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鮨然 SUSHI ZEN

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作品說(shuō)明
  • 項(xiàng)目類(lèi)型：餐飲
  • 項(xiàng)目地點(diǎn)：新加坡
  • 建筑面積：90㎡
  • 項(xiàng)目造價(jià)：180萬(wàn)元
  • 參與設(shè)計(jì)師：出口勉/岡本慶三//邸俊巍/李恒
  • 竣工時(shí)間：2023-06-30
  • 設(shè)計(jì)機(jī)構(gòu)：odd設(shè)計(jì)事務(wù)所
  • 項(xiàng)目定位:
    現(xiàn)在，隨著人工智能的發(fā)展，很多藝術(shù)領(lǐng)域都失去了其應(yīng)有的感受。
    Nowadays, with the development of artificial intelligence, many fields of art have lost their original feeling.

    繪畫(huà)、音樂(lè)、建筑和空間都進(jìn)入了舍棄人工技巧和巧思的完美主義時(shí)代或無(wú)風(fēng)格的實(shí)驗(yàn)藝術(shù)時(shí)代。商業(yè)空間也效仿尖銳的“形式”，世界各地都在進(jìn)行同樣的競(jìng)賽。
    Painting, music, architecture and space have entered the age of perfectionism or styleless experimental art that eschews artificial skill and ingenuity. Commercial spaces also have emulated this sharp "form", and the same race is on all over the world.

    根植于東方內(nèi)心的審美觀念中有一個(gè)概念叫“金繼KINTSUGI”。這是一種用金漆粘合瓷器的破碎、殘缺、裂痕等破損部分，再用金等金屬粉裝飾的修復(fù)技法。它為過(guò)去被認(rèn)為毫無(wú)價(jià)值的物質(zhì)和材料賦予了新的生命和價(jià)值。
    There is a concept called "KINTSUGI" that is rooted in the aesthetic concepts of the Orient. This is a restoration technique that uses gold lacquer to bond broken, chipped, cracked, and other damaged parts of the porcelain, and then decorate it with metal powders such as gold. It gives new life and value to substances and materials previously considered worthless.

    比起尖銳的“形狀”，有感受“手”和“心”的空間更重要。
    It is more important to have the space to feel the "hand" and "heart" than the sharp "form".

    情緒性的空間因質(zhì)感而產(chǎn)生，纖細(xì)的陰影、質(zhì)感只有用手創(chuàng)造才能產(chǎn)生。不是因潮流而瞬間的“形態(tài)”消費(fèi)，而是傳承“文化”，保持“時(shí)間”，直到“未來(lái)”長(zhǎng)久地受人喜愛(ài)。
    Emotional space is created by texture, slim shadows, textures that can only be created by hand. Instead of instantaneous "form" consumption due to trends, it is the "culture" that is passed on, and the "time" that is kept until the "future" to be loved for a long time.

  • 空間意境:
    此次“鮨然”餐廳是在特別的時(shí)間提供料理的場(chǎng)所，它作為日本飲食的藝術(shù)空間，在解讀新加坡的語(yǔ)境中，引用日本的空間作法，產(chǎn)生遠(yuǎn)離都市喧囂的幽靜感。這是我們?cè)谠O(shè)計(jì)過(guò)程中一直思考的。這是將傳統(tǒng)和未來(lái)的時(shí)間、文化的界限淡淡地連續(xù)，以感受質(zhì)感的“手，感受素材的“生命”為目標(biāo)創(chuàng)造空間，是與智慧化工業(yè)制造的、人為的完美主義空間完全不同感受的空間。
    SUSHI ZEN is a place that serves food at special times, and as a space for Japanese culinary art, it invokes Japanese spatial practices in the context of Singapore to create a secluded atmosphere away from the noisy city. This is what we have been thinking about during the design process. This is a space created with the aim of feeling the texture of the "hand" and the "life" of the material, by keeping the boundaries of time and culture between the tradition and the future. This is a space with a completely different feeling than the artificial perfectionist space made with intellectualized industry.

  • 空間布局:
    【玄關(guān)】FOYER
    入口是喧囂的都市空間（外部環(huán)境）和主空間之間的分界線(xiàn)。從店面周邊遺留的當(dāng)?shù)亟謪^(qū)地面鋪裝中獲得靈感，以同等的鋪裝節(jié)奏配置了數(shù)寄屋（SUKIYA）的地面鋪裝，連接外部空間和玄關(guān)之間，給空間帶來(lái)了模糊而細(xì)微的變化?？臻g樣式按照數(shù)寄屋（SUKIYA）建筑的傳統(tǒng)工法構(gòu)成。床框(TOKOGAMACHI)依然保留了古代使用木梁結(jié)合處的痕跡，壁龕的背景墻則采用了現(xiàn)代在日本也難得一見(jiàn)的傳統(tǒng)技法“舞箔”(MAIHAKU)來(lái)裝飾。另一方面，在束石（TSUKAISHI）和差し石（SASHIISHI）部分，配置了特別定制的玻璃磚等透明異質(zhì)材料，實(shí)現(xiàn)了傳統(tǒng)與現(xiàn)代的融合。本來(lái)的“床の間”（TOKONOMA）作為神圣的場(chǎng)所或者結(jié)界空間的存在，傳統(tǒng)和未來(lái)相融合的素材全新地演繹了空間。穿過(guò)這個(gè)空間，迎接客人的是提供壽司的主空間全景。
    The foyer is the dividing line between the noisy urban space (the external environment) and the dominant space. Taking inspiration from the store's surroundings, the remaining floor coverings of the local neighborhood, the floor coverings of the space are configured in the same paving rhythm, connecting the exterior space and the foyer, giving the space an ambiguous and nuanced change. The style of the space is constructed according to the traditional techniques of SUKIYA house. TOKOGAMACHI still retains traces of the joints of wooden beams used in old times, and the back wall of the niche is decorated with the traditional technique of MAIHAKU, which is rarely seen in Japan today. On the other hand, transparent heterogeneous materials such as specially customized glass tiles are configured in the TSUKAISHI and SASHIISHI sections to achieve a fusion of tradition and modernity. Originally, TOKONOMA existed as a sacred place or a bounded space, but this space has been reinterpreted with a fusion of traditional and futuristic materials. Through this space, guests are greeted with a panoramic view of the main space where sushi is served.

    【主空間】MAIN SPACE
    客人邁入由名栗（NAGURI）手工制作技藝而成的門(mén)階，打開(kāi)由木格柵和水紋玻璃組成的障子門(mén)（SHOUJI MON），即可進(jìn)入空間。主要空間設(shè)有吧臺(tái)和八個(gè)觀眾席。作為重要的壽司臺(tái)面，材料使用的是直木紋的純檜木，在吧臺(tái)的連接處嵌入銀杏圖案、陰角交接處設(shè)計(jì)細(xì)微造型的木條等，每一處都能感受到檜木的細(xì)節(jié)。
    Guests enter the space through a doorstep made of handcrafted NAGURI, and open a SHOUJI MON made of wood lattice and waterline glass. The main space contains a bar and eight auditoriums. As an important sushi table , the material used is pure hinoki with straight wood grain, and the details of hinoki can be felt everywhere, such as the ginkgo pattern embedded in the splices of the bar, and the dedicated wood strips at the intersection of the shaded corners.

    檜木并沒(méi)有進(jìn)行過(guò)多的表面處理，而在通過(guò)店主平日的細(xì)心照顧，其紋理本身也轉(zhuǎn)化為一種力量，愈加向顧客傳遞著檜木的存在感。吧臺(tái)下的踢腳上用手工雕刻的層疊玻璃，將光線(xiàn)反射到地板上，如同水面一般。天花上用天然竹編分成幾層交錯(cuò)重疊，營(yíng)造出立體感，用自然竹子本身遮蓋接縫。考慮到吧臺(tái)的照明既能突出菜肴，又能襯托出店主的身姿，所以將點(diǎn)光源擴(kuò)散，達(dá)到與隱沒(méi)面光源的同等效果。客人身后的主墻是用傳統(tǒng)工藝舞箔（MAIHAKU）制作的屏風(fēng)，店主的背景是留有少許手工痕跡的左官漆喰（SAKAN SHIKKUI）。因此，客人的座位在空間中是作為上座，表達(dá)了店主對(duì)客人的敬意。另外，作為店主背景的裝飾架上配置了竹節(jié)突出的黑竹和自然粗獷的一枚板，使展示物在昏暗低調(diào)環(huán)境中更加突出。
    The hinoki does not have much surface treatment, but through the store owner's daily care, the texture itself is transformed into a power that conveys the sense of existence of hinoki to the customers increasingly. Hand-carved cascading glass on the skirting under the bar reflects light onto the floor like water. The ceiling is made of natural bamboo weaving in several layers to create a three-dimensional look, and the natural bamboo itself is used to cover the seams. Considering that the lighting of the bar highlights the dishes as well as the owner's figure, the point light source is diffused to achieve the same effect as the surface light source of the hidden area. The main wall behind the guests is a screen made of traditional craft MAIHAKU, and in the background wall of the owner is the SAKAN SHIKKUI technique that has left a few traces of handwork. Thus, the guest's seat as a seat of honor in the space expressed the owner's respect and reverence for the guest. In addition, the decorative shelf, which sits in the background wall of the owner, is equipped with black bamboo with distinctive knots and a naturally rugged board to make the display stand out in the dim environment.

  • 設(shè)計(jì)選材:
    【通道】CORRIDOR
    雖然是通往室內(nèi)空間的道路，卻讓人聯(lián)想到靜謐的室外環(huán)境。在月夜般的黑暗中，只有石階被設(shè)置成最小照度的燈光所照亮。每一塊石頭都是手工打磨而成，具有固有的黑色質(zhì)感和陰影，天然石材讓客人感受到了材料的生命感。
    邊緣的數(shù)寄屋（SUKIYA）樣式的柱子采用的是以前使用過(guò)的古民居的柱子。對(duì)于剝落且腐蝕嚴(yán)重，不能直接使用的地方，填入手工制作的玻璃使其煥發(fā)生機(jī)，試圖將經(jīng)過(guò)時(shí)間流逝的材料和現(xiàn)代材料進(jìn)行融匯。
    Although it is a pathway to an interior space, it reminds people of a quiet outdoor environment. In the moon-like darkness, only the stone steps were illuminated by lights set to minimum illumination. Each stone is hand-polished with inherent black texture and shading, and the natural stones give guests a sense of the material's vitality. The SUKIYA-style pillars around the corner were adopted from the pillars of old houses that had been used in the past. For pillars that are flaking and too corrupt to be used directly, they are filled with handmade glass to bring them to new life, attempting to combine materials that have passed through time with modern materials.

    【洗手間】WASHROOM
    洗手間的墻面使用了大型的洞石，設(shè)計(jì)師在施工前直接從采掘場(chǎng)挑選了不同石材，親自參與整個(gè)洞石的處理，從切割、打磨、到組裝。確保每一顆石頭的特征和使用完美結(jié)合。
    A large cave stone was used for the wall of the washroom. The designer selected different stones directly from the quarry before the construction and was personally involved in the whole procedure, from cutting, polishing, to assembling. Ensure that the characteristics and use of each stone are perfectly matched.


    【燈】LIGHT
    光強(qiáng)影子就深，光弱影子就淺。光和影雖然是對(duì)立的兩極，但同時(shí)存在并緊密地聯(lián)系在一起。這種對(duì)立統(tǒng)一的關(guān)系，對(duì)于時(shí)間的過(guò)去與未來(lái)，亦或者喧囂都市的日常體驗(yàn)與在寂靜中度過(guò)時(shí)間的非日常體驗(yàn)之間，或許也是一樣的。根據(jù)這樣的語(yǔ)義邏輯，通過(guò)最小限度的照明方法，我們細(xì)致地設(shè)計(jì)了所有照明效果，表現(xiàn)了其作用和意義。
    Shadows are darker when the light is strong and lighter when the light is weak. Although light and shadow are opposites, they are at the same time closely linked.
    This relationship is perhaps the same for the past and future or between the everyday experience of a bustling city and the non-everyday experience of spending time in silence. Based on this semantic logic and through a minimal lighting approach, we elaborated all lighting effects meticulously to express their role and meaning.

  • 用戶(hù)體驗(yàn):
    這次涉及的大部分素材都無(wú)法用常規(guī)的圖紙來(lái)表現(xiàn)，所以我們一直在與各種各樣的匠人進(jìn)行對(duì)話(huà)。與人工智能的興起、系統(tǒng)化的施工方法和現(xiàn)成品不同，這些對(duì)話(huà)在現(xiàn)代看起來(lái)是不合理的，有些繞遠(yuǎn)路，但我們?cè)噲D重新認(rèn)識(shí)因同質(zhì)化建筑而逐漸失去的情緒空間。在這個(gè)空間里提供的料理和器皿，與建筑成為一體，手工作業(yè)產(chǎn)生的自然素材和產(chǎn)生的陰影共享空間，共生地佇立著。
    Most of the material involved this time cannot be represented in regular drawings, so we have been in conversation with a wide variety of craftsmen. Unlike the rise of artificial intelligence, systematic construction methods, and ready-made products, these conversations seem unreasonable in the modern era, but we try to reconnect with the emotional space that has been gradually lost due to homogenized architecture. The cuisine and utensils offered in this space become one with the building, and the natural materials produced by the handwork and the resulting shadows share the space symbiotically.

    項(xiàng)目名稱(chēng)：鮨然 SUSHI ZEN
    項(xiàng)目類(lèi)型：室內(nèi)設(shè)計(jì)
    設(shè)計(jì)公司：odd設(shè)計(jì)事務(wù)所
    設(shè)計(jì)團(tuán)隊(duì)：出口勉/岡本慶三//邸俊巍/李恒
    聯(lián)系郵箱：odd_pr@126.com
    完成日期：2023年06月
    項(xiàng)目地址：新加坡
    建筑面積：90㎡
    攝影版權(quán)：odd設(shè)計(jì)事務(wù)所
    材料：微水泥涂料，非洲黑石，金銀箔，竹編，樹(shù)脂，木地板，洞石，手工玻璃

    Project name：SUSHI ZEN
    Project type: interior
    Design: odd (okamoto deguchi design)
    Leader designer & Team: Tsutomu Deguchi,Keizo Okamoto,Junwei Di, Heng Li
    Contact e-mail: odd_pr@126.com
    Completion Year: 2023 Jun
    Project Location: Singapore
    Gross built area: 90㎡
    Photo credit: odd (okamoto deguchi design)
    Materials: ciment art，black stone，metal foil，bamboo，resin，wooden board，stone，handmade glass
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  • odd設(shè)計(jì)事務(wù)所
  • 北京市

  • 北京市

    工作地點(diǎn)

  • 聯(lián)系方式

    15101559171

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