東鸦EAST'YA - hhlloo

公司：	HOOOLD设计	类型：	室内
地区：	中国	标签：	餐饮空间

▼室内外的边界，Indoor and outdoor boundaries

在四川的山地和丘陵地区，街巷的设计通常会充分考虑地势的起伏和坡度，以适应地形的变化。街道的走向和布局会相对灵活，沿着山势延伸或蜿蜒曲折，以便适应地形的起伏。有时会利用台地或梯田的形式，通过分级和平台化的设计，使街巷在不同高度之间形成连续的联系。“街巷”是城市中最具代表性的公共空间，设计希望将延续这种“立体街巷”的在地性，让空间、人群和体验三者同时错位，形成品牌独特的社区性。

In the mountainous and hilly areas of Sichuan, the design of streets and alleys usually takes into account the undulation and slope of the terrain to adapt to changes in terrain. The direction and layout of the street will be relatively flexible, extending or winding along the mountain terrain to adapt to the ups and downs of the terrain. Sometimes, terraces or terraces are used to create continuous connections between streets and alleys at different heights through graded and platform based design. Street and alley "is the most representative public space in the city, and the design hopes to continue the local nature of this" three-dimensional street and alley ", so that the space, crowd, and experience are simultaneously staggered, forming a unique community of the brand.

▼施工现场，Construction site

空间错位

spatial dislocation

通过平面上，在大空间中设置若干相互独立存在的小空间，以形成嵌套的体量逻辑。设计希望，改变空间的结构独立，对稳定空间轮廓进行扰动。通过空间结构的路径化表达，让人群错位相遇，使人群不仅是熟悉间的互动，还能让陌生群体间产生新的链接。

By setting up several independent small spaces in a large space on a plane, a nested volume logic is formed. The design hopes to change the structural independence of the space and perturb the stable spatial contour. By expressing the spatial structure in a path like manner, the crowd can meet in a staggered manner, allowing them not only to interact with familiar individuals, but also to create new links between unfamiliar groups.

▼立体街巷空间，Three-dimensional street space

▼错位空间，Misaligned space

原始平面迭代展示了社区关系的错位变形。在空间几何的前提下，街巷尺度和院落关系引导了设计的进一步发展，反映在平面上，即一系列院落、室内、走廊的变形。多边形几何体系构成了内建筑的尺度系统，而步道对室内、阶梯和转角的暗示作为“连接”的操作丰富了户外的空间效果，使之与空间的社交性相匹配。

The original plane iteration demonstrates the dislocation and deformation of community relationships. Under the premise of spatial geometry, the scale of streets and alleys and the relationship between courtyards guide the further development of design, reflected in the plane, which is a series of deformations of courtyards, interiors, and corridors. The polygonal geometric system constitutes the scale system of the interior building, while the hints of the walkway on the interior, stairs, and corners serve as a "connecting" operation to enrich the outdoor spatial effect, matching it with the social nature of the space.

▼错位空间，Misaligned space

▼入口，inlet

不规则的平面和体块形态、不对称的布局和形式、多变的尺度和层次、以及对光线和视线的运用，让空间不断的错位产生新的组合关系。

The irregular plane and block shapes, asymmetric layout and form, variable scales and levels, and the use of light and line of sight create new combinations of spatial misalignment.

▼悬浮空间，Floating spacet

▼穿通的视觉空间交互，Visual spatial interaction through penetration

人群错位

Crowd misalignment

设计中，由于原始建筑的超高层高，通过置入建筑盒子的方式，打破原有稳定的空间轮廓，形成一种动态的漂浮感，进而重新组织室内外的视线关系。最终，从一楼到二楼，私密感逐级递增，玻璃廊道的连通让空间保持了视觉上的分离。设计希望空间有更多的视觉穿透视角，让人群的眼神有更多的互动，打破人群的陌生感，将传统四川街巷的立体化重构在此空间内，不仅成为人们日常活动的场所，更是城市文化、历史、社交交流的重要载体。

In the design, due to the super high rise of the original building, the stable spatial contour is broken through the placement of building boxes, forming a dynamic sense of floating, and thus reorganizing the relationship between indoor and outdoor views. Ultimately, from the first floor to the second floor, the sense of privacy gradually increases, and the connectivity of the glass corridor maintains a visual separation of the space. The design hopes that the space will have more visual penetration perspectives, allow more interaction in the eyes of the crowd, break the strangeness of the crowd, and reconstruct the three-dimensional traditional streets and lanes in this space, which will not only become a place for people's daily activities, but also an important carrier of Urban culture, history, and social exchanges.

▼穿通的视觉空间交互，Visual spatial interaction through penetration

在这个错位社区中，人们可以感受到一种与众不同的空间体验。漂浮感的建筑盒子将人们带入一个迷离而有趣的环境中，让人群的选择更加多样。这种错位相遇的设计理念，为社区中的居民和访客创造了丰富多样的互动机会。

In this misaligned community, people can experience a unique spatial experience. The floating architectural box brings people into a confusing and interesting environment, making their choices more diverse. This design concept of staggered encounters creates rich and diverse interactive opportunities for residents and visitors in the community.

▼不做强制定义的空间区域，Space area without mandatory definition

设计想让不同的人群在此公共空间中身份错位，尽可能的在此进行相遇、相知、相识，为此我们利用空间原始层高，不仅丰富纵向空间的路径，同时打开室内外的边界，让不同人群相融与此。

The design aims to allow different groups of people to misplace their identities in this public space and meet, get to know, and get to know each other as much as possible. To this end, we utilize the original height of the space to not only enrich the path of the vertical space, but also open up the boundaries between indoor and outdoor spaces, allowing different groups to blend in with this.

▼二层廊道，Second floor corridor

体验错位

Experience dislocation

空间结构呈现出悬空盒子的独特形态。通过嵌套的体量逻辑和路径化的空间结构，人们可以穿行于不同的小空间，每个空间都有独特的氛围和功能。通过错位的布局和形态，人们在空间中的行走和观察过程中不断发现新的景观和视角，刺激了他们的好奇心和探索欲。错位空间的不对称性和变化尺度使人们在空间中产生一种动态的感觉，增强了空间的活力和生命力。

The spatial structure presents a unique form of a suspended box. Through nested volume logic and pathized spatial structure, people can traverse different small spaces, each with a unique atmosphere and function. Through the misaligned layout and form, people constantly discover new landscapes and perspectives while walking and observing in space, stimulating their curiosity and exploration desire. The asymmetry and scale of change in misaligned spaces create a dynamic feeling in space, enhancing its vitality and vitality.

▼展陈区，Product Display Area

▼壁画，mural

汤谷上有扶木，一日方至，一日方出，皆载于乌。汤谷上有扶桑，十日所浴，在黑齿北。居水中，有大木，九日居下枝，一日居上枝。——《山海经·大荒东经》

There are supporting trees on Tanggu, which arrive and leave every day, all of which are carried in Wu. There is Fusang on Tanggu, which was bathed for ten days in the north of Heichi. Living in the water, there is a big tree. On the ninth day, it occupies the lower branch, and on the first day, it occupies the upper branch—— The Classic of Mountains and Seas · Great Wilderness Eastern Classic

古人认为太阳中央蹲踞着一只黑色的三足乌鸦，它的周围看起来金光闪耀，故称之为金乌，而太阳之所以会日出日落，则是由于这只太阳神鸟，负载着太阳活动的原因。在三星堆出图的青铜神树中，10只太阳神鸟屹立于扶桑树之上，负责接引太阳和绵延不息的东方能量，这是上古时期关于太阳神鸟：三足金乌的故事。还有传说，是乌鸦为祖先衔来了茶叶的种子，这也许就解释了为何茶文化数千年来在东方大地上延绵不绝，唐风宋习，高唐市井，茶汤里冲泡的始终是茶人对于天地的敬畏，和对这俗世的热爱。東鸦这个名字，它即讲述着东方文化的起源，也铭记着历史的传承，更包含着国人骨子里对茶的记忆。

The ancients believed that there was a black three legged crow crouching in the center of the sun, and its surroundings looked golden, so it was called the golden crow. The reason why the sun would rise and set was because this sun god bird was carrying Solar variation. In the bronze divine tree depicted in the Sanxingdui, 10 sun divine birds stand on top of the Fusang tree, responsible for receiving the sun and the endless Eastern energy. This is the story of the sun divine bird: the three legged golden black in ancient times. There is also a legend that it is crows who brought tea seeds to their ancestors, which may explain why Tea culture has continued in the East for thousands of years. Tang style and Song custom, Gaotang market, tea soup is always brewed with tea people's reverence for heaven and earth, and their love for the secular world. The name "East Crow" not only tells the origin of Eastern culture, but also remembers the inheritance of history, and also contains the memory of tea in the bones of Chinese people.

制作工艺：壁画泥胚，第一层上三遍腾格里沙漠的沙、景德镇的陶土、麦秸秆和麻等材料做基层，第二层用敦煌鸣沙山的沙和细黄泥土，完全依循古法用魏晋手法创作。

Production process: the first layer is made of sand from Tengger Desert, clay from Jingdezhen, wheat straw, hemp and other materials three times, and the second layer is made of sand and fine yellow soil from Dunhuang Mingsha Mountain, completely following the ancient method and using Wei Jin techniques.