Carpenter & Mason设计的暗色系“东京遇上纽约”拉面馆
"Tokyo meets New York" in dark-coloured ramen restaurant by Carpenter & Mason

由专筑网姚小俊，李韧编译

这家位于曼哈顿市中心的日本餐厅别具一格，餐厅用餐区的墙壁和家具都运用了靛蓝色，墙壁上的几何图案与菜单、餐具交相辉映。

屯京拉面是一个家族连锁餐饮品牌，这是该品牌在美国的首次亮相，同时也是Anan 和 Toi Sugeno兄弟的首次创业。

Indigo walls and furniture form dining areas for this Japanese restaurant in Midtown Manhattan, while geometric-patterned wall surfaces match the menus and tableware.
Tonchin New York is the latest in a chain of family-run eateries. But is the brand's US debut, and brothers Anan and Toi Sugeno's first venture on their own.

这所餐厅位于帝国大厦的北面，他们请来了布鲁克林的Carpenter＆Mason创意工作室来指导餐厅的美学设计，目的是“设计出一家有别于传统的日式餐厅”。

Carpenter & Mason的设计师Sarah Carpente说：“餐厅材料和样式设计的灵感都来自于日本传统物件的颜色和技术（Boro、金缮、烧杉板），但为了避免让设计作品变得过于死板，我们一直抱着玩味的心态完成了这个设计。”

They asked Brooklyn-based creative studio Carpenter & Mason to guide the aesthetic for the restaurant, located just north of the Empire State Building, to "design a Japanese restaurant that didn't feel traditionally Japanese".
"Our material and formal choices were inspired by traditional Japanese textiles, colours and techniques (Boro, Kintsugi, Shou Sugi Ban), but with a sense of playfulness to keep our references from feeling too heavy and too literal," said Carpenter & Mason co-founder Sarah Carpente.

餐厅的整个空间较为狭长，面对着第36大街的门窗通过半透明的聚碳酸酯制造而成，进来后首先是喝酒的吧台，然后是用餐区，最后是厨房。

吧台的角落里还放着一张带有座位的小桌子，作为就餐高峰期的临时等候区。

Fronted with translucent polycarbonate, the lofty space on 36th Street is long and narrow, and organised in a linear succession. The bar is reached first, followed by the main dining area, then the kitchen at the back.
A small table with seating is also tucked into the corner by the front window, to create a waiting area during busy times.

今年早些时候，这种主色为靛蓝的黑暗色调室内设计首次亮相于斯德哥尔摩设计周。

设计师将木制梁柱与就餐桌椅相结合，它们颜色偏暗，在这些餐桌对面的一长排软凳也使用了深蓝色的色调。

Indigo was chosen as the dominant colour – following a trend for dark-toned interiors that first emerged at Stockholm Design Week earlier this year.
The shade is used as a stain for timber posts and beams that form a row of dining booths, opposite an upholstered bench seating line that is also coloured deep blue.

Carpenter 说：“由于拉面是一种全天候的食物，所以我们设计了各种类型的座椅，用来保证客人们在一天的任何时间来到餐厅都可以拥有良好的心情”。

墙壁的下半部分也被同样的暗色灰泥涂刷。这样就从视觉上打破了房间的高度限制。

"Since ramen is such an all-hours meal, we created a variety of seating typologies so that anyone can feel great eating Tonchin ramen, regardless of the situation and time of day," Carpenter said.
Plasterwork in the same hue covers the lower half of the walls, visually breaking up the room's height.

设计师选择了纹理突出的木质桌面，和周围的暗色家具形成鲜明的对比，从而使整个空间形成了粉色的基调，让餐厅变得更加温馨。

Contrasting the rest of the dark furniture, wooden tabletops with a particularly prominent grain were chosen to add warmth, along with pink tones in the aggregate that forms the bar counter.

Carpenter＆Mason邀请LMNOP 创意团队为餐厅进行平面设计，最后这些平面图案同样运用于餐厅的墙体上。

LMNOP团队成员Leigh Nelson的设计借鉴了日本艺术家Kumi Sugai的作品，这位日本艺术家早年离乡，后来创作了很多西方风格的油画和版画，这些作品让其闻名于世。

Carpenter & Mason brought on LMNOP Creative to design the branding for the restaurant, which also ended up informing graphics used on the walls.
The studio's Leigh Nelson looked to the work of Japanese artist Kumi Sugai, who became well-known for the paintings and prints he completed after leaving his home country and adopting a more Western style.

Nelson大胆地使用了红蓝色系，设计出了八种不同背景的菜单、桌巾，以及专门定制的拉面碗。

Nelson说：“我们设计这些图案的初衷是使它们如同拉面般能够自由组合。”

同样的设计风格也表现在当地艺术家Helen Levi设计的灯具之中，灯具悬挂在桌椅上方，球形的灯泡加上边缘凹凸不平的陶瓷盘灯盖显得别具一格。喝酒的吧台区域的红色凳子与蓝白色的瓷砖交互辉映。

Nelson's graphics in bold red and blue tones were used to create eight different menu backs, as well as to pattern the ramen bowls – custom-made in Japan – and scarves worn by the servers.
"The idea behind these patterns is that they can come together forming endless combinations, much like a bowl of ramen," said Nelson.
The colour palette also carries through to the light fixtures, created by potter Helen Levi. Her ceramic dishes with uneven lips form sconces for globe-shaped bulbs that are mounted above the bench, and pendants hung in the booths. Red stools pop against the bar area's blue and white tiles.

Nelson设计的一幅图画被做成了纺织壁挂，挂在厨房的门上方，这幅壁挂由艺术家Alison Charli Smith手工制成。LMNOP团队还为浴室设计了具有面条元素的壁纸，它同亮红色的门和折叠圆镜一起置于房间的角落。

其它如抛光混凝土地板和暴露的管道系统等元素，都让餐厅带有浓郁的工业气息，再搭配些手工艺制品，最终营造出Carpenter所谓“东京遇见纽约”的氛围。

One of Nelson's graphics was turned into a textile wall hanging, hand-stitched by artist Alison Charli Smith, which sits above the kitchen door. The LMNOP team also designed a mural of swirling noodles for the bathrooms, which also feature bright red doors and circular mirrors folded to fit into the corners.
Other features include a polished concrete floor and exposed ductwork that lend an industrial feel. Paired with the craft elements, they create an atmosphere that Carpenter described as "Tokyo meets New York".


出处：本文译自www.dezeen.com/，转载请注明出处。