Sò Project | 甄选餐饮空间

Sò Studio部分甄选餐饮空间

  01. Oxalis Restaurant  

Farmyard

项目概览 ©林虹辰

Oxalis位于上海博华广场四楼，是一家法式融合餐厅。上海博华广场由60 层的办公塔楼与零售商业部分构建而成，坐落在上海自然博物馆旁，四楼餐厅整排落地窗外的北侧大露台面朝吴淞江，视野极佳。餐厅名字取自一种常见草药oxalis，它是主厨Jonas最早开始寻觅的草药之一。主厨Jonas 把这家餐厅定义为“Bistronomy”， 意味着酒馆与美食的融合。

Oxalis is located in 4L of Bohua Square, which is a French Restaurant. Shanghai Bohua Square is composed of a 60-story office tower and retail commercials. It is located next to the Shanghai Nature Museum. The Oxalis restaurant has a large terrace on the north side facing the Wusong River, which means there are great views. The roots of the “Oxalis” name can be traced to 2008, at Restaurant BRAS when Chef Jonas started to work with Michel BRAS where together with the kitchen team, he foraged herbs, plants & flowers in fields around the restaurant. Oxalis was one of the first herbs he foraged. Chef Jonas defines this restaurant as “Bistronomy”, which means the fusion of a pub and food.

餐区 ©Philippe Roy

生长就是超过原本的。在吧台、餐区、包间地面，我们用材质的延伸作为生长意象，将相同的材质从地面延伸到墙面，从墙面延伸到顶面，从内部空间延伸到外部空间，它们既显眼，又是协调统一的。

Growing means going beyond the original. In the bar, dining area, and private room, we use the extension of the material as the growth image, extending the same material from the ground to the wall, from the wall to the top, from the inner space to the outer space. They are both conspicuous and harmonized.

利用家具中具有围合感的藤编造型来划分前、中、后餐区 ©Sò Studio

用餐区细部 ©Philippe Roy

从Reception到包间，餐厅中无处不在的弧形和藤编元素为空间定下了一个轻松的基调。顶部弧形的灵感来自温室的弧形棚顶，给予“生长”以温柔和保护。

From Reception to the private dining room, the ubiquitous curved and rattan elements set a relaxed tone for the restaurant. The arc at the top is inspired by the curved roof of the greenhouse, which gives ‘growth’ tenderness and soft protection.

餐区过道 ©Philippe Roy

Reception同时也作为一个屏风，将完全通透的空间在入口处进行一定程度的遮挡，藤编和植物使餐厅的内部空间若隐若现。

The reception also sets as a partition, the rattan and plants in the reception make the interior of the restaurant seem looming.

接待处 ©Philippe Roy

入口吧台区域浓郁的颜色搭配不同于内部整体轻松明亮的空间氛围，我们为吧台区域设计了一个更合适饮酒交谈的环境，超过4米长的黑色吧台和墙上的绿色手工砖搭配大理石台面和层架背景处的壁画，座椅选用Ton经典的14号椅的高吧椅版本。

The dark color of the entrance bar area is different from the relaxed and bright color tone of the dining area. We designed a darker environment for drinking and talking in the bar area. The black bar over 4 meters long and the green hand-made bricks on the wall are matched with marble countertops and ceramic murals behind the shelves.

吧台 ©Philippe Roy

白天，大面积的建筑原始的落地窗使内部通向外部的视线毫无阻隔，冷色的天光与餐厅内的暖光在主餐区相撞，相互渗透，使空间呈现出一种独特的清新和松弛。

During the day, the floor-to-ceiling windows make the interior view to the outside without any obstruction. The cool skylight collides with the warm light in the restaurant in the main dining area and penetrates each other, making the space a unique freshness and relaxation.

餐区 ©林虹辰

天光渐暗之后，空间中2700k的基础照明使餐厅墙面和地面的中性色彩在暖光中呈现出另一种柔和温暖的氛围，主灯选用new works的一款磨砂玻璃材质的球形灯具，确保柔和的光线能够到达每一张白色大理石桌面。

At night, the 2700k basic lighting in the space makes the neutral color of the wall and the ground show another soft and warm atmosphere in the warm light. Pendants use frosted glass ball lights from the New Works to ensure that soft light reaches every white marble tabletop.

入口细节 ©Philippe Roy

位于主餐区中部的长沙发将藤编用于装饰背面和侧面，软包则选用Gabriel的一款鲜绿色布料。关于植物的材质和颜色的组合也为用餐空间增添了生命力。长沙发的背后就是开放厨房，从餐区每位客人的角度都可以看到主厨和厨师们在里面忙碌的身影。

The long couch in the middle of the main dining area uses rattan for the back and sides, while the cushion cover features a bright green fabric from Gabriel. The combination of the material and color of the plants also adds vitality to the dining space. Behind the log couch is the open kitchen where you can see the busy figure of the chefs from the perspective of each guest in the dining area.

开放厨房 ©Philippe Roy

餐厅后区有两组座位位于一组弧形藤编顶棚下，从背部和顶部营造强烈的包合感，为客人营造一个更有私密感的用餐空间，同时，强烈的造型感也成为长型餐区整体的一个视觉端景。

At the end of the dining area, there are two sets of seats under the curved rattan roof, creating a strong sense of inclusion from the back and top, which gives guests a more intimate dining space. At the end of the restaurant, there are two sets of seats under a set of curved rattan ceilings, creating a strong sense of inclusion from the back and top, creating a more intimate dining space.

包间入口 ©林虹辰

餐区 ©Philippe Roy

包间面积只有16平米，酒柜通透的设计以及多材质的搭配在视觉感受上消除了密闭空间的紧张感，酒柜以外的三面墙体都设计铺贴了瓷砖壁画，客人仿佛在林中用餐。主背景墙中间凸出的发光藤编造型也使包间拥有一个富有形式感的背景。

The private room is only 16 square meters. The transparent design of the wine cellar and the combination of multiple materials eliminates the tension of the confined space in the visual sense. The other three are covered with ceramic murals, making guests feel like dining in the forest. The illuminating rattan embossed in the middle of the main background wall also gives the private room an elegant background.

包间 ©Philippe Roy

值得一提的是，我们有幸与年轻插画师王浙合作，邀请她为Oxalis12米长2米高的室内墙体以“灵气的植物和动物”为主题进行壁画创作。她的画风活泼鲜明，充满想象力，与Oxalis定义的全新法式风格不谋而合。从入口处的酒吧延展到私密的包厢，这一系列的绘画创作以瓷砖烧制的方式呈现，新颖别致，同时为我们营造出一个美妙的用餐氛围。画面中的植物灵感来源于欧洲常见的蔬果和香料草本，这些质朴的轮廓和色泽在这里却充满了生命力。日常不起眼的小昆虫为画面增添了动感和灵气，惊喜的是主厨家的小猫也意想不到地出现在了其中。我们说美味总是与趣味相伴，不是吗？

It is worth mentioning that we are fortunate to cooperate with young illustrator Wang Zhe. She was invited to create murals for Oxalis’s 12-meter-long and 2-meter-high interior wall with the theme of “Reiki Plants and Animals”. Her style is lively and vivid, full of imagination, and coincides with the new French style defined by Oxalis. From the bar at the entrance to the private room, this series of paintings are presented in the form of ceramic murals, which are novel and chic, while creating a wonderful dining atmosphere. The plants in the picture are inspired by the common fruits and vegetables and herbs in Europe. These rustic outlines and colors make the picture full of vitality. The inconspicuous little insects make the picture more vivid, and the surprise is that the chef’s cat also unexpectedly appears in the picture. Delicious food is always accompanied by fun, isn’t it?

餐厅中装饰着插画师王浙创作的系列壁画 ©林虹辰

瓷砖壁画：橡树、南瓜、柠檬等果蔬，以及包括主厨家的猫在内的动物和昆虫 ©王浙

瓷砖壁画：梨树、樱桃、无花果、醡浆草等果树和香料植物以及昆虫和小鸟 ©王浙

瓷砖壁画：猫咪、鸟类和果树 ©王浙

  02. thé ATRE 茶聚场  

A 'Modern Tea Ceremony House'

Having tea in this surreal tea garden will bring you an unforgettable ceremony experience.

餐厅“打开”的立面 ©丁宇豪

“Opening” is the first thing we did for space. We opened the façade and left 1/3 of the space completely connected with the outdoor. We hope that the guests can feel the story of the interior and see our tea gardens and products at first sight. It was our first attempt to use U-shaped glass for the façade. The texture of the glass itself allowed us to see the mottled image of the indoor, which feels like an oil painting.

The façade opens to expose the white streamers of the indoor tea garden, forming a shared tea garden space that strengthens the dialogue between the inside and the outside. From the outside, the white streamers are integrated into the interior, and the warm light also keeps the entire visual center in the tea garden. When you look into the blurred image, the unreal virtual shadow makes people want to walk in immediately.

The first thing we see inside our space should be the"orange" white space. Our lighting used a color temperature of 2700k. Some key areas even used a 2200k color temperature light source. The warm amber color creates a sense of intimacy. From the design point of view, the space we hope for is holistic, simple, and advanced; it does not distract people's attention with colors.

Four different white textures make the relationship between spaces stand out naturally. Three kinds of white stones strengthen the space's calmness and simplicity through different tones and reflections; while the exterior curtain and the white metal streamer form the most strong contrast. We have created a20% sense of distance and created a 50% sense of intimacy. The inexplicit relationship makes the surreal genes of the space deeply rooted in people's hearts.

We clearly remember such a dialogue in the design field, "When you see the studio of Constantin Brancusi, how do you feel? I can't tell the sculptures scattered around, I want to walk in and see the surface of each sculpture, and I feel like each one quite similar. The light of the skylight gives each sculpture a shadow.” It is the sculpture of Brancus that inspired our installation. Different geometric sculptures bring some edges and fun to space.

玻璃雕塑 ©ELBE

The bar is connected to the Vip room at the other end of the space. We tried to create a more PURE area in the bar area, which would enhance the independent feeling of the space; the VIP room is on the right side of the bar, the feeling of the entrance also continued the feeling of semi-opening of the façade.

We made a special lighting design in order to create surprises for the guests. The color-changing lighting control allows this "theatre" to change into another scene after 8 o'clock every day.

  03. Chikalicious Réel  

Impossible Land

“Impossible Land”是我们这次设计的主题，不再一个具体的概念或者形象，而是通过设计传达出一个“不可能到达的陆地”的抽象感受。我们吸取了一些后现代的表达元素，融入了超现实的复古语言。创作状态更加随机，边做边探索空间。

“Impossible Land” is the narrative of Réel Chikalicious. It is no longer a specific concept, but an abstract scenario of “Impossible Land”. The design is referencing some post-modern elements and integrating the contemporary surreal language. Actually, the creation is more random; a space exploring while the whole process.

不同反射折射率的材质同处在一个空间里相互作用更加凸显空间性格 ©MUYI、 Sò Studio

用餐区域，截断的柱子跟静安寺标志性的金色柱子相呼应  ©MUYI、 Sò Studio

三角形座椅细部 ©MUYI、 Sò Studio

周边环境给了我们很多有趣的灵感，我们也希望有一些地域的记忆；店里截断的柱子，跟望出去静安寺标志性的金色柱子相呼应；我们对旁边静安公园里地面石子和植物的记忆也一并移植到空间里来了。

The local environment inspired us a lot. We insisted on bringing the region memories to the restaurant. The truncated columns, in the store, are reflected the iconic golden pillars of the Jing’an Temple. We also transplanted the memories of the stones and plants of the Jing’an Park into the restaurant.

前台，蓝色、绿色几乎相同比例的出现在空间里 ©MUYI、 Sò Studio 

食品制作吧台 ©MUYI、 Sò Studio

我们在颜色选择上更加大胆；蓝色、绿色几乎相同比例的出现在空间里；我们又尝试将两种颜色的材质完全拉开，一个超高反光度一个全哑光，这样空间自然而然形成了一个进退关系。我们希望通过这些质感比较特殊的材料让空间显得更加有趣；而在这次材料选择上我们也一直跟随着“超现实的现代复古语言”。让亚克力柱子、镜子、彩色玻璃、不锈钢，不同反射折射率的材质同处在一个空间里相互作用更加凸显空间性格。

We are more aggressive on the color selection, for example, the proportion of blue and green are almost the same in the space. Meanwhile, we have made a contrast of the material with two colors completely; one a super-reflective degree finish, the other a matte material. Consequently, the spaces naturally take the form of an advancing and retreating layer. We hope the space presents more vanguard through the special material which followed the contemporary surreal languages. Let the materials with different reflect, like acrylic columns, mirrors, stained glass, stainless steel, be in the same space to enhance the spatial character.

前台细部，不同材质的运用使空间形成了一个进退关系 ©MUYI、 Sò Studio

我们设计的功能上USELESS的水槽本来就是这块目的地“LAND”的一个内容，它就像空间的一个装置定义着这一块空间的属性和特质。

The functional useless sink is originally a part of the destination “LAND”. It is an installation, which can define the attributes and the qualities of the space.

“无作用”的水槽&座椅细部 ©MUYI、 Sò Studio

  04. Chikalicious Taikoo  

Site in the apartment

Chikalicious的这家甜品店的概念完整描述是，Site in the apartment；延续了纽约店铺的温馨舒适感。将公寓概念运用到不同的空间规划中去，我们依靠整个apartment概念把空间相连，就像在设计自己的公寓一样每个“房间”有不一样的功能和造型，但是又必须是一体的，空间概念必须是完整的。

“Site in the apartment” is the narrative journey for this project, the cozy, comfortable, elegant impression is an extension from the original New York store. Just like designing our own apartment, with unique function and form, the overall interior design language is under one theme.

空间的选材和配色都是偏向“subtle”，但仍然保留材料之间的层次感 ©MUYI

整个空间的选材和配色都是偏向“subtle”，没有特别突出的颜色，没有强烈的对比，我们尽量减弱这些关系，但仍然保留材料之间的层次感，举例来说，我们的墙面天花，及造型在设计上都有着严谨的深浅逻辑，而在空间中又不希望被客人察觉，喧宾夺主，我们砂岩的斜线造型，在每个“房间”里都有应用，既是探索空间线索又是增加材料层次的一个方法。

The material selection and color matching are subtle, without intense contrast, we won’t enhance the visual connection among these elements meanwhile remaining layering between each other. For instance, the design of walls, ceilings, and shapes remain in precise logic but are imperceptible, elegant, and aesthetic. The slash sculpt made by sandstone is applied to everywhere in the “apartment”, which is a second layering for the general space.

入口处 ©MUYI

将窗帘的现实造型映射在墙壁，把褶皱抽象化成不同弧长的凹形雕塑 ©MUYI

用书的负形表达功能符号 ©MUYI

Library空间 ©MUYI

我们用抽象的雕塑表达想法，比如说我们做library空间，我们思考如何表达出体积感(有厚度)，参考Rachel Whiteread的雕塑作品，突破传统造型，增加了空间的趣味性。用书的负形表达书的功能符号；我们同时在空间中用了“窗帘”的元素符号去丰富空间的语言， 把窗帘的现实造型映射在雕塑上，增加趣味性，将褶皱抽象化成不同弧长的凹形雕塑。天花和墙面都用了这一手法。

We express our concept by using abstract sculpture, for example, when we were designing the library, we referred to sculpture craftsman-made by Rachel Whiteread, breaking through the traditional design of credenzas. In the meantime, we utilized curtain elements to convey space, the realistic shape of curtain mapped on the sculpture, applied in ceilings and elevations.

酒柜空间 ©MUYI

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