 벽을 조성하는데, 이는 내부에서도 외부에서도 레스토랑을 돋보이게 한다. 고객들은 대나무 그물이 드리우는 그늘 아래에서, 혹은 여유롭고 유머러스한 그네 좌석에 앉아 태국 전통 음식을 맛보고 이국적인 정취를 마음껏 즐길 수 있다. Siam More 레스토랑은 Taipei, Taoyuan, Hsinchu 등의 도시에 여러 개의 매장을 가지고 있는 유명 다이닝 브랜드다. J.C.A.의 이번 프로젝트인 Breeze Center 지점은 태국을 표현하는 여러 이미지 중에서도 ‘로컬 마켓’을 지점의 컨셉으로 정했고, 사이트가 가지는 좁고 길다란 구조가 어우러져 이국적인 태국 길거리 시장의 정취를 즐길 수 있는 레스토랑, Inbetween A Thai Street가 탄생했다 This project is a Thai food restaurant, located in Breeze Center of Xinyi district. With the site is very long and narrow, J.C.A.’s goal is to deal with the common problem in shopping mall, and provide a genuine Thai culture experience. Inspired by the height and narrowness of the site, they envisioned the space as a long market street in Thailand. They place several working counters separately in the restaurant, like vendors sitting in Thai markets. In order to enhance the idea of Thai market, working with Bannavis Andrew Sribyatta from Dicator for Architecture and Design Thailand, they work together to combine the Thai craftsmanship with the space. Hanging bamboo nets which were made by old Thai masters, with the light casting through, creating beautiful shadows on the ground. The bamboo nets are also used to separate the dining area and aisle area, but also connect the relationship between inside and outside. Space is embellished with exquisite bamboo baskets, decorative tiles, hand-made and white swing chairs. People can be casual and relaxed in this open space. Whether to dine under the bamboo shed, watching Eszter Chen’s masterpiece, or to jump on the cozy swing chair, enjoying the traditional Thai-food. They tried to blend rich Thai elements in the space, to guide people to submerge into an experience like a Thai Market.

Endless artistic taste

As the first concept store of Zuideyi · Fujian cuisine catering brand upgrade strategy, the restaurant's new positioning hopes to provide the urban young people with a stylish and intimate dining experience. Apart from the problem of mainstream business operations, designer Huang Feng began to think deeply about the relationship between food and culture, fashion and tradition from the inherent perspective created by the environment. By extracting the order of the traditional courtyard pattern and the manners it carries, the paper expresses the emotional communication channel accessible to the heart, and uses the beauty of memory to create a long-lasting warm heart painting. The wooden grille that flows from the ceiling to the wall, the huge bay window captures the scenery from afar, making the waiting area look like a quiet pavilion on the long road, allowing people to rest for a moment when they are tired, urging to continue to walk forward. The landscape of distorted and vigorous old tree branches stirs the distant life memories moving with the wind. The black abstract art in modern and avant-garde, the thoughts are pulled back to this moment, and the indoor and outdoor scenes are declared with a calm attitude. The dining area welcomes every guest by a completely transparent and open layout. The drama that was originally retired revived through the reorganization of the background and the continuation of the story. The open kitchen follows the best of hospitality and offers a wide range of culinary delights at it best. The reasonably arranged table combination method solves the passenger flow demand with great predictability. The dotted lights scattered on the ceilings, like shining stars, gently accompanying people who come from the water and enjoy themselves. As an expression of contemporary art aesthetics, the ingenious involvement and use of metal elements makes the space more dynamic and interesting. The metal curtains with banyan patterns above the kitchen, and the high-pitched, glossy metal box jointly create a powerful trend statement. Like the ego truly exists after stripping away the real self that exists after daily life, you need to wait for a good opportunity to discover. Each group of works with the theme of “body and expression” becomes a unique space, and the silent expression is both interesting and thought-provoking. When there are all kinds of dazzling foods, people's pursuit of the restaurant is no longer a simple temptation, but also a yearning for the food culture and the spiritual space built by it. The newly dizzied courtyard life scene subverts the dull and monotonous dining experience, balances the modern business trend with a fashionable artistic style, and recalls the lost public space in the indifferent city, allowing people to enjoy the food for stretching the taste buds but also harvest the comfort and abundance of inner mind.

Crystal Hall

Light has for long guided people in the exploration of the unsolved. In the unknown dome of Zone X depicted in the film titled "Annihilate", the foam-like glorious organization and the structure of laser surface bring people into a fantasy scene that only appears in dreams. “Light” is the clue that leads the role throughout the storyline of film. In a showroom named "Crystal Palace", the designer also created a mysterious and fancy scene for six special crystal lamps, just like the Zone X in "Annihilation". Unlike the place of annihilation as depicted in the film, you'll find fascinating exotic symbiosis in different locations from different angles. In view of the characteristics of six crystal lamps, "Crystal Palace" is divided into 6 different functional areas by the delicately designed wall. Acting as both a host and a guest, each lamp gives the information to guide the viewer forward in each independent space. All bearing structure in the space was hidden in the wall. The brass finish with hand-made corrugated texture forms a wonderful sense of flow with light and shadow, as if the biological texture of the micro world linking the sky and the earth to spread vitality everywhere. The inlay of diamond surface in the cracks of wall and the built-in variable lamp belt conceals the gorgeous galaxy of the vast universe in it. The turquoise marble and sparkling crystal diamonds enhance the role of lighting creates a great energy field which is gaining momentum to show. While the free-curving wall functions as a spatial partition, it can also be seen as an independent artwork in space. Between the real and the imaginary, the surface of engraved copper wall provides the subliminal displacement guidance for the viewers who step into the space. Combined with the gorgeous agglomeration light effect of the main lamp of each area, a natural and smooth moving line comes out. The third-floor ceiling follows the wall naturally, subtly concealing the grey spaces such as air conditioner and fire hydrant. The ground is mainly made of two types of black stones. In a simple style, the Gucci marble of black crystal jade texture echoes the crystal lamp of LollieMemmoli, thus creating the atmosphere of hidden danger and unpredictability. The areas accessorized with Baccarat chandeliers and that paved with luxury Versace marble light your way surprisingly...With the combination of various geometric cuts, the geomorphologic features of the mysterious caves are casually imitated, making each step an adventure. For the boundary that different stone materials meet at, the free-curve copper link is selected to act as the horizontal extension of wall while playing the role of partition space as well. To match this surreal, fantastical and fancy theme, the furniture featured the art furniture from Boca do Lobo, which is a Spanish brand. From the crystal marble dining table, metal-leg velvet chair to the sculpture-like tea table, sofa, and classic abnormal side cabinet, every single piece of furniture has the artistic magic which may rival that of the crystal lighting. While fulfilling the spatial atmosphere, it integrates the soft and hard decoration to become a natural part of the ecological the crystal palace. Shiny elements are first choice for all materials in the space to reach the optimal exotic texture and light effect and strengthen the dominant position of "light" in the space. "Crystal palace" is not only a lighting display space. Instead, it is more of an art gallery of light and shadow. By integrating the special optical intelligent scene setting and diverse materials and the collocation with unique soft decoration, the pure exhibition hall is transformed into an art space that can spark inspirations.

La Scala The Sukhothai Bangkok

La Scala는 Bangkok Sukhothai 호텔 내 이탈리안 레스토랑으로, 이곳은 수영장을 마주한 아름다운 테라스 테이블이 특징이었다. 15년 만에 처음으로 시도된 레스토랑의 리모델링은 매장의 과거 성공을 이어가기 위해 클라이언트가 직접 Ichiro Shiomi 디자이너와 spinoff 스튜디오에 의뢰했다. 레스토랑의 이름이 암시하듯, 공간은 이탈리아 Milan의 La Scala opera house를 모티브로 작업했으며 ‘아름다운 다이닝 시간을 위한 아름다운 공연장’을 컨셉으로 했다. 레스토랑의 천장은 La Scala opera house의 상징적이고도 아름다운 타원형 천장을 본떠서 기획했으며, 널찍하고 희미하게 빛나는 듯한 타원형 구조가 목조 루버 위에 떠 있는 것 같은 느낌으로 설계했다. 이 천정은 다이닝 공간 전체에 따뜻한 질감과 풍성한 조명을 제공한다. 천정의 타원형 구조를 지지하는 다섯 개의 검은 목재 기둥은 공간을 한데 모으는 듯한 느낌을 자아낸다. 기둥의 섬세한 무늬를 통해 천장에서 내려오는 은은한 조명이 반사되어 부드러운 분위기를 연출한다. 얇게 썰어낸 듯한 대리석으로 여러 층을 내 마감한 벽면이나, 바 카운터의 전면을 장식하는 TV 음극선 등, 기존에 사용했던 자재에 약간의 변화를 가미해 다시 사용하거나 재활용 소재로 새롭게 만든 오브제들이 인상적이다. 공간은 오픈 키친이라는 ‘무대’ 위에서 쉐프가 고객들의 시선을 사로잡는 ‘배우’가 되도록 의도했다. 방문객들은 레스토랑으로 처음 입장하면서 오픈 키친을 지나게 되는데, 무대 위에서 열연하는 듯한 쉐프의 퍼포먼스를 스쳐 지나가며 레스토랑에서의 시간을 기대하게 된다. 오픈 키친 뒤편의 모자이크 월은 쉐프의 요리 장면을 극적으로 부각하기 위한 장치이다. La Scala is the main restaurant in Bangkok’s storied Sukhothai hotel. Serving Italian cuisine, it features a terrace facing the pool. This remodel—the first in 15 years—was intended to carry on the venue’s past success while creating an impressive space that exceeds the expectations of new patrons. Taking inspiration from its namesake, the La Scala opera house in Milan, Italy, the design concept for the new restaurant is a “The Great Theater for Marvelous Moment.” La Scala offers guests an extraordinary experience of top-quality cuisine in a highly polished setting. Designed around an oval ceiling modeled on the iconic La Scala theater ceiling, the space provides a stage where chefs play attention-grabbing roles in an open kitchen. The use of original, reprocessed materials to create a distinctive atmosphere is especially noteworthy, for example in the walls finished with thinly sliced marble and the glittering counter fronts made from recycled television cathode ray tubes. The contrast between the relaxed atmosphere of the hotel overall and the refined restaurant space featuring outstanding cuisine makes for an ideal guest experience. The ceiling, comprised of a large, faintly glimmering oval floating within wooden louvers, brings warm textures and opulent lighting to the entire dining room. Five black pillars pull the space together while also contributing soft nuances through the delicate reflection of light off their sculptural finish. The core of the restaurant is the dramatic, stage-like kitchen. As guests pass this open kitchen on their way into the restaurant, their anticipation of the experience to come builds. The brilliant mosaic wall at the back of the kitchen is designed to serve as a backdrop that elevates the chefs’ performance to a dazzling show. Although another entire wall is covered by glass wine cabinets that highlight La Scala’s outstanding lineup of wines, but the kitchen nevertheless remains the central focus. The wine display wall and bar counter were carefully designed to avoid drawing excessive attention despite occupying a large space within the restaurant.

Don Pepe

붉은 네온사인이 강렬한 빛을 내뿜는 Don Pepe는 헝가리의 레스토랑 체인점으로 약 25년 동안 존재해 온, 헝가리 사람들에게 익숙하고 유명한 브랜드다. 디자인 팀 GASPARBONTA는 Don Pepe가 기존에 가지고 있던 브랜드 이미지를 탈피하고 현대적이고 미래 지향적인 브랜드로 새롭게 거듭나길 바랐다. 그 시작은 다른 레스토랑과는 차별화된, 독특한 분위기와 다양한 테마의 인테리어였다. 때론 모던한 분위기로, 때론 부드러운 이미지로 레스토랑 구역을 세분화해 다채로운 컨셉의 공간을 조성했다. 레스토랑의 메인 공간은 강렬한 느낌의 레드와 자연 친화적인 컬러의 대명사 그린이 조화를 이루고 있다. Don Pepe는 컨셉에 따라 세 가지 공간으로 나뉘는데, 화사하고 자연 친화적인 테라스 공간, 컬러와 소재 등을 활용해 강렬한 분위기를 풍기는 메인 공간, 다시 분위기 반전을 꾀한 내부 공간으로 구성되어 있다. 기존의 친근한 이미지와 미래지향적인 새로운 이미지를 결합한 메인 공간은 기하학적인 천장 패턴과 펜던트형 조명으로 감각적이면서도 유니크하다. 또한, 상충되는 느낌의 자재를 동시에 사용해 신비로우면서도 독창적인 분위기를 강조했다. 전체 공간을 비추는 네온사인의 빛과 거친 느낌의 회색 벽돌 벽, 익숙한 나무 바닥과 칸막이 등 전혀 다른 느낌의 자재를 활용한 독특한 조합으로 기하학적이면서도 독보적인, 새로운 컨셉을 추구했다. 공간의 중심에는 스테인리스강으로 만든 거대한 하이테크 바 그리고 테라스 공간과 연결되는 창문이 있는데, 이들은 내외부의 자연스러운 연결고리 역할을 한다. 입구 쪽에 위치한 테라스 형태의 식사 공간은 퍼걸러(pergola) 형식으로 설계했으며, 지붕에 열 수 있는 슬라이딩 글라스 벽 구조를 적용해 자유롭고 자연 친화적인 공간으로 구성했다. 나무와 이끼, 구리 등 천연 자재가 눈에 띄는 이곳은 작은 지중해 마을에 머무르는 듯 상쾌함과 시원함을 느낄 수 있다. 여기에 쾌활한 분위기와는 대조적으로 어두운 컬러와 밀도가 높은 구조로 설계해 마냥 가볍지만은 않은, 차분하면서도 건강한 느낌을 준다. There are very few better-known restaurant chains in Hungary nowadays like Don Pepe. The continued existence in the last 25 years made the brand well-known for the whole society. I got scared because our generation keeps building new brands, shape them to our liking, fine-tune it to our habits. Meanwhile, we have a large number of existing users here, regulars, so the goal was to reinvent the current concept and replace it with a contemporary, forward-looking approach. The way how the standards in gastronomy and restaurant culture are raised while the number of people who are able to enjoy it gives me ambivalent feelings. There is a part in the inner city, where high quality miracles happen in gastronomy or in design and very few people can afford to go and see them. As a start to the two-step renovation, we built an excellent pergola, which created a little oasis around the restaurant with its sliding glass walls opening roof structure. You can imagine yourself in any small mediterranean town just sitting there. As a contrast to this airiness, the interior was designed to be more dark, more sexy, more dense. There are a lot of natural materials visible like wood, moss and copper. The glow of the neon signs passes through the whole space, it glitters on the rough gray brick wall, the wooden floor and the shiny dividers also. In addition to these sensitive surfaces, there is a strong presence of strict geometry, in the triangular shapes of the pendant lamps, and the suspended ceiling and a strong parallelism in the dividers and the wooden wall coverings also. In the center of the space sits a huge, high-tech bar made from stainless steel with all the latest gadgets, which can also serve to the outside as well as the inside, due to the large new windows.

Rua da Cunha Macau hotpot in Beijing

The first time I met Rue de Cunda was about ten years ago, which was near our Beijng Studio. I vaguely remembered that it was a small door whose material was not quite clear to me. During that time, Macau hotpot was extremely popular. However, Rue de Cunda with little fame was not conspicuous. The taste was delicious but the price was not expensive, and slowly we became the regular customers. A few years later, when we walked through the restaurant and found that it had merged the store beside it. Of course, we do not know what they have done in the last few years. Until one day, Frankie, the owner of Rue de Cunda, found us and commissioned us to help him design a new branch store, which was located in Beijing CBD. Our roles changed from the restaurant's customers to the designers of Rue de Cunda. From then, we had acquired a deep understanding of the Rue de Cunda Street. Our congenital advantages are the experiences and cultures of restaurants' development. The name of this brand was derived from a Macau Street “Rua da Cunha”, where Frankie grew up. This name represents the solicitude for hometown of Macao. No matter how far he walked, the taste of hometown will be very familiar and stubborn in his mind. Like a kite flying in the sky, one side combines the place thousand miles away and the other side always connects the home of deep memory. Maybe I can imagine the hardships that Frankie encountered when he started his business ten years ago. Rua da Cunha is keeping pursuing the original tastes of food whether in the past or at present. “Eating is the basis of Macau people.” Eating has been the most important thing of people. In nowadays, it is easy to have enough food, but it is hard to eat with high quality. Rua da Cunda has achieved the best. Fresh seafood by air transportation, brilliant Australian beef and fresh vegetables from organic farms ensured the original taste of foods. The soup which has been boiled for more than eight hours makes it more perfect. When you drink the soup at the beginning, you will never regret this voyage. The Rua da Cunda restaurant seats the most prosperous place in Beijing CBD with the best landscape of East Third Ring. The french windows make you have a beautiful panoramic view of CCTV. At the initial stage of our design, we determined to use glass curtain landscape area as the breakthrough point. By using the original subsidence space to create a Miniature Theater, from the lowest point (french windows) to highest point (interior space), which forms three levels, at the same time, each one could appreciate fine scenery. The rest space of this restaurant is more private, which are suitably used as compartments. Meanwhile, it can improve the efficiency of the whole space. We mainly used the logs, other natural materials and the most primitive methods to create a rich spatial effect. It is worth mentioning that the facade. The original red line is half curve, which will be bound to be planarization and cannot be combined with interior space. Since we changed the curve into a broken line, which makes plain facade variable and full of the sense of rhythm. At the same time, with the utilization of time and space conversion relationship, it virtually increases the restaurant display surface through extending the length of the facade. Of course, there were many difficulties in the process of construction, such as the difference between ground water grindstone and copper plate density, which made the ground black and insufficient flatness. Also, the size of the log was not consistent with the site size. And then there were the smallpox models that covered the fire sprinklers and so on. Sometimes, the problem is difficult to foresee, but it is also the charm of design. The emergencies can help us to gain the abilities on solving the problems and increasing our enthusiasm on design. Each project is a fresh task and each case is unique. We keep on learning and designing on the way forever. The identity design was derived from inheriting tradition and creating classic spirits. By using oriental jade green with classic bronze gold to present design consistency and extend the image of enjoyment of gathering together. The typeface design is divided into two parts. The top part of the logo shows the steam evaporation when you open the pot lid. End of stoke is symbolized how the hotpot amaze your taste which is fresh and impressive. The design concept comes from hotpot steam and turn it into symbols. By using layers together into a stack not only to present steam rises, but also enhance brand awareness and imagines.

The Budapest Café

영화 ‘그랜드 부다페스트 호텔’, ‘문라이즈 킹덤’ 등 풍성한 색감으로 ‘색감 천재’라 불리며 다양한 이야기를 영화에 담아내는 영화감독 웨스 앤더슨(Wes Anderson). 그의 작품에서 영감을 받은 The Budapest Café’는 이름과 달리 중국 청두(Chengdu)에 위치해 있다. 색감 천재라 칭송받는 웨스 앤더슨에게 영감을 얻은 만큼 The Budapest Café는 아름다운 컬러감과 안정적인 컬러의 조합, 유니크한 분위기가 조화를 이루고 있다. 화려한 영상미와 아름다운 컬러 팔레트로 유명한 영화 ‘그랜드 부다페스트 호텔’과 마찬가지로 The Budapest Café는 민트, 핑크, 골드 등 마음까지 설레게 하는 파스텔 톤을 최대한으로 활용해 디자인되었다. 디자이너는 카페를 방문하는 이들이 일상의 번잡함에서 잠시나마 벗어나 편안함과 즐거움을 느낄 수 있기를 바랐다. 마치 솜사탕을 녹여 먹는 듯 달콤하고 간지러운 기분마저 들게 하는 인테리어는 예쁜 카페와 SNS 문화를 즐기는 여성들을 타겟으로 여러 포토존을 갖추고 있다. 기발한 웨스 앤더슨의 스타일을 현대적이면서도 미니멀하게 해석한 The Budapest Café는 외관과 내부 곳곳에 아치형 구조를 활용해 웅장함과 아기자기함이라는 반전 매력을 동시에 가진다. 내부는 자신만의 이야기를 펼칠 수 있는 무대로 연출해 공간마다 그리고 고객마다 색다른 이야기를 표현해낼 수 있다. 특히, 행잉체어와 계단, 네온사인, 독특한 디자인의 조명 아이템은 공간에 머무르는 것만으로도 신비롭고 아름다운 동화 속 주인공이 된 듯한 기분을 불러일으킨다. 대리석과 다채로운 그린 톤이 어우러진 메인 공간은 입체적인 구조로 대칭을 이루고 있는 아치형 프레임과 벤치형 좌석, 테이블로 구성되어 있다. 한 가지가 아닌 여러 톤의 그린 컬러를 활용해 유니크하고 감각적인 공간으로 완성되었으며, 바로 옆에는 위층으로 이어지는 계단이 있어 동선이 자연스럽게 이어진다. 전시 조형물이 떠오르는 계단 맞은편, 기다란 대리석 바는 테이블과 선반, 케이크를 보관하는 유리 쇼케이스가 결합된 형태로 심미성과 실용성을 동시에 추구했다. 핑크빛 풀장과 장난기가 느껴지는 비눗방울 의자, 열쇠 모양 네온사인 등 여성스러움과 아기자기한 즐거움을 느낄 수 있도록 설계된 The Budapest Café는 부드러운 색상의 조합과 대조가 인상적이며, 독특한 디자인을 통해 하나의 감각적인 브랜드로 자리 잡았다. Filmmaker Wes Anderson’s distinctive visual style provided the inspiration for The Budapest Café in Chengdu, China. Our design draws on Anderson’s meticulous, memorable and magical worlds to create an inviting destination with whimsical character and international appeal. Much like Anderson’s mythical Budapest Hotel, The Budapest Café is designed to offer an experience that detaches patrons from the hustle and bustle of everyday life. The client specifically engaged an Australian design practice to create an international hospitality experience, and requested a space that would appeal to social media-savvy females who enjoy café culture. We began by understanding Anderson’s style: his symmetrical, precise and quirky set designs; vivid and nostalgic colour palettes; and the sentiment that infuses his films. Our modern, minimalist and refreshing interpretation is defined by design, materiality and brand. The building façade projects a sense of grandeur with an arch framing the entrance and welcoming patrons to The Budapest Café. Once inside, customers are invited to engage with the physical design of the café, much like a stage set for patrons to play out their own story. The Budapest Café is designed to feel feminine, light and fun, despite its loftiness and exposed structure. A pink ball pool, neon signage and original Eero Aarnio Bubble chair inspire playfulness, and the bathrooms surprise with speckled pink terrazzo to complement and contrast with the nostalgic-green hues of the café. The contrasting hard and soft colours and design details reflect the personalities of Anderson’s characters in The Grand Budapest Hotel, enhanced by branding integrated into the café through signage, menus and printed collateral.

#24 CATHAY RESTAURANT

#24 Cathay Restaurant, innovatively redesigned by Jaco Pan of Minggu Design, is located at Guochuang Park in Nanjing City, China. This historical park is adjacent to Ming Great Wall on the west and Qin Huai River on the east. The site had originally been the Silver Dollar Bureau of Jiangnan Region in the late 19th century before transformation to work as the Secondary Machine Tool Plant Nanjing in the 1950s. Extending nearly 130-year industrial context, this place’s been maintained and updated after the public realization of the reversion of old relics. Today, it’s become a foundation developing culture and creation in the local. 24 presents the twenty-four solar terms in the Chinese tradition of meteorology, suggesting that the restaurant uses seasonable fruits completely while auxiliary with today’s cooking tricks to give a rebirth to the Huaiyang Cuisine. This is also the intact purpose why the owner hopes to operate the restaurant there. Thus, the architect was commissioned to transform the existing old building in order to blend the essence of the brand seamlessly into a new space where visitors are able to celebrate the elegance and tranquility, while keeping the ambiance creative and pleasant. The layout appears opening up both to the west and east sides in form of a deep rectangle. One of the entrances ruling as the main access is close to the roaring avenue, oppositely, another to the standalone inside of the park. A single-storey building with a height of 10 meters was divided into three parts: the ground floor serves as public dining area and semi-open kitchen with supplementary floor height down to the underground; 6 private dining rooms and 1 teahouse & library combination are separated into the north and south sides of the corridor on the second floor; the third floor consists of offices, workplaces, and several independent private dining rooms. Visitors will find the interiors have a wise composition and explicit functions. But the circulation presents much interesting to get people an interlaced vision of placing themselves in the dreamland. The variational arrangement makes an ambiance that leads diners to experience the course of exploration of curiosity to openness and clearness. This unforgettable tour helps people forget bustles and noises outside and reach the core of the restaurant. The entrances on the two sides feature characteristics respectively. The main entrance facing the main street features giant dark eave extends outward. 2 tremendous natural slates and a row of bamboo-made barrier beneath the roof form a spontaneous transition. A large number of floor-to-ceiling glasses were used to make up the façade. The brand sign suspended on the right corner of tall narrow and massive wood door stays non-conspicuous intentionally. The relative position of timber door on glass façade was examined carefully, which directly faces the entrance to dining rooms of the restaurant on the ground floor. For one thing, passengers passing by the avenue can easily catch sight of the chic ornament in the lobby but not get access visibly to the public dining area; for another, necessary privacy is retained while introducing natural light into the room. The entrance on the west side is totally different. Three giant darkened sections built in the common brick façade focus the entrance to the enteral place. Contrasting with the exquisite brass-made logo, it endows a sense of modern industry. The overall hue of the restaurant manifests elegant. Walls and ceilings are mainly covered with white painting and light-colored wood. The public area is covered with cool dark stone, while the private rooms have relatively warm solid wood floorings. The functional areas are unaffectedly separated visually and perceptibly. Entering the restaurant from the main entrance, visitors reach the ground floor via the lobby. In this sunken space, the common dining area and the semi-open kitchen reside in parallel. The architect hopes that the relation between the diners and the kitchens at this moment can be standalone and associated, which could be expressed in a more informal manner as "Broken Up". bar-shaped dark steel plates are arranged longitudinally to form a grille on the glass facade of the kitchen. In this way, during the course of the shuttle, the grille in marching forward direction completely blocks the sight, and it is visible only when standing and facing against the grille. On the other side of the public dining area, the architect used a screening wall made of rice paper to block the messy light and mottled walls out of the dining space. The slightly rough surface of Chinese art paper softens light and shadow. In order to introduce the idea of "bamboo forest" into the interior from the outside, the architect set up a number of perforated black metallic tubes inside and outside, and light sources were placed in the tube to simulate the shape of the bamboo. When night falls, dim light oozes out of the hole in the metal pipe, just like the fireflies in the bamboo forest in summer night, blurring the bound of downtown and countryside and yearning for the nature meanwhile.

MU'A Coffee Shop

아름다운 환경과 기후로 여러 관광객들이 찾아오는 베트남 다낭에는 철골구조를 그대로 노출한 건축물들이 많다. 이런 건물들은 주로 사용 목적과 편의에 따라 공장이나 임시주택 등인 경우가 많기 때문에 아름다운 건축물로는 어울리지 않는다는 인식이 강하다. 85 Design의 유능한 건축가 To Huu Dung은 철골 구조를 노출한 건물들도 늘 드라이하거나 딱딱한 외형이 아니라 얼마든지 매력적이고 고급스러운 공간이 될 수 있다는 점을 증명하고 싶었다. 디자이너의 의도에 의해 단호한 톤의 검정 골조, 러프한 적벽돌로 마감한 MU’A COFFEE SHOP은 주변에 없는 입체적이고도 신선한 핫플레이스가 되어 행인들의 발길을 이끌기 시작했다. 베트남에는 노천카페 스타일로 야외에서 커피를 즐기는 문화가 있다. 이런 분위기에 걸맞도록 MU’A COFFEE SHOP은 내부와 외부의 경계가 뚜렷하지 않도록 구성했다. 파사드는 MU’A COFFEE SHOP의 앞글자 M을 본 딴 듯 설계했고 커다란 창과 조적으로 거리를 향해 열려있는 듯한 분위기를 연출했다. 벽면의 창문은 반듯한 정방형이 아니기 때문에 외부에서 내부를 바라보는 모습이나 채광까지도 입체적이다. 좁고 깊숙한 건물의 1층 안쪽에는 카운터가 자리했고, 중간에는 기둥 없이 노출된 계단을 활용했다. 천정을 트고 위에서부터 화분과 조명이 내려오도록 늘어뜨리거나 2층으로 향하는 계단 아래에 작은 수조를 설치하는 등 재미있게 구성한 1층 공간은 개방감이 들면서도 참신한 디자인이 돋보인다. 2층 역시 1층과 마찬가지로 검은 프레임과 붉은 벽돌, 거리의 바닥을 그대로 옮겨온 듯한 아스팔트 색으로 꾸몄다. 그러나 사선으로 구성한 창이나 입체적으로 절개된 듯 트인 파사드를 통해 외부의 시간 경과에 따른 채광을 좀 더 변화무쌍하게 즐길 수 있다. 목공소에서 공수한 폐목재 등을 재활용해 선반, 책꽂이를 만들거나 클라이언트가 길가에서 주운 독특한 형태의 목재로 천정의 조명 등을 구성했다. 단순한 듯 재미있는 구성이 돋보이는 MU’A COFFEE SHOP은 입체적인 인테리어와 베트남의 정취를 한꺼번에 느낄 수 있는 커피숍 공간으로 탄생했고, 클라이언트와 매장을 찾는 관광객들, 현지의 고객들 모두의 찬사를 받으며 다낭의 거리 위에서 랜드마크의 역할을 톡톡히 해내고 있다. In Vietnam, you can easily find them around the country and these steel buildings have been built for different purposes of use. Therefore, most people still think of steel buildings as factories, temporary houses and they can hardly become a beautiful building. Steel buildings are neither dry nor rigid. Steel buildings can completely make attractive and high quality works. Mua Coffee was built with the purpose of a pavement coffee shop. Because in Vietnam, the culture of eating and drinking on the pavement is very popular. So Mua coffee shop is designed to be airy, space inside and outside seems to have no separation. The most impressive is the floating space in the middle. In there, I designed the long pots hanging from the third floor and received the light directly from above by the glass panels, and they were used to make the coffee table on the third floor. In addition, I used a lot of simple materials such as tiles arranged to get the maximum light and wind, however, sun and rain must be not bad for customers. I used the redundant wood in the carpentry workshops to make shelves and bookshelves, even the lamp made from the dead tree that the owner picked up the roadside. With a capacity of 250 people, the private space of the customer is always guaranteed because the furniture is arranged at a reasonable distance. Most customers come here have good feedback on this project because they satisfy their many requirements for a coffee shop with beautiful, simple, unfussy but unique space.