INKWOOD

SYMBIOSIS BETWEEN INK AND WOOD

STUDIO8 has been commissioned for the brand visual identity, interior design and soft decoration of this new landmark in the city’s cuisine scene.  When Beichuan found STUDIO8, he said he was attracted by the simplicity and playfulness of the caozitou bench designed by them.  When beichuan described the restaurant he wanted to open to  the designers Andrea and Shirley, the concept was not so clear and vivid for them, until Beichuan has decided to name the restaurant INKWOOD – “Wood represents nature, and ink represents constant daily routine. On the other hand, wood represents the ingredients and ink represents a sauce that makes the ingredients more tasty.”

MORE INFO

Studio8 was challenged to reflect the chef’s mindset, and to build up a branding image able to translate into visual Beichuan’s ideas.  During the design process, STUDIO8 has spent a big amount of time with the founder team of INKWOOD discussing brand concept.  In Shirley’s words, “the design process is like a long brain-washing experience between our clients and us.”  Eventually, STUDIO8 has decided to concentrate on the connection between “ink” and “wood” instead of either of the two elements, which they believe is the key of concept – the unexpected juxtaposition of two elements: ink and wood.  It consists in a series of complex and fascinating associations that Beichuan applies to his cuisine.  At INKWOOD restaurant, the chef wishes to provide the customers with an experience that breaks the daily routine.  Both the space and the menu are set up in order to bring people together, since for Beichuan food is also about socialising, and for this reason, all the dishes are thought to be shared.
In the space, an interesting color and material combinations are used to express the concept of “INK” and “WOOD”, highlighting that stroke of symbiosis in a form of a brass stripe, which is on the ground, on the wall, on furniture and as custom-made light fixtures.
At the entrance of INKWOOD restaurant, the brass stripe with a parallel LED light on the floor extends to the kitchen window, pointing to the core of the restaurant – the kitchen where Beichuan is working.  At the entire restaurant, there is dark green boiserie allover the space under 1.2m height, which makes the entire restaurant look like soaked in dark green ink with only two blocks rising towards ceiling, which visually frame the kitchen window and two brown niches.  The rest of the wall is in mustard yellow color with rough texture, which absorbs and reflects light to make the whole dining ambient warm and soft.  Carefully selected and custom-made accessories and paintings are casually placed on the 1.2 meter waistline, leaving rest of the areas simple.
There are a variety of seat settings, which allow different groups of customers to find a suitable corner for them.

更多信息

INKWOOD餐厅 ⽊木与墨墨的连接
⼋八荒设计这次负责INKWOOD餐厅的品牌视觉识别系统(VI)、空间以及软装的整体设计。 当北北川找到他们的时候,据他说是被他们设计的⼀一款草字头板凳的⾄至简趣味所打动。起初, 当北北川对⾃自⼰己要开的这家餐厅头头是道时,在两位设计主案Andrea和Shirley看来,却其实 ⾮非常模糊,也不不⽴立体⽣生动。直到后来当他决定将INKWOOD(⽊木墨墨)作为餐厅名称时,⼀一切 才突然都串串联了了起来:“⽊木,代表了了⼤大⾃自然;墨墨,代表了了⽇日常⽣生活。⽊木,代表了了⻝⾷食材;墨墨, 代表了了能使⻝⾷食材更更为出彩的酱汁”。
在设计过程中,⼋八荒设计与餐厅的创始团队⻓长时间⼀一起讨论概念,⽤用Shirley的话来说,“没 个新品牌VI和空间整体设计的过程,都是⼀一个⻓长时间与客户互相感染和洗脑的过程”。最 终,两位主案决定不不把着眼点放在“⽊木”或“墨墨”任何⼀一个具象的元素上,⽽而是放在他们之间的 联系上,因为他们认为“⽊木”或“墨墨”之间的那笔连接才是INKWOOD餐厅最重要的精神。两个 看似⽆无关的并列列元素结合所创造出的迷⼈人联系和平衡,就像对⼤大⾃自然的热爱如何与⽇日常⽣生活 融合,⻝⾷食材如何与酱汁相辅相成,餐厅⾥里里就餐的⼈人与⼈人之间如何分享互动,以及餐厅灵魂⼈人 物——杨北北川如何⽤用各种⻝⾷食材配搭创作美味。
在INKWOOD,给很多⼈人留留下印象最深刻的是餐厅的⽤用⾊色。Andrea说:“⽊木、墨墨和酱汁的⾊色 彩让他想到了了意⼤大利利画家Giorgio Morandi的配⾊色,他想要让INKWOOD的⽤用餐者们感受到⽊木 与墨墨的浓重和温度,同时‘品尝’到酱汁和⻝⾷食材在⼀一起冲撞、对⽐比和融合的味道。”在VI的平⾯面 设计中,墨墨的表现是灵动的,是⼀一系列列流动的⾊色彩泡泡;⽽而主logo则⽤用⼀一条简单⽽而肯定的⾦金金 ⻩黄⾊色笔划,连接起互相镜像的“INK”和“WOOD”字样。同样的,在空间中,设计师并不不想⽤用 太多的曲线来分散客⼈人对⻝⾷食物的关注,因此在餐厅的空间设计中,⽊木与墨墨的表现只剩下了了⾊色 彩和材质的变化,地⾯面、墙⾯面、家具、转⻆角、各种订制灯具中,凸出的是那笔⾦金金⻩黄⾊色的连接 以及不不同材质所表现出的精致细节。
⼀一⾛走进INKWOOD餐厅,地⾯面上就有⼀一条⻩黄铜和光线⼀一起向正⾯面的厨房窗⼝口延伸,指向餐厅 最重要的核⼼心,北北川⼯工作着的厨房。整个餐厅⼀一⽶米⼆二⾼高度以下都是主VI的墨墨绿⾊色护墙板,仿 佛整个餐厅都浸没在墨墨汁中,只在正对⼊入⼝口的厨房窗⼝口以及窗边的位置拉伸起两个带着壁龛 的墨墨绿盒⼦子,强调盒⼦子框出的视觉中⼼心。⼀一⽶米⼆二以上的墙⾯面采⽤用芥⻩黄的粗糙材质,吸收和反 射光线,使整个⽤用餐环境变得更更为温暖柔和。精⼼心挑选和定制的饰品看似随意的搁在⼀一⽶米⼆二 的腰线平台上。剩余的区域线条简洁,仅仅⽤用⾊色彩、体块和材质的拼接来体现⽊木和墨墨的主题 与细节。
整个餐厅有各种不不同的座位配置,适合不不同的⽤用餐⼈人数的顾客,最值得⼀一提的是厨房窗⼝口前 的“主厨的餐桌”。⾼高桌的设计能让坐在这个桌⼦子上的客⼈人视平线与厨房内⼯工作着的厨师们的视平线同⾼高,透过窗⼝口摆放的北北川和合伙⼈人最爱的烹饪书籍,可以观摩烹饪的全过程。餐厅 的餐具、软装甚⾄至花艺也延续了了INKWOOD的VI配⾊色和空间设计的整体⻛风格,述说⻝⾷食物的层 次和情感化学作⽤用,如同北北川的糖葫芦,解构的软糯⼭山楂和焦⾹香的蜂巢搭配⼀一勺奶油撒上些 糯⽶米纸,是东⻄西⽂文化的交融,是北北京童年年的记忆,也是北北川的缩影