CHARCOHOL

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.

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当时间与温度交织于空间
巧客餐厅与鸡尾酒吧设计
CHARCOHOL位于上海市静安区丰盛里的一栋老建筑中,是一家重点打造特色炭烤美食和手工创意鸡尾酒的鸡尾酒餐吧。八荒设计负责了CHARCOHOL从品牌视觉识别系统、建筑改造、到室内、景观及软装的整体设计。
在世界各地的高端餐饮界,美食的创造总是从一个鲜明的概念开始,通过对食材的精心挑选、对烹饪方式的巧妙设计、对火候的精准把握,以及呈现细节的完美拿捏,最后形成一种独一无二的美食体验。这一点,餐饮和设计,不乏相似之处。在八荒设计的所承接的所有餐饮空间项目中,他们总是受到主厨烹饪理念的启发,把美食的概念作为空间设计的灵感。这一次,当主厨料理小熊找到ShirleyAndrea的时候,小熊告诉他们自己的灵感来自于森林和火,他说简单优质的食材在对的时间和温度的作用下,就能成为最精彩的美食。这也是为什么ShirleyAndrea提出将餐厅命名为CHARCOHOL“CHAR”来自于碳CHARCOAL“COHOL”来自于酒精ALCOHOL,意味碳和酒精的结合。这也是CHARCOHOL餐吧logo的概念——一段盛着酒精的碳。
理解了主厨的烹饪概念后,八荒提炼了两个重要元素作为空间设计的概念:时间与温度。整个空间由西向东,从玄关、玄廊,至主厅、后室,顺着木炭燃烧的时间轴展开。在空间的中心位置与南北方向的温度(火)轴交叉。
由西至东,穿过主入口玄关,玄关以后的餐吧空间被分为三个区域,以时间轴为逻辑,描述从燃烧至,最后变为灰烬的过程。木灰烬的概念在主入口玄关浓缩体现为一根从天花悬落至半空的木桩,从天花起,由木逐渐燃烧至木炭,直至地面火山岩制成的黑色底座,作为迎客台。
绕过迎客图腾来到第一个餐吧空间玄廊,木地板和穿插的绿色家具代表了的森林概念,八荒设计保留了原建筑门廊立面的砖墙。然后来到主厅,这里是燃烧至的空间,因此所有地面和墙面都转变成炭黑色。穿过主厅来到后室,灰烬的空间为灰白色,透过靠近尽头的墙边的灰,再次隐约可见原建筑砖墙。餐吧中间的南北方向,温度轴连接厨房、吧台,由代表火的红色地砖连接餐饮空间西墙的壁炉。
为了加强每一个用餐区域的概念,八荒利用灯光、道具和装置,精心打造每个区域的氛围。玄廊面对丰盛里广场,阳关透过植物,在原建筑砖墙上洒下树影婆娑。主厅的墙面和地面虽是黑色,但都有随着光影变化的粗糙肌理,在吧台正中,时间轴与温度轴交叉的位置,八荒设计亲手制作了预示着餐饮盛宴的大型蒲葵装置,再由天花的镜面穹顶反射延伸,仿佛悬挂与天空。与之呼应的灰烬后室中心的小镜面穹顶下则悬挂了预示重生的芭蕉叶和尤加利果装置。
虑到Charcohol项目所在的建筑的历史性,八荒希望最大程度的尊重和保留原建筑,因此在把原半室外的玄关及门廊空间改为室内用餐空间的建筑改造过程中,为了不破坏原建筑立面的装饰,八荒设计了与整个建筑立面完全分离的独立钢结构、玻璃系统,配合巧妙的灯光点缀,不但不触碰原建筑立面,还从门廊内侧向博物馆一样着重勾勒突出建筑的美。
八荒设计还设计了Charcohol的室外花园,作为温度轴的延伸,延续后室的材质。花园的中心是一个烧烤私宴功能的玻璃耐候钢板的阳光房。阳光房的花园里种有各种烹饪用的香草及花果,人们可以在这里享受阳光、咖啡,和休闲炭烤的美味。

before

after

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

MUSÉE

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.

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MUSÉE名见北京前门概念旗舰店
——不被定义的空间
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。
八荒的设计团队采用“柔性边界”的空间理念——整个零售空间中的功能分区没有明确的界限,这个设计理念有两个核心体现:边界柔化的中心鉴定区,和可移动的多功能销售展示。并在MUSÉE名见空间中大胆地运用了不同种类的自然石材、不锈钢、紫铜、玻璃等材质,设计风格极具当代性,却也很难被定义具体是什么设计风格。
可移动的多功能销售展示:
开敞的销售空间中,设置有多条地面轨道,安装不锈钢轮的柜台可以在轨道的路径上自由活动,实现更多功能空间与场景的切换,满足日常销售、品鉴分享、静态秀、潮流讲座等不同活动需求。柜台上方特别定制的磁吸式轨道灯带串联起整个销售区域,连续的光线体现新流通的连贯性与时代感,轨道上的不同功能的射灯、吊灯、补光灯等则可配合移动柜台的不同位置灵活调动。Studio8还将前门店灵活多变的设计理念延续在了与MUSÉE名见的再次合作中,在北京王府井店的设计里加入了可滑动挂衣杆这一独特元素。
边界柔化的中心鉴定区:
典当、鉴定服务是MUSÉE名见品牌的核心服务,也是新流通零售形式的重要差异。因此,八荒设计将鉴定室设置于整个空间的核心位置,也是商铺三个入口的交叉中心。不同于传统典当的封闭鉴定室,八荒的设计师将MUSÉE名见的鉴定空间设计为中间有人工天光的通透实验室形象,突出鉴定服务的专业性和透明度。同时在玻璃外围,设计了另一层通透的展示架,陈列商品和点缀软装、花艺,既增加鉴定室内客户与外围空间商品的视觉联系,又让鉴定室外的顾客视线止于这些展示架上的货品,为鉴定空间增加了一层柔性又通透庇护。
店铺中不同品类的商品用不同材质的柜台加以区分,花纹波普的绿色大理石搭配钟表珠宝,色调柔和的砂岩搭配首饰配饰,无不彰显了高级的奢侈与存在感。空间周围的壁柜用不锈钢折纸造型的连续折线,弱化了店铺四壁呆板的边界,同时也为由多种石材构造的中岛柜台提供了时尚而微妙的背景反差。
空间尽头的贵宾室用别致的蓝色软装营造小环境氛围,顾客可以在那里享用一杯咖啡和享受精致服务。八荒专注设计细节的表现,无论是从嵌入式倚门、隐形门的选择,还是材质拼接的细节,甚至每一件花艺都精心雕琢使之与空间浑然一体。
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。

CLOUD HOTEL

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”.

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云顶堡酒店改造项目
云深不知处,只在此山中
坐标德清县莫干山镇庙前村干庙坞1号。改造前的云顶堡是一幢略带城堡元素的度假酒店。虽名“云顶”又依山而建,但这座建筑却并丰在山顶之上,而是在竹林之间。
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。
改造前的酒店是一栋半山坡的三层建筑,一楼二楼设为客房,顶楼加盖了以玻璃立面为主的轻质结构,作为餐厅。原建筑层次单一,加盖的顶层结构也与另外两层风格截然不同。但有趣的是,不同于传统的欧式城堡,原建筑几乎是依山挑空而建,这给未来扩建和空间层次衍生带来了很多可能性。因此,八荒设计决定采用不同于常规的方式,不向上扩建,而是充分利用山地地形,沿山势向下扩建两层。这样,在不增加建筑高度的基础上,将原本的三层扩成五层,把建筑改造成更具空间感的多层次结构,同时控制了改造对环境的冲击。
建筑的五个楼层倚靠山势,并不垂直重叠,以退台的形式分布。入口在最低点的盘山路边,穿过花园便是玻璃结构的前台。前台玻璃房的后面是VIP餐厅包房和酒窖,考虑到采光及景观,设计师在此处设计了一个下沉式小花园,将包房和酒窖连接。前台另一侧是钢结构楼梯,通往二层的泳池平台和餐厅。餐厅面对泳池,阳光透过微波粼粼的泳池折射到餐厅,让宾客在用餐的同时感受到户外的生机。
完成了对建筑的结构改造后,八荒设计就开始了对云顶堡室内空间和品牌形象的设计。大到楼梯、小到桌椅,都采用了定制设计,努力营造一个简约优雅的世外“城堡”。设计师将云的概念融入到各种设计的细节之中,酒店内处处可见。餐厅天花板吊顶、套房旋转楼梯和窗户开口处都巧妙地运用了拟云状弧形和拱形元素。顶层套房里的白色旋转楼梯根据云的模样构思,从下向上看,仿佛一朵云彩悬浮在房间中。房间的窗户上方与阳台门顶的半圆设计亦是采用了云朵的形象,不仅将室内外连接,更让宾客有住在云端的感觉。
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。
摒弃一般度假村老套或过度的装饰风格,八荒设计选用简约大方的家具、配件和设施,营造出了明亮轩敞的宜居空间。客房的色调趋于柔和,每个房间被赋予不同的颜色主题。最大的套房里,定做的月桂绿皮质床头与绿调的波斯地毯和卫生间的绿漆相呼应。弧形元素不仅存在于旋转楼梯中,也体现在了卫生间隔断墙的设计里。温柔的曲线来中和房间的方正格局,再点“云顶”主题。

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After

INKWOOD

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.

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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

ANADU

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.

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莫干山Anadu度假酒店
水与境之间:在自然中找到自我
Anadu位于浙江湖州的莫干山脉北麓,坡地院落占地30000㎡,东瞰琛碛村,南眺凤凰山、大岗山,西临白茶山坡,北有竹林环绕。
「八荒设计」担任Anadu酒店的品牌视觉识别系统建立,以及建筑和室内设计。Anadu希望为住客提供一个身处自然的宁静度假体验。因此,保持当地的人文和自然氛围成为整个项目非常重要的关注点,从建筑材料到设计元素,甚至食材,都最大程度地充分利用当地资源。于是在建筑与空间的设计中,Anadu被融入到周边的自然元素之中。「八荒设计」最先提出的设计概念:“跟自然相处,跟自我对话”,渐渐也演变成了品牌的核心Slogan—“在自然中找到自我”。
项目基地周边自然景观丰富别致:西面有葱绿且机理独特的白茶坡、北面有连绵叠嶂的远山,东面有茂密深幽随风摇曳的竹林。但「八荒设计」注意到,基地周边缺少了“水”的元素。水,尤其是一池平静的水面,能让人瞬间心情静怡。Anadu想要给住客“一个能够让人发呆一天不想出门的房间”。除了自然风景,如果能给人带来亲水的空间体验,将制造出另一个象限的“境”。水同茶、水同山、水同竹的交合,不但拉近了人与水的距离,同时也建立了建筑空间与自然元素的连接,除了欣赏风景,更创造了心境,才真正能让人能“在自然中找到自我”。
设计初始,「八荒设计」并没有从建筑本身的形态出发,因为他们认为空间的使用者与自然的关系才才是设计的关键。建筑的三层楼均有无边亲水台:一楼的泳池、二楼南面阳台的无边水景、三楼整层屋面的无边水景,每一层都有独特的景致,一层比一层更令人意外

7:.:.

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。
集合
罗列了一下居住基本需求:卧室、厨房、卫生间、储藏。除此之外,尽可能扩大开放空间。
因此,我们把床、储物、卫生间设计得尽可能得紧凑,压缩在一个盒子里;随后又压缩了周边冰箱、微波炉、等一些功能进去。最后整个公寓的所有居住必备功能,包括床、衣橱、储物、洗衣机、卫生间、热水器、冰箱和微波炉。完全整合进了公寓中间的方盒子中,剩下的就都成了Andrea和Shirley招待朋友、办活动的空间了。从进门的厨房、到贯穿整个走廊的长边柜,到尽头南面窗边的大沙发、长桌、草字头板凳,每个角落都是理想的会客空间。
开放
“我们叫它‘开放屋’,我们实际上是把它看成工作室的一个延伸”这里是Andrea工作和生活的地方,也是工作室成员和朋友工作和生活的延伸。开放屋离八荒设计10分钟路程,这里有Sara的冬季共享衣橱,有Shirley的共享厨房,有Alba的共享影院,有Pao的共享沙发,还有共享会议桌、共享餐桌、共享板凳、共享工作坊和共享发呆空间。当Andrea去旅行的时候,整个开放屋还会被放到Airbnb上变成真正的共享空间。LOL
智能
开放屋还是一个智能小屋,灯光有不同场景的设计,party、烹饪、电影之夜,根据不用的功能场景,轻敲桌上的无线小方块、推门、或走过屋里的某个角,都会有自动启动场景设置。Andrea还可以在手机上控制家里的电器和监控电器的用电量等状况。
其他细节
开放屋原来有很多结构、现有水管、煤气罐等局限,我们把这些局限用镜面的方式修饰,造成错视,增加了空间的趣味性和延伸感。另外还有更多细致入围的例如电源插座、开关的人性小设计。

TONI & GUY

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.

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这是一场理发艺术的盛宴,整体概念围绕和强调对理发师如何将其精湛的技艺展现在他的艺术大作上(顾客的发型)。同时,这个场地随时准备迎接着一个又一个顾客的头发被理发师雕琢成举世无双的艺术作品的发生。
客户极具天马行空地提出了一个“未来主义”的设计需求,于是设计师玩起了光影变幻的魔术,运用光与影的体块和线面、重与轻、虚与实勾起了途经者连绵不绝的好奇与惊喜,引领着他们进入了一个理发艺术的“魔幻之旅”。
项目落成依此道而行。
当你正对着店面入口,迎面而来的是一块白底上写着黑色“TONI&GUY”—柔光的波纹玻璃墙与一个厚重的楔形黑色体块交接而成的漏斗状入口,而炫亮的LED展示屏循环播放着当下最酷炫的流行发饰。
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。
未来时空的理发长廊里,由10条双面软膜发光的拱券组成,发光藏在两侧边内。整个空间通白,而两侧的背发光的镜面营造出无线的纵深。当顾客正对长廊时,宛如进入一个时空机,一道道光带则是时空的涟漪,随时准备传送到另一个时空接受一个“完满”的自己。纯粹简约的空间,将最少的细节修饰和最强的空间感受和盘托出,对于一个挑剔的设计师来说,这样的作品是最符合心声的。
这条长廊径直连到了环形的舞台,白色的环形地面被射灯照得格外耀眼,中间是个可升降的360度数字投影幕布,这些无时无刻不在强调着场地的中心性。可观的是,在这方寸间可最大容纳60人左右的座位,不管是走秀、讲演,还是电乐趴,都不在话下。
空间中着重突出了白色的长廊和舞台的场地性,与之相对比的是周围采用大面积的黑色和灰色。前台和酒水台两个区域就是采用这种边缘化的处理手法,两个黑色的大长台是其中的点睛之笔。向外的一侧有一张黑色冲孔铁网,背后柔和的泛光将黑色调和的更加轻柔而耐人寻味。