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，不应只是传统元素的拼叠，或是停留在符号的表面挪用，而应是突破外在的形式，回归精神文化，融合并映射人们在当下的生活方式和艺术审美。在醉西湖·臻宴，设计师范日桥将杭州的自然美景、西湖的文化特色融入设计，生成留有唯美气韵的特别之作。

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

该项目的亮点之一是巨大的镂空墙，由陶砖匠人精心制作的釉面砖制成，反映了中国古典建筑的时代特征。砖堆的形式犹如朦胧的帘幕，若隐若现地营造出江南特有的婉约之美。墙体与后方红墙叠加，具有穿透力和层次感，给人无限的想象空间。

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.

釉面陶砖产自陶都宜兴。它们经过原料调制、模具成型、自然干燥、手工上釉和高温烧制等多个过程。其细腻的质地和独特的色彩蕴含着丰富的生命力，随着时间的流逝将历史叠加。装配工作复杂，从加工生产、现场串联到单挂至墙上，每个环节都经过反复的测量和调整，严格把控，将误差降至最低。

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

我们在创造空间的时候，如何让传统的东西呈现出现代的感觉，首先要进行解构和重构，将传统美学元素融入当代建筑空间。理性的思考令设计师可以传达更多的历史信息，有效传达需要表达的氛围，用更含蓄的方式表达空间的气质。创造一个空间通常有具象的部分，这给人一种更直观的，对传统和历史的感受。

"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

设计师解构和重构了具象的部分，形成了一个图表的底。然后，在抽象与具体之间，添入了中间状态的肌理与质感，这也是对传统材料的重新诠释与重构。

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，山水清韵的隐喻，这些设计细节在东方文脉中，在体量空间的对称与纵深中，屹立不动。

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.

墙上朦胧的影子是陶砖与光线的嬉戏。大面积的木材与朱红色混合，创造了一个清透且延伸的空间。将儒家的中庸思想体现在入口。反开放思想在美学复兴中逐渐丰富起来。突破了旧概念笨重的前台设计，东方语言描绘的设计细节，成为一个又一个彰显秩序的存在。

On the wall, the hazy shadows are plays 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，借鉴了中轴对称的关系，部分巧妙地运用了借景，模糊了室内外的边界。同时注重光的角度，将现代元素与自然景观相融合，相得益彰。设计师以当代自然的设计思维，描绘东方现代化的诗情画意，自然且细腻。

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，图像是制式，思想是主轴。抽象艺术是指向主观概念的视觉艺术，具象艺术是客观存在的。不去分辨客体与主体，融入抽象和具体艺术。西湖湖心亭的概念被借用在几处餐位，营造出室内水景的概念。

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，景致变化，体验游湖、戏水、饮食的过渡。三面木框的立方体是设计师抽象概念中的湖心亭。依水而建的四座湖中亭，每处折角和屏风都被用来建构移步换景、虚实交融的江南园林风采。

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.

用餐区以湖心亭为灵感，漫溢出一片江南风情。灯具与隔断在材质与肌理部分相互呼应，产生一种幻像般的美感。设计师试图在古往今来中进行一种图底的呈现。于此间，采取传统韵味的亭台式布局，层层递进，并运用东方美学特色的对镜、框景、端景等手法，以传统亭台为基础，突出现代材料，互为图底，产生戏剧性的效果。

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.

人物的离场倍感空寂，将自身的形式美感呈现，又以局部视角进行切入，获取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.

传承东方美韵，承袭中国文化，色彩视觉总是饱含巨大能量。取自宋画「听琴图」，餐厅整体风格更具宋朝的简约委婉之美，色调也主要是朱色、青色、米色。时空为枢纽，融入东方美学的雅致灵动，以不落窠臼的当代设计手法演绎中国意蕴，重塑东方美学之意境。

Inheriting the beauty and charm of China and following the traditional oriental 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.

文明诞生于孤寂，不踏高山，不入荒原，始终保有空间的温暖与雅致。柔和的光线漫射开来，将空间变为人与美食的「容器」，整体如柔焦镜头，将来宾的目光自然而然地聚焦到桌面上的菜品。

Civilisation is born in solitude, 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 shot, drawing the guests' attention naturally to the dishes on the table.

进入后走廊，路旁的小灯别具一格，灯具采纳湖心亭的造型，亭下是发着微光的琉璃，一个小型湖心亭的景观跃然而出。竹帘与玻璃，古典金砖式样的地砖，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，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 silouette of a pavilion with shimmering glass underneath, truly imitating the waterscape of the mid-lake pavilion. The bamboo curtain is sandwiched between the glass and 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

跟随光的引导，推开醉西湖·甄宴的包厢门，目光紧随动线延伸，落在室内的视觉焦点。在柔和光下，大面积的米色和朱色带来安逸和温暖。眼前的西湖古画营造出江南风采，与错落有致的中式家具相映成趣，共同定义了立体鲜明、生动流畅的空间印象，将新与旧、古典与现代、抽象与具体完美融合。

When you open the door entering into the private dining room, walk towards the light, then your eyes follow the direction onto 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, defines a space with distinctive depth, and smooth and comfortable impression, integrating old and new, classical and modern, abstract and figurative into a perfect one.

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、米色元素大面积挥洒其中，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.

光影的明与暗，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。以东方元素承启始、终，在一个精确的平衡点上将一个具有东方文韵的当代空间呈现，从视觉层面获取建筑、艺术、情感间的必然体验。

The relationship between light and shadow creates an contrast aesthetic order, 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 of architecture, art and emotion.

遵循心灵的感受，将根植骨血的对东方文化的喜爱施展在陈设上，通过虚实轻重，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.

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，搭配局部的橘、红色饰品加以点缀，不失典雅且有古风古韵，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。

In keeping with the hall, vermilion and beige colours are 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.

自然与艺术在此间产生嬗变，宾客在体验服务的同时，又可纵情食物的滋味。以东方视角诠释VIP包厢的洽谈属性，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，达成空间之间的有机互动。

Allow the happen of the transformation between nature and art, allow guests to experience service and indulge in food.An oriental vision is used to interpret the meeting function of the private dinning room, using nature to create the contemporary order, enriching the unimaged creative inspiration to break down oriental compositions and achieve interaction between spaces.

平衡且稳定的玻璃门窗纳入自然光线，不阻挡事物的原理和法则，在空间中自然生存，人来人散，瞬息万变，永恒的是江南韵味中的叙事感。

Light enters through the balanced and stable glass doors and windows, without blocking the principles and laws of objects, naturally exsiting in the space, where people come and go, and the unchanging narrative lives on.

平面图

项目信息

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 | Oway欧未照明设计

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

范日桥

S5design 上瑞元筑创始合伙人

设计总监/上海事务所负责人

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。

—END—

监制 | Linda

编辑 | Jenny

策划 | Sansan

案例来源 | S5design 上瑞元筑

本文来自微信公众号“designcool设计酷”（ID：designcool18）。大作社经授权转载，该文观点仅代表作者本人，大作社平台仅提供信息存储空间服务。