成都咖啡馆特色室内装修——受Wes Anderson的《布达佩斯大酒店》启发
Chengdu cafe features interiors inspired by Wes Anderson's The Grand Budapest Hotel

由专筑网王帅，李韧编译

墨尔本工作室Biasol为中国成都的一家咖啡馆作室内设计，将大理石与几何立面图和柔和的色调结合起来，该设计方案是向Wes Anderson的电影《布达佩斯大饭店》的致意。

布达佩斯咖啡馆位于中国四川省省会成都，但其所有者特意选择了一个澳大利亚设计工作室为其完成室内设计，目的是创造一个能吸引国际友人的休闲环境。

Melbourne studio Biasol combined marble surfaces with geometric elevations and pastel hues as a nod to Wes Anderson's film The Grand Budapest Hotel for this cafe in Chengdu, China.
The Budapest Cafe is located in the Chengdu, capital of China's Sichuan province, but its owners specifically chose an Australian design studio to create an environment that would appeal to an international audience.

Biasol工作室由建筑师Jean-Pierre Biasol领导，在设计过程中，设计师注意到了在美国电影制作人Wes Anderson的作品中感受到的“生动和怀旧的色彩”。

为了达到这个目的，设计师选择了能够表达女性魅力的材质，从而将灰色的大理石表面和斑驳的五彩水磨石平面的颜料结合运用，并且为墙体和家具增添了些许温和的绿色和粉色。

Biasol, headed up by architect Jean-Pierre Biasol, looked to the "vivid and nostalgic colour palettes" seen in movies by American filmmaker Wes Anderson.
To achieve this, the designers chose to focus on materials that they described as feminine, which resulted in a palette of light-grey marble surfaces and speckled multi-coloured terrazzo plains, as well as pastel greens and pinks for the walls and furniture.

设计师解释说：“电影制片人Wes Anderson在电影中描述了一个细致的、令人难忘的世界，创造出具有国际吸引力的场所，我们的设计正是汲取这部电影的精华。”

他们继续说：“他倾向一点透视，并从上面俯视；对于构图的边缘和中部空间同样重视，并且还通过拱形结构让空间具有层次感。”

"Our design draws on filmmaker Wes Anderson's meticulous, memorable and magical worlds to create an inviting destination with whimsical character and international appeal," explained the designers.
"He tends towards one-point perspectives and peering down from above; gives attention to the edges of a set as much as the middle; and frames stories with proscenium arches," they continued.

Biasol工作室为了模仿Anderson的系列设计中的对称性，设计师引入了一系列的拱形来架起嵌入式的座椅区域和置物架单元。

房间的中心是一个水磨石分层座位区，其中包含一个粉红色凹陷的球、白色霓虹灯标志和Eero Aarnio气泡椅。

To mimic the symmetry seen in Anderson's set designs, Biasol introduced a series of arches to frame the recessed seating areas and shelving units.
The centrepiece of the room is a terrazzo tiered seating area which includes a pink ball pit, white neon signage and an original Eero Aarnio Bubble chair.

楼梯的栏杆曲曲折折，通往夹层，从上面能看到咖啡馆的全景。

此处折线的运用与咖啡馆的其他场所相呼应，从吧台的细节到“楼梯”墙的延伸。整个空间点缀着点点绿色。

Elsewhere, a staircase with a zig-zag bannister leads visitors to a mezzanine level, providing views of the cafe from above.
This zig-zag motif is echoed elsewhere in the cafe; from the detailing on the bar to the "staircase" wall extensions.  Greenery is also dotted about the space.

Biasol工作室负责人说：“我们像Anderson一样，要创造充满想象力和能唤起回忆的空间，布达佩斯咖啡馆的空间设计让人们感到轻松自由，这是一种异想天开而高雅的美学理念，也是一种来自墨尔本咖啡馆文化的设计经验。

Biasol工作室由Jean-Pierre Biasol在2012年创立。这个多学科工作室的工作横跨室内设计、产品设计和品牌设计等多个领域，并已完成多个在伦敦和墨尔本的项目，其中有墨尔本艺术装饰仓库和白色混凝土咖啡馆No 19。

摄影：James Morgan

"Like Anderson, we create imagination and evocative spaces," said Biasol. "Our design for The Budapest Cafe has a relaxed and indulgent atmosphere; a whimsical and elegant aesthetic; and a hospitality experience infused with Melbourne's cafe culture."
Biasol was founded by Jean-Pierre Biasol in 2012. The multi-disciplinary studio works across interior, product and branding design, and has completed projects in London and Melbourne – including an art-deco warehouse in Melbourne and a pale concrete cafe called No 19.
Photography is by James Morgan.

出处：本文译自www.dezeen.com/，转载请注明出处。