DAGA大观建筑 | MONOHINI by者火餐厅

以洞穴的意象在驳旧空间中寻味赏酒

广厦千间，夜眠仅需六尺; 腰缠万贯，日食不过三餐。在食材和五味转圜的的餐酒哲学中，调和鼎鼐，燮理阴阳。

亮马河，像一件生活的容器。它从二环出发，一路东流汇入五环外的坝河，在地图上拉出一条细细的弧线。嘈杂的老居民区、高档的别墅区、使馆区、繁华的商圈，错落地分布在这条弧线的两侧。无法远行的此处的人们，在它身上寄托着对远方的想象，构建出一种理想主义生活的样本。此间，我们收到者火餐厅的委托，在亮马河南岸的酒店首层空间改造一处日式和牛料理店。

Thousands of rooms, sleep only six feet at night; waist wealthy, daily food but three meals.

Liangma River, like a vessel for life. It starts from the Second Ring Road and flows eastward to merge into the Dam River outside the Fifth Ring Road, drawing a thin arc on the map. Noisy old residential areas, upscale villa districts, embassy districts, and bustling business districts are staggered on both sides of this arc. People who cannot travel far from here put their imagination of distant places on it and build a sample of idealistic life. In this time, we received a commission from MONOHINI Restaurant to renovate a Japanese Wagyu beef restaurant on the first floor of a hotel on the south bank of the Liangma River.

▲项目概览 overall view

原始场域因为层高和商业固定属性，限定空间本身无法以张扬突兀的体态生长。室内布局成矩形围合形态，结构柱较多，划分功能空间后，如何消化结构柱，使其与室内装饰面融合，是我们首当解决的问题。二次勘探场地时我们决定以“洞穴”的意象引入设计概念，用餐者通过建筑空间开口的转合和光影的叙事性开始了他们对空间的寻味体验。

Because of the height of the original site and the fixed properties of the business, the space itself cannot grow in an open and abrupt manner. After dividing the functional space, how to digest the structural columns and integrate them with the interior decoration surface was the first problem we had to solve. During the second exploration of the site, we decided to introduce the design concept with the imagery of “cave”, and the diners started their tasting experience of the space through the narrative of the opening and light of the building space.

▲如同奇妙洞穴一般的餐厅内景 The interior of the restaurant is like a wonderful cave

▲平面图 Plan

这种微妙的超现实主义始于特殊处理后的外立面——散发冰冷情绪的灰黑色金属外壳因发光灯箱而有了温度，随晨昏推移在金属表皮带来若隐若现的泛性光，视线与形式的极简处理让食肆内影影绰绰地在玻璃幕墙间落下投影，进而传递内敛的界线概念。

This subtle surrealism begins with the specially treated façade – the cold, grey-black metal shell is warmed by the luminous light box, which brings a faint panoptic light to the metal skin as the morning and evening progresses, and the minimalist treatment of sight and form allows shadows to fall on the glass walls inside the restaurant, thus conveying the concept of introverted boundaries.

▲黑灰色金属外立面上唯一的发光灯箱招牌 The only luminous light box sign on the black and grey metal facade

餐、酒和氛围感三个重要维度，贯穿在设计始末。改造中刻意保留原始场地内形如雕塑的立柱和天花，在粗野主义与餐厅原旨的启发下，工业化材料留下锐利的线条和粗粝的洞穴形成对比，产生强烈的迥异感的场域情绪。入口处采取斜向开口通往深处，撞色夯土墙从天花围绕卡座区细化延伸，结合周边街景形成一个独特的借景窗口。地面和墙壁使用了相似的色调和材料，构成了具有连续感的室内空间，并随着动线的深入，逐渐提高就餐区的私密性。

The three important dimensions of dining, wine and ambiance are integrated throughout the design. In the renovation, the sculptural columns and ceilings of the original site were deliberately preserved. Inspired by the original purpose of the restaurant, the industrialized materials left sharp lines and coarse caves to contrast, creating a strong sense of different moods in the field. The entrance takes an oblique opening to the depths, and the clashing rammed earth wall extends from the ceiling around the seating area, forming a unique borrowed window in conjunction with the surrounding streetscape. Similar tones and materials are used for the floor and walls, creating a sense of continuity in the interior space, and gradually increasing the privacy of the dining area as it moves deeper.

▲轴测分析图 Analysis

▲吧台一隅 Bar corner

光是一种道具，用来渲染情绪，永远有温度。当灯光的意义不再局限于对照明的要求，我们更多地把对它的意象附加在洞穴中可见的开孔——在一个呈现出寂静的内部环境中，人们会短暂而神秘地瞥见一个奇怪的圆形体块，它似乎又消失在空间里。当一个人进入、围绕和穿过餐厅时，会不断地体验到那短暂而神秘的一瞥，复现对于空间内部景象的想象和体验。

Light is a prop used to render moods that will always have a temperature. When the meaning of light is no longer limited to the requirement for illumination, we attach more imagery of it to the visible openings in the cave – in an interior that presents silence, one briefly and mysteriously glimpses a strange circular mass that seems to disappear back into the space. As one enters, surrounds and passes through the restaurant, one experiences that brief and mysterious glimpse over and over again, recreating the imagination and experience of the interior view of the space.

▲从就餐区内部看向餐厅入口处 View from inside the dining area towards the entrance of the restaurant

▲孔洞状圆形灯光装置细部 Details of the perforated circular lighting device

吧台、散座、卡座全部因景设坐，就餐形式也因此变得灵活，实际利用率随之上升，能容纳更多顾客。等位区和就餐区的立面均采用夯土，天然红土赋予的色彩，和桌上的煮物的火苗交相呼应，让情感和器皿中的食物一同被加热，以获得一场关于饱满的复杂体验。锅物与酒搭配的独特优势让食物的温度不会在碰杯的间隙流失，越是炖煮，就越是香浓。

The bar, casual seating, and card tables are all seated according to the scenery, so the dining format becomes flexible and the actual utilization rate rises to accommodate more customers. The fa?ade of both the waiting and dining areas are made of rammed earth, and the color given by the natural red earth echoes the fire of the cooking items on the table, allowing emotions to be heated along with the food in the vessels for a complex experience about fullness. The unique advantage of pairing potted items with wine allows the food to not lose its temperature between clinking glasses, and the more it stews, the more aromatic it becomes.

▲灵活的就餐方式 Flexible dining options

饰有大量日本清酒瓶的水吧立面墙体是餐厅内最瞩目的视觉锤，大量带状暗藏灯光以烘托冷色肌理墙体，通过局部照明突出重点材料，基于此划分空间的层次与功能分区。啤酒、玻璃瓶，将这些与消费行为息息相关的事物置于顾客触手可及之处：用餐的过程不仅仅是咀嚼食物，而是从挑选之时就已经开始。

The fa?ade wall of the water bar decorated with a large number of Japanese sake bottles is the most striking visual hammer in the restaurant, with a large number of concealed lights in the form of bands to accentuate the cool texture of the wall, highlighting the key materials through local lighting and dividing the space into layers and functional zones based on this. Beer and glass bottles are placed within the reach of customers： the process of eating is not just about chewing food, but starts from the moment of selection.

▲清酒展示墙一览 Sake Display Wall

▲在吧台等待食物烹煮的时刻，朋友们可以挑选今晚想要以何种酒佐餐 While waiting for the food to cook at the bar, friends can choose which wine they would like to serve with their meal tonight

▲展示墙细部 Display wall details

在“看不见的城市里”卡尔维诺说：我所看见的人物、我所做的事，在一个精神的空间里都是有意义的，那空间跟这里同样安宁，有同样半明半暗的光线，有同样混合着树叶沙沙声的静寂。正如“饮食”二字无法分割，我们亦希望通过对场域情绪的牵引，在餐与酒碰撞之间找到一种更平衡的状态。

In the “invisible city” Calvino says： the people I see and the things I do have meaning in a spiritual space that is as peaceful as this one, with the same half-light, half-dark light and the same silence mixed with the rustling of the leaves. Just as the word “food” cannot be divided, we also hope to find a more balanced state between the collision of meal and wine by pulling the mood of the site.