PAKTA餐厅

转载自www.archdaily.com 首发于2013-11-01

建筑师： El Equipo Creativo

地点：Carrer de Lleida，5，巴塞罗那，西班牙

总建筑师：Oliver Franz Schmidt, Natali Canas del Pozo

设计团队：Lucas Echeveste Lacy, Cristina Huguet, Mireia Gallego

面积：1000平方米

年份：2013

摄影师：Adrià Goula

来自建筑师的观点。在秘鲁的克丘亚语中，Pakta 意思是“联合”，而在这个案例中，实现了两种文化和各种菜系的联合。考虑到日本菜系是日经烹饪的基础，却包裹在秘鲁的味道、颜色、传统和成分之中，El Equipo Creativo 的室内设计就是从中获得灵感的。出于这种考虑，这间餐馆的基本元素比如酒吧、厨房、家具等都是明显参考日本传统小酒馆的架构来设计的。



具有秘鲁风情的丰富颜色充满了整个空间。这个彩色的“第二表皮”通过直接使用秘鲁织机制作完成，获得了比起简朴的日本设计来更令人惊叹的丰富的颜色混合搭配的效果，强调了这个人工制品在秘鲁手工艺中是多么的普及。然而，秘鲁织机全新使用方式所得到的的效果可不仅仅如此，在Pakta 的墙上都是它精确排序制作出来的织物，使得这个平坦的表面在空间中有了立体的感觉，为空间增加了活力和动感，并且模糊了场地中的界限。秘鲁的传统编制机是在不同方向上彩丝互相交织的木质的机械，从而形成了有立体感的空间，在被改建和重新诠释的Pakta 中产生了迷人的氛围。



最终建筑师通过使用一些各自最有文化象征意义的传统元素的方式将秘鲁和日本两种文化融合到了一起，创造了强有力却很互相保持平衡的视觉效果，正如日经菜本身一样，同时具有无意识和理性，搞笑和沉默，令人惊奇却又意外的觉得很熟悉。由于很小的场地又长又窄且只有一个小门面，所以这个项目一开始就必须考虑最大程度的利用空间。整个工作区域被分成了三块。



入口、酒馆、皮斯科酒吧也充当着室内外之间的过滤器。这是一个可以作为架子，视觉过滤器，产品展示架的三维框架。面相室外的吧台成为了建筑的立面并且通过褪去的色彩，日本灯具，图形元素和一小部分用于展示的产品来欢迎顾客。为了进入餐厅，顾客就得穿过这个作为用餐空间介绍的木质框架。



餐厅的主要区域就是寿司吧了。从结构上讲，寿司吧是与酒吧和皮斯科吧完全对立的，因为它由三个厚重、高反光的石头围和而成，因此寿司师傅虽然工作缓慢却可以直接为坐在他们附近的顾客服务。将吧台分成三个独立的抬高的石块的想法有助于减少场所的规模，并且在各个沉重石块之间创造奇妙的轻浮感。靠近餐厅区域尽头的地方是厨房，厨房被设想成允许内部的厨师可以通过不同透明度的玻璃嵌板被看到的流光的方盒子。









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*特别鸣谢翻译组提供的译稿，译稿版权归专筑网和译者所有，转载请注明出处。*

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原文地址:http://www.archdaily.com/443743/pakta-restaurant-el-equipo-creativo/

PAKTA Restaurant / El Equipo Creativo

Architects: El Equipo Creativo

Location: Carrer de Lleida, 5, Barcelona, Spain

Architect In Charge: Oliver Franz Schmidt, Natali Canas del PozoDesign

Team: Lucas Echeveste Lacy, Cristina Huguet, Mireia Gallego

Area: 100 sqmYear: 2013

Photographs: Adrià Goula

From the architect. In the Quechua language of Peru Pakta means “union”; in this case the union of two cultures and their respective cuisines . The interior design created by El Equipo Creativo emerges from this same idea, considering that Japanese cuisine is the basis of the nikkei gastronomy but wrapped in Peruvian tastes, colours, traditions and ingredients. With this in mind, the basic elements of the restaurant such as the bars, the kitchen and the furniture are designed with a clear reference to the architecture of the traditional Japanese taverns.

An explosion of colours evocative of Peru envelopes the space. This chromatic “second skin” is achieved by use of a direct reference to the Peruvian loom, offering a surprising combination of colours which contrast with the austere Japanese design, and underlining the deep-rootedness of this artefact in Peruvian arts and crafts. However, the re-interpretation of the Peruvian loom goes further, sequencing its own elaboration process on the walls of Pakta, transforming this flat surface to offer a tridimensional character to the space, adding vitality and movement and blurring the limits which mark the locale. The traditional Peruvian weaving looms are wooden mechanisms where colored threads intertwine in various directions, forming a suggestive tridimensional space which generates an attractive atmosphere transformed and reinterpreted in Pakta.

The final result unites the re-interpretation of these two cultures–Peruvian and Japanese– by means of some of their most emblematic traditional elements, creating a visually potent but balanced solution, at once spontaneous and rational, hilarious and silent, surprising but strangely familiar, as is the nikkei cuisine itself. As the small locale is long and narrow with a tiny facade, from the beginning of the project it is clear that maximum advantage must be taken of the space. The work areas are divided into three zones: the entrance, the sake and pisco bar also acts as a filter between the interior and exterior of the locale. It is a three dimensional framework which serves as a shelf, visual filter and product display stand. Facing outside, the bar becomes the facade and welcomes guests with a composition of faded colours, Japanese lamps, graphics elements and a small selection of products on display. In order to enter the restaurant, the guest passes through the wooden framework, as an introduction to the dining space.

Presiding the dining area is the sushi bar. Structurally speaking, it is completely antagonistic to the sake and pisco bar as it is composed of three heavy, luminous stone pieces, upon which the sushimen work slowly but surely serving directly to the clients who sit around them. The idea of dividing the bar into three separate and elevated “stones” helps to contain the reduced scale of the locale and create a sense of strange levity among the heavy pieces. Closing the space at the end of the dining area is the kitchen, conceived as a luminous box which allows the cooks inside to be observed through a layer of glass panels with different degrees of transparency.

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*特别鸣谢翻译组提供的译稿，译稿版权归专筑网和译者所有，转载请注明出处。*