When Chef Mandela Zhu first met Shirley and Andrea, he told them the food and drinks of his new bar are mostly inspired by forest and fire.  Miracle chemistry of taste happens when carefully selected simple ingredients are cooked with the right temperature and right time.  This is why Shirley and Andrea have named the restaurant CHARCOHOL, a combination of charcoal and alcohol, which is also the concept of CHARCOHOL’s logo.
Studio8 was commissioned to create a space, which reflects chef’s vision and eventually goes beyond it. Inspired by the charcoals as main source of creating food, the design unfolds around an axis of time, crossed by a temperature axis.
From west to east, stretching across the main entrance and the following three dining halls, conceptualizes the transformation of wood to charcoal up to ash. The notion of the dining concept is summed up at the small portico at the entrance, where a half-burnt wooden column, hanging from the ceiling and ending in a lava stone block on the floor, welcomes the guests.
Consequently, the first hall implements wood floor and preserves untouched the original walls of the building, while the main hall is converted totally to black, followed by the last one with white-grey plastered walls and the ash in glass box at the end of the space showing partially once again the original brick wall. In the orthogonal direction one can observe the temperature axis, spanning from the kitchen up to the fireplace and projected on the ground through reddish tiles.
In line with the concept, each dining hall obtain its own ambience with partially custom-made furniture, light and installation. The wooden hall opens towards the main plaza of Fengsheng Li,  where sun light shades through the trees on the brick wall.  In the center of Charcohol is located the main black hall, which has the highest level of intimacy and coziness.  The rough texture of the black wall and floor changes with light during the day.  At the cross section of time and temperature axises, above the bar, a giant installation of fan palm leaves arranged by STUDIO8 is hanged underneath the reflective stainless steel dome, celebrating the banquet of food and drink.  Along the time axis in the ash area, another installation of banana leaves and eucalyptus seeds is hanged like a bouquet chandelier, representing renewal from ash.





02-entrance 02
03-entrance 03
04-foyer 01_key visual column
04-foyer 04_key visual column
05-wood arcade 02
05-wood arcade 01
06-charcoal main hall 02_bar
06-charcoal main hall 07_arch
06-charcoal main hall 07_detail
07-ash arcade 01
07-ash arcade 02
07-ash arcade 04
08-detail 01_furniture


The Mobile Multi-functional Counters:
The main hall is not designed in the traditional rigid way, but rather in a versatile fashion. A casted track system was designed for the open area, enabling the counters with stainless steel wheels to slide. They can be reorganized, regrouped and relocated to adapt to any scenario and event that takes place in the shop, be it daily operations, member get-togethers, static display or trend lectures. Correspondingly, the hanging magnetic track lighting system with various lighting fixtures such as spot lights, pendants and wall washers can be easily adjusted to the position of the mobile counters, paralleled with LED strips that connect the whole interior and give the space a more edgy look. Studio8 has continued to implement the versatile design concept in the brand’s second store in Wangfujing Beijing, where sliding hangers built into ceiling tracks are installed for mobile display.
The Central Consignment Room:
Consignment and valuation are the core services of MUSÉE’s business model. Studio8 has strategically positioned the consignment room – the key element – in the center of the space, which is also at the cross point of the axis of three entrances, gaining a physical presence and amplifying its importance by the value of the surrounding goods. The designers placed an artificial skylight above the desks, creating a professional laboratory ambience. As a “soft boundary”, the copper shelves with goods and lifestyle accessories installed around the glass consignment room provide the outside customers with an attractive display and the inside guests with a level of transparency as well as privacy.
Although the shop is divided into functional areas, there are no strong borders, allowing all zones to merge into each other. The combination of the timelessness and diversity of products is not only reflected in the spatial configuration of the shop, but can also be found in the color palette and material choices for both the space and the displays. The counters are made of marble and sand stone, delivering a feeling of solitude and self-presence, appropriate for showcasing exquisite jewelry and watches. Cool stainless steel wall cabinets add a stylish, yet subtle background for larger items such as handbags, while the consignment room is accented through a warm copper-finish.
As an offline platform for consignment luxury goods, MUSÉE concept store is an “undefined” shopping space designed with the “soft boundary” concept that expresses the core value of the brand – by preserving their character and through circulation and sharing, products can resist the change of time, thus earning their own timeless presence.


赋予商品永恒的生命与价值,是坐落在北京前门北京坊园区内的MUSÉE名见概念买手店的核心理念。在那里,购物变成了一种不同于常规的体验,顾客有机会了解他们将要购买的商品的价值,并在专业鉴定师的解说下对其价值进行重新评估。MUSÉE名见为商品提供了一个开放平台,打破时间与空间的界限,传递精致好物不会受限于时间的品牌理念。“经典即不会被时代更迭所限制,也不会被某种风格所定义,”八荒设计创意总监Andrea Maira如是说。Studio8不被定义的空间的设计概念由此应运而生。
MUSÉE名见作为一个奢侈品闲置交易平台的线下流通空间,融合多元且不被定义的“柔性边界”设计理念,传递了品牌的核心价值 :通过循环流通、分享与变换,赋予产品、空间永恒的存在。


The original building had guest rooms on the first and second floors; a lightweight extension with arched glazings had been added on top to serve as the dining space. While the architecture lacked a coherent hierarchy and style, it did have a feature that served the renovation well – it was not built directly against the mountain, providing much more room and potential for the extension. Rather than stacking upwards, STUDIO8 decided to bring life to the underused belowground levels, adding more layers into the space without increasing the height of the building or creating additional impact to the environment.
The new hotel has a total of five levels terraced alongside the mountain slope. Entering from the west corner of the premises, guests pass through the garden and arrive at the reception, a glass room enclosed by large glazings. On one side of the reception is the wine cellar and the private dining room, linked by a sunken garden designed to provide more natural light and better views; on the other side lies the steel staircase, leading to the swimming pool and the restaurant on the second level.
To achieve a consistent brand image, STUDIO8 carefully curated the interior and visual identity design of the hotel to match well with the “Cloud” concept. The ubiquitous presence of curve and arch elements akin to clouds can be seen throughout the space – the ceiling, the spiral staircase, and the openings in various expressions. All guest rooms have a white arched terrace that overlooks the swimming pool and provides a panoramic view of the valleys and gentle hills beyond, conveying a feeling of “walking in the clouds”.
Pure white finishes give a clean background to the interiors of the restaurant, while the bronze accent found in the tables and lighting adds a warm, earthy tone. The dining area boasts a cloud-like fluctuating ceiling that also hides the light strips and air vents in between the gaps. A one-off vintage cabinet from Belgium – the focal point of the dining space – is set against the whitewashed wall. The restaurant also features customised circular dining tables made of wood, local granite and rufous lacquered stone.
To avoid cliché and excessive ornaments, the interior settings are kept to a minimum for a bright and airy feel. Guest rooms have a subdued aesthetic. In the largest suite, a bespoke laurel green headboard hangs from a brass rod, echoing the green-hued Persian carpet and green walls in the bathroom. The curve element appears not only in the spiral stair but also in the bathroom partition walls. Gentle curves soften the room’s layout, re-emphasising the light and airy feeling of the “Cloud”.


八荒设计拿到项目后第一个考虑的问题,就是如何在有限的占地面积中,最大程度地利用山地特有的高差优势对建筑进行改造。同时,也面临着另一挑战——如何将云顶堡的品牌概念与人的空间体验更有机地结合, 提升人、建筑和自然的融合。八荒设计师认为自然景观中的建筑,作为连接人与自然的媒介,应该真正与自然融为一体,而不是仅仅简单地存在于其中。
纯白的饰面给予餐厅一个干净的背景,餐厅原木色的桌椅有着树木的纹路, 与自然景色相呼应,让人拥抱自然、回归自然,、融入自然。就餐区云朵般起伏的吊顶,同时也把光带、空调出风口巧妙的隐藏于云朵的缝隙中。设计师从家具厂仓库淘来的独一无二的自比利古董餐柜依靠着就餐区的白墙,不动声色的吸引着所有目光。为了与其独特性相得益彰,圆形餐桌也采用专属定制,以当地木材、花岗岩和锈蚀漆石制成,配合了整个项目的几何线条及材质风格。




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.


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


Studio8 was commissioned for the visual identity, interior design and architecture of Anadu. Anadu wishes to provide to its guests with a peaceful holiday experience in nature. Keeping the local and environmental character of the location is one of the main concerns during the project development. From construction materials to design elements, and even food ingredients, Studio8 has tried to take full advantage of local resources. In terms of architecture and space design, Anadu is integrated into the surrounding landscape. The studio’s initial approach to the design concept: “Get along with nature, talk to yourself” gradually evolved into the core of the brand’s motto: “Find yourself in nature”.
The surrounding landscape of the project site is rich and unique:; however, after a first contact with the site, the studio team felt something was missing: a lack of water presence. Water itself, and especially a very calm water surface, generates immediately a sense of relax. The studio decided that this element would be the core of the hotel, a connection between the rooms that articulates the structure of the entire building. For that purpose, the roof of each floor was turned into an infinity water feature. By bringing natural elements into the architectural spaces, the design fosters a connection between the building and the outside. “Find myself in nature” becomes, then, a reality when experiencing the different rooms.
Four narratives are unfold in Studio8’s design, and become the themes of the rooms. Each room has been designed as an individual space, with its own story focused on elements that one can find within the surroundings. Each of these elements awake a different sense, or provoke a sensorial phenomenon.
1. Tea – This room faces the white tea harvest; the materials and color palette of the interior design echoes the tea theme.
2. Mountain – The room faces the mountain on the south, and the materials are natural stone and the color palette is dark grey. The water feature is designed to reflect the distant mountains.
3. Bamboo – The room faces the bamboo forest in the east, and its interior has a rice pink color palette and several objects made of bamboo wood.
4. Sky – The room is located on the third floor, which is also the top of the building. It is almost immersed by a boundless water feature, turning the room into a floating island. The studio designers challenged themselves to explore the poetic boundaries of the project’s concept. The third floor, then, was conceived as a platform able to behave like a mirror, and reflect almost the entire surroundings and the sky.




七三三开放屋是八荒设计工作室两个创始人在不同时期的居所。Shirley的高中时代在那里度过,后来两个人创立工作室后,Shirley把房子租给了合伙人Andrea。改造前,Andrea居住在Shirley高中同父母共同居住的屋子里,感觉总是哪里都不对,用他的话说“我要不然就是在Shirley父母的卧室,要不然就是在Shirley的房间”,他需要一个属于自己的空间,加上 Andrea十分好客,常常与朋友聚会,工作室的聚会和活动就更多了,于是他们决定把这套四十平方的小公寓改造成即适合Andrea居住,又可以开放成多功能的会客、活动空间的开放屋。


The client wanted a ‘futuristic’ approach and so the team adopted elements of light and shade, boxes, view lines, weight and weightlessness to create intrigue and curiosity to draw people into the space and carry them along a journey into the gallery of the art of hair styling.
Upon arrival at the salon, clients are greetings by a gently illuminated, reeded glass wall, intersection a black framed box and angled in a way to funnel people inside this mysterious shop. With only the name an LED display and Toni&Guy in bold, black lettering to provide an indication of the environment inside.
The space not only functions are a hair salon, but is host to a many number of other programs that share the same lot; a one stop beauty and glamour treatment location, where one may leave transformed and reinvigorated as someone new.
Within this salon, you may also find manicure area, facial treatments, DJ studio, photo studio, catwalk, stage and hair spa treatment.
The large number of functions, required a detail understanding of how events and programs would play out during different times of the day, and so which programs may thus be overlapped.
The ‘gallery space’ is composed of 10 dual sided hair station arches, that is further accentuated by led lights installed in the frame, that when lit up, creates a long hallway pulling visitors through the corridor. The space adopts a minimalist approach to its finishes, leading to a purist ambience as to not create unnecessary distractions as you walk through.
Walls are white and simple, carpentry are white lacquered boxes that juggle stylist functions and bare aesthetics. Above, a wall mounted mirror, offset and backlit to reduce the weight and give the impression of a light glowing object.
Leading visitors through the gallery is a white path on the floor that doubles as a catwalk.Follow the path to the end, and the catwalk extended into a circuit ring to can guides you back into the gallery.The gallery is able to holds 60 people sitting either side of the path and an additional 160 around the ring.At the centre of the ring is a stage for which MC and presentations can be dealt, and while a 360° suspended projector screen can be lowered from the ceiling for digital media.
The bar and reception adopts an edgier approach in contrast to the paired back white design of the gallery. The heavier black form of these 2 units is constructed from steel and timber, the front of the unit, facing visitors, includes a perforated still mesh finish, lit from the inner edges to reduce the weight for the box and adds texture.


这个场地不仅仅是理发沙龙,还包含了美甲区、美容区、DJ 台、摄影棚、T台、舞台以及头发护理区。由于空间功能的极具多样性,设计师需要对活动发生的空间和时间有更深的推敲,偶尔需要同时兼具多种功能。