work categories: INTERIOR

A PHENOMENA ODYSSEY
—- STUDIO8 has designed all-day entertainment venue in Beijing

Every time we encounter spaces, we always leave with a first impression in our minds. One of the things that are often communicated with us is the temperature of the space. It is not the actual room temperature, but rather the feeling and atmosphere that engaged our senses in various ways. Warm and cozy spaces invite us to slow down, while we avoid staying long in colder spaces. Consequently, temperature is one of the key features influencing our experience of spatial design.

The request for CHAMBER28 was straightforward – a new, one of a kind all-day entertainment venue in Beijing’s SanLiTun. As per the client’s wish, all the rooms should vary among each other and yet should belong to a single theme. In addition, each room should function as a business meeting venue, provide a fine dining experience and furthermore offer a private entertainment experience.

Studio8 took “temperature” as a guiding concept, allowing all the rooms to be divided into particular Celsius degrees. To strengthen the uniqueness of the space, the rooms were split into groups, to which a couple of selected natural phenomena were assigned, corresponding to the temperature of their occurrence. As a result, the wide range of temperatures, from cold to extremely hot, offers a variety of experiences, represented through peculiar materials and lighting effects.

Starting from the coldest experience of the Aurora Borealis, the northern lights are depicted by harder materials such as translucent marble and metal surfaces with matte brushed finishing, creating a blurred light reflection. Rain forest Eucalyptus – the boldest among all rooms, immerses the individual in a mixture of colors, but at the same time preserves the sense of nature. With the rising temperature, one reaches the phenomena of Fumarole and Blue Flames. Both of them, although bound to the earth, show quite different characteristics. While Fumarole stresses the texture and the tactility of its characteristic materials, Blue Flames stays humble, yet manifests warm solitude. Its origin leads back to a chemical reaction happening on a molecular level and resulting in energetic blue lava. The process of this conversation was celebrated through the transformation of digital blue bubbles into analogue blue balls, spread across the space. Blue Flames fills the second-floor bar as well as the public areas, where guests transition from the first to the second level over an emblematic staircase, extending into infinity through a mirrored reflection. The top end of the temperature scale is set by one of the hottest among all natural phenomena – Magma. Despite the use of lava stone and red marble, the spatial feeling supplies warmth and coziness, contrasting with the heaviness and sweltering character of Magma.

Additionally, the experience of each room is enhanced by custom-made lighting and abstract animated visuals curated by Studio8, so that all motion, geometry and color is aligned with the materials palette and the natural phenomenon they represent. For example, in Magma most of lighting is concentrated at the bottom of the room, reminiscent of smoldering lava and further supported by stage smoke machines. Eucalyptus impresses with its grid of laser light, giving the spatial feeling of being among the trees of a rain forest. Aurora Borealis and Blue Flames relies on laser machines, depicting various patterns, where the former creates a radiating effect on the ceiling, while the latter is projecting towards the floor, glaring burning blue patterns. Fumarole uses down lights to fill the whole space with a warm yellow and smoky ambience.

Further, the mood and peculiarities of each individual theme culminates into a totem-like piece of furniture, namely a bench, designed by Studio8’s own furniture brand CaoZiTou. Despite the harmonious and balanced shape of the bench, when crossed with the material palette of the rooms it becomes a playful and iconic element spreading across the public area.

CHAMBER28 is a place that is both universal and unique at the same time. It offers a rich variety of usage and services, yet its atmosphere and vibe leave the visitor with a memorable experience.

自然现象多维度之旅
—-八荒设计北京全日制娱乐基地

每当我们邂逅一个新的空间，我们总会对她产生一个初始印象，其中一个常常被提及的形容词就是空间的温度。不是物理意义上的气温，而是一种空间氛围感。这种氛围感以各种方式客观的影响着我们的感官。我们总会选择在温暖惬意的环境中驻足，而不是在阴冷闭塞的环境中停留，如此种种，温度是影响我们空间设计体验的关键特征之一。

CHAMBER28的定位一直很清晰——这是坐落在北京核心位置的一家全新体验的一站式娱乐综合体。根据业主的期望——所有的房间都有着独树一帜的主题，但又有一个共通的元素贯穿其中。此外，每个房间都是一个兼具商务会谈、良好用餐体验的独立私密空间个体。

八荒以“温度”为核心逻辑，用不同温度的各种景致串联起了所有的主题。为了加强空间的独特性，房间被分成了几组，我们选择了一些不同温度下的极致自然现象来表达各个空间主题。因此，极端自然景观与温度的落差，加以独特的材料和不同的灯光效果，带来了这场以温度为主题的极致体验。

从最寒冷的“极光”开始体验，以半透明的大理石和亚光拉丝处理的金属等硬质材料，配合光影，营造了一个绚丽的极光环境。“彩虹桉树”——是本次设计中最大胆的一个尝试，使用各种混合的色彩，同时保留自然元素，沉浸式感受热带雨林的旖旎风光。随着“温度”的升高， 是“火山”和“蓝色火焰”。这两个主题虽然都来自地球的原始生态，但完全是不同的表达特征。“火山”使用了强调纹理和触感的材质时，“蓝焰”则保持低调，但通过幽静的深蓝色材质表现出灿烂而遗世独立的感觉。蓝焰——由火山喷发释出的熔岩与气体分子产生化学燃烧的产物，本身是一个奇妙而罕见的化学反应。我们用蓝色球形射灯来模拟蓝色分子，这一元素一直延续到了二楼的酒吧和公共区域——客人将从这里穿过楼梯来到二楼，该区域也运用大量镜面元素，通过镜面反射将空间延伸至无限。 “岩浆”——这个所有自然现象中温度的极致。空间使用了火山岩和红色大理石，巧妙的表达了岩浆的两种本质状态——极端高温的等离子体和冷却后形成的石头，与主题所表达的火红与炙热不同的是，空间带来的更多的是温暖与舒适感，这也是贯穿本次设计的一个特质。

完美效果的呈现离不开灯光的加持。八荒根据每个房间的主题，特殊定制了舞台灯光及动画效果，将所有主题所代表的自然景致以更鲜活、灵动的形式呈现出来，增强每个“温度”主题的感官体验。例如，在“岩浆”中，灯光大比例的集中在房间的底部，配以舞台烟雾机，变化间让人联想到暗红的岩浆在滚滚的黑烟的裹挟里喷涌而出。“彩虹桉树”的镭射激光栅也让人印象深刻，让人有一种置身于神秘雨林的迷失感。“极光、蓝焰”中，各嵌入了可变化各种图案的激光灯，其中“极光”在空间中投射出了千变万化的电光秀，犹如划破永夜的北极光；后者则在地板上投射出蓝色的火焰，随着光影的变化呈现出蓝色的烟火。“火山”用温暖的灯光加上烟雾的配合，带来一场炙热却又舒适的体验。

此外，每个主题特有的调性及特点，最终汇集在了由八荒自有家具品牌“草字头”为每款自然现象度身定制的长凳中。长凳有着平衡、和谐的设计结构，同时与各空间的主题、色调交相辉映，成为了散布在公共区域中的一个诙谐、又极具标志性的空间元素。

CHAMBER28是八荒一个颠覆以往风格的设计尝试，承载着丰富的娱乐功能，最终呈现出了一个跨越温度与地域的无限可能的空间，带给消费者一个从极寒到炙热的多维度极致之旅。

INKWOOD RESTAURANT & BAR
SYMBIOSIS BETWEEN INK AND WOOD

INKWOOD Restaurant & Bar is the first restaurant opened by young chef Yang Beichuan, located in Shanghai Columbia Circle. Despite his youth, Beichuan is already a well-known professional who received his training as cook in Canada, where he worked together with some of the most renowned chefs of Montreal. Beichuan is a mixture of Eastern and Western cultures, who has spent half of his life running through Beijing Hutong, and other half switched to the kitchen of western restaurants in North America. He likes to use local ingredients to cook innovative international cuisine.

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.”

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.

For many people, the first impression of INKWOOD restaurant is the color combinations. Andrea said: “The color of wood, ink and sauce reminds him of the color scheme of the Italian painter Giorgio Morandi. He wants the guests of INKWOOD to feel the intensity and temperature of wood and ink, ‘tasting’ the sauce and ingredients with their eyes first.” In the VI design, a series of flowing color bubbles are used to represent “ink”; while in the main logo, the mirrored writing “INK” and “WOOD” are just simply connected by a very well defined golden stroke. Designers didn’t want to use too many curves in the space to distract customers’ attention to food. Therefore, 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. Worth to mention is the “chef’s table” in front of the kitchen window. The high communal table design allows the guests to have a same eye level height with the chef and cooks working in the kitchen. Through the window where Beichuan and his partners has placed their favorite cooking book collections, customers are able to observe the whole cooking process. The restaurant’s cutlery, accessories and even flower arrangements continue the overall style of INKWOOD’s VI, like the chemistry created by food and sauce, that is delicate, warm and with layers.

INKWOOD餐厅
⽊与墨的连接
INKWOOD餐厅是年轻的主厨杨北川开的第⼀家餐厅，餐厅位于上海番禺路上的上⽣新所。
北川是⼀个东⻄⽂化的混合体，28年的⼈⽣时光⾥，他⼀半在北京胡同和⼩P孩追打嬉戏，
⼀半则切换到北美⽩⼈餐厅的厨房间⾥磨练学习，他好像把东⻄⽂化与教育，扳开、揉碎了
咽到肚⼦⾥，⻓成了⾃⼰。北川⽆论到了哪⾥，都喜欢⽤当地⻝材，沿着⾃⼰的思路，说出
如何处理、搭配、烹煮，然后⾃⼰感叹：“哇，味道肯定不错”。
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。
当北川找到他们的时候，据他说是被他们设计的⼀款草字头板凳的⾄简趣味所打动。起初，
当北川对⾃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
⾮常模糊，也不⽴体⽣动。直到后来当他决定将INKWOOD（⽊墨）作为餐厅名称时，⼀切
才突然都串联了起来：“⽊，代表了⼤⾃然；墨，代表了⽇常⽣活。⽊，代表了⻝材；墨，
代表了能使⻝材更为出彩的酱汁”。
在设计过程中，⼋荒设计与餐厅的创始团队⻓时间⼀起讨论概念，⽤Shirley的话来说，“没
个新品牌VI和空间整体设计的过程，都是⼀个⻓时间与客户互相感染和洗脑的过程”。最
终，两位主案决定不把着眼点放在“⽊”或“墨”任何⼀个具象的元素上，⽽是放在他们之间的
联系上，因为他们认为“⽊”或“墨”之间的那笔连接才是INKWOOD餐厅最重要的精神。两个
看似⽆关的并列元素结合所创造出的迷⼈联系和平衡，就像对⼤⾃然的热爱如何与⽇常⽣活
融合，⻝材如何与酱汁相辅相成，餐厅⾥就餐的⼈与⼈之间如何分享互动，以及餐厅灵魂⼈
物——杨北川如何⽤各种⻝材配搭创作美味。
在INKWOOD，给很多⼈留下印象最深刻的是餐厅的⽤⾊。Andrea说：“⽊、墨和酱汁的⾊
彩让他想到了意⼤利画家Giorgio Morandi的配⾊，他想要让INKWOOD的⽤餐者们感受到⽊
与墨的浓重和温度，同时‘品尝’到酱汁和⻝材在⼀起冲撞、对⽐和融合的味道。”在VI的平⾯
设计中，墨的表现是灵动的，是⼀系列流动的⾊彩泡泡；⽽主logo则⽤⼀条简单⽽肯定的⾦
⻩⾊笔划，连接起互相镜像的“INK”和“WOOD”字样。同样的，在空间中，设计师并不想⽤
太多的曲线来分散客⼈对⻝物的关注，因此在餐厅的空间设计中，⽊与墨的表现只剩下了⾊
彩和材质的变化，地⾯、墙⾯、家具、转⻆、各种订制灯具中，凸出的是那笔⾦⻩⾊的连接
以及不同材质所表现出的精致细节。
⼀⾛进INKWOOD餐厅，地⾯上就有⼀条⻩铜和光线⼀起向正⾯的厨房窗⼝延伸，指向餐厅
最重要的核⼼，北川⼯作着的厨房。整个餐厅⼀⽶⼆⾼度以下都是主VI的墨绿⾊护墙板，仿
佛整个餐厅都浸没在墨汁中，只在正对⼊⼝的厨房窗⼝以及窗边的位置拉伸起两个带着壁龛
的墨绿盒⼦，强调盒⼦框出的视觉中⼼。⼀⽶⼆以上的墙⾯采⽤芥⻩的粗糙材质，吸收和反
射光线，使整个⽤餐环境变得更为温暖柔和。精⼼挑选和定制的饰品看似随意的搁在⼀⽶⼆
的腰线平台上。剩余的区域线条简洁，仅仅⽤⾊彩、体块和材质的拼接来体现⽊和墨的主题
与细节。
整个餐厅有各种不同的座位配置，适合不同的⽤餐⼈数的顾客，最值得⼀提的是厨房窗⼝前
的“主厨的餐桌”。⾼桌的设计能让坐在这个桌⼦上的客⼈视平线与厨房内⼯作着的厨师们的
视平线同⾼，透过窗⼝摆放的北川和合伙⼈最爱的烹饪书籍，可以观摩烹饪的全过程。餐厅
的餐具、软装甚⾄花艺也延续了INKWOOD的VI配⾊和空间设计的整体⻛格，述说⻝物的层
次和情感化学作⽤，如同北川的糖葫芦，解构的软糯⼭楂和焦⾹的蜂巢搭配⼀勺奶油撒上些
糯⽶纸，是东⻄⽂化的交融，是北京童年的记忆，也是北川的缩影。

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。