Chengdu, which is hailed as the “The Land of Abundance”, boasts splendid ancient Sichuan civilization. Along the history of thousands of years, the ancient Sichuan civilization has become mysterious and its cultural heritage has attracted the attention and research of numerous scholars. It is this mysterious civilization that has created the unique aesthetic and pursuit of life for Sichuan people for thousands of years.
Chengdu's F&B industry is a very place not only for providing food and beverage services, but also for relaxation.
By focusing on the core idea of "Chengdu Memory", the case connects the whole space by the four themes of "tea drinking, play watching, scenario and snacks” and deconstructs and recombines the Sichuan cuisine culture, common life, and oriental aesthetics, creating a perceptible and interactive immersive dining scene.
Upon entering the lobby, guests first see the reception desk, then come to the dining hall after passing through the rest area and then arrive at the private room. The special transition from outdoor to indoor space is connected by lobby. The tour from the rest area to the dining area, the space changes from small to large, from static to dynamic, and the progressive relationship of space can mobilize customers’ emotions. On contrast, private rooms, as a very dinning place for mother and children, is private and quiet.
The “customer-oriented” streamlined spatial progression relationship is not only a process of place movement for customers but also a typical change of their mental feelings. Only by understanding this process can designer design the spaces flexibly and finally create an extraordinary space.
Designed with modern Chinese aesthetics, the hall highlights the symmetrical layout and deep space to create a sense of solemnity. Warm toned wood veneer and artistic paint are also used to enhance the sense of luxury together with some metal ornaments.
The reception desk is fully of S&T based on the traditional Chinese framework, creating a welcoming space that combines ceremony and affinity. By highlighting "valleys”, the designer specially reconstructs the landscape of the Northern Song Dynasty through the Qingcheng rock slice suspension installation.
Linear lighting is used to guide flow. The wall is designed using leather and wood veneer as well as simple artistic ornaments. The design of narrow and long spaces expands visual depth through mirror elements, balancing functionality and ceremonial transitions.
As for the interior decoration, cultural symbols are designed by referring to the temple patterned wooden veneers. The marble floor echoes with rock textured wall panels perfectly, to create a natural texture. The seamless connection of micro cement ceiling creates an immersive enclosed space.
The open layout is used, which could enhance the function of social communication; the spaces are also divided flexibly by modular furniture, finally reconstructing the flexible social scene of the old tea house that can be opened or closed.
Some metal ornaments used in some sites enhance the modern feelings and foster a relaxing dining atmosphere. The resin partition interlayer reflects the vivid memory of the old tea houses in Chengdu, including the broken porcelain, mahjong, and copper coins, and casts a silhouette of the market when backlit.
The dark marble tone is decorated with warm metal. The mirrored stainless steel enhances the sense of space. The rock slab integrated basin is used as the independent water basin, with linear drainage design and wall micro cement, both of which form a minimalist functional aesthetic style. When the faucet is turned on, the artistic paint on the wall gradually shows water ripples, and the reflection in the mirror is like a Sichuan woman applying makeup to the mirror by the Huanhua Stream.
In the "Jade Chapter", the phrases "the steps in front of the central house" and "the flat courtyard surrounded by walls" are always adopted in the dining architecture in Chengdu to form outdoor courtyard spaces by combining buildings and colonnades. Rockery, trees, water bodies, and stacked stones, play an essential role in the landscape of courtyard spaces.
With "water" as the core concept, the artistic grille partition simulates the rhythm of flowing water, the acrylic material creates an abstract waterfall installation, and the dark stone floor is compared with the translucent material to create a quiet but dynamic oriental aesthetic realm.
The dual-perspective design can better reflect the spatial hierarchy; the outdoor garden is used, which could introduce the natural light, and create a semi indoor and outdoor transition under the effect of an "outdoor water floor". It not only resembles the transparency of Shu brocade, but also metaphorically represents the artistic conception of "a thousand autumn snow on the western ridge in the window".
The circular layout of the private rooms complies with the custom of sitting around during the "Spring Festival Banquet" in Sichuan Province. The crystal chandelier abstractly interprets the layered structure of the tea bowl.
The minimalist approach is a very way for highlighting the essence of the material. Crystal brick walls are used, which could foster a hazy layer through lights. The water patterned metal plates echo with the culture of western Sichuan. Luminous metal lines outline the contours, creating a low-key but luxurious dark toned space.
The visual focus lies in the gradient mosaic art wall, whose gradient color spectrum is derived from the ancient Sichuan brocade "Crimson Yarn" dyeing spectrum. The spatial flow is further intensified by using a curved velvet sofa. The Eastern charm is interpreted using modern techniques, creating a serene and dynamic dining atmosphere through geometric shapes and texture layers.
The rough rock wall, together with the metal frame, basically constitutes the industrial style. The linear light strips play a dominant role in guiding the flow lines. Abstract installation art adds typical elements to the entrance, striking a balance between functionality and art.