Biiird Yakitori
Biiird日式烧鸟
  • 城市 : 深圳   City : Shenzhen
  • 面积 : 274平方米   Area : 274㎡
  • 完成日期 : 2022-06-01    Completion Date : 2022-06-01
  • 设计师 : 卓俊榕   Designer : Cheuk Chun Yung
  • 摄影 : 吴嗣铭   Photographer : Wu Siming
  • 事务所官方工作室名称 : 大人儿工作室   Official Name : bigER club design
  • 官网/公众号 : big-er-design
Biiird Yakitori  Biiird日式烧鸟
何谓“烧鸟”yakitori “烧鸟”二字,抛去简繁体的区别,基本沿用了日本的写法,意为以串儿的形式烤各种鸟的各个部位,首次出现于1643年(江户时代)的烹饪书《料理物语》中的“焼き鳥”,该书记载了各种禽类的料理方法。江户时期,烧鸟的主要食材有鹌鹑、鹤、麻雀、云雀、鹎、斑点鸫、鹭鸶、斑鸠等,进入明治时期后,鸡肉才加入了烧鸟的行列。二战后,日本街头充斥着的“烧鸟摊”转变为“烧鸟店”,不变的是其作为令人放松的市井气息——下班后在炭火前听着噼啪响声,大口喝酒、大口吃肉的温情体验。 近年,在国内曾作为居酒屋附属品的“烧鸟”,随着消费升级和细分化,开始逐渐独立出来,单独成店。 空间的产生 一直以来,饮食作为一种无法替代的现实体验,由里至外影响着人们的生活,同时也作为重塑商业空间的重要线索之一。每种餐饮类别的食材特性、烹饪手法都与就餐形式互相影响着,结合诸多内在因素,形成各式各样的餐饮空间类型,并发展出独特的“仪式感”,甚至形成某种餐饮文化。 例如围合而坐的重庆火锅和东北铁锅炖,餐桌(灶台)与锅本身一定程度上接管了厨房的部分功能,使就餐与烹饪相互交织于食客之间,偶然地互助,你来我往间造就出一种社交方式; 又例如日本的一兰拉面,座位围绕着厨房一字排开,且有隔板将食客分隔开来,同时座位面前的出餐口作为厨房的直接延申,确保了以“秒”作为烹饪计算单位的高品质与标准化的出品。如有两人同行,之间隔板可以人性化的取下,但人们普遍不会这么做,单人单桌单品的“去社交、去眼神”的用餐方式,让人终于可以安静下来专注地享受一碗拉面。 Biiird日式烧鸟店作为Sushi Gin旗下的子品牌,位于深业中城3号楼首层。意外收获设计工作室对于这个不足300平的场地(局部二层)进行了大量分析,此次的设计不仅着眼于空间和材料的研究,同时,对于“烧鸟”作为一种餐饮形式该如何作用于空间的产生,我们进行了多种尝试。 回应城市空间 场地所处的商业区拥有着统一的店铺立面,玻璃作为统一的立面材料为空间带来了一致的通透感。穿过商业区的中庭,发现玻璃立面所营造的通透感被一排比例不得当的装饰性廊柱所阻隔。廊柱之下自成空间,各商铺的入口同一朝向,整齐划一,却和廊柱的排列毫无关系。个别入口甚至正对廊柱,导致入口缺乏退让空间,门前作为柱廊与店铺之节点却仅有两米宽。 步入店铺,是六米间隔的铺位(场地),在10~13号铺尚未打通相连之前,已经能发现场地层高(5m)所带来的设计潜力。有趣的是,相连的方式并非单纯以联排打通,而是部分横向相连,部分上下相连,也就是有开阔空间,也有被剪力墙相隔仅由一米宽的门洞相连的相对独立空间,更有意思的是还有局部二层。 本以为打通两间6m*12m的店铺后能得到一个方整的大空间,却发现方正的场地中央有一根500mm*500mm的柱子。作为场地唯一一根独立出来的柱子,不仅分割了空间,还极大程度地影响了整体的功能流线。而本次设计任务的其中一项要求是所有的餐位都以吧台形式展开,意味着吧台的长度决定了客席数量,于是我们尝试了各种吧台的形式与可能性,以求得出最优解。 不止于设计 经过对现场条件和功能需求的分析,我们决定将用餐区和厨房置于带有柱子的大空间,以用餐区围绕着厨房,将厨房向内包裹,而柱子则收于厨房之中。从而,避免了柱子立在正中央的突兀感,使空间形成一个连续的半环状,以此来增加视觉的连续性。更重要的是,厨房与用餐区之间的效率得到了提高。 显然,在满足了客容量和主要空间的效率问题后,场地东侧被厨房和用餐区两个较大的功能分区几乎沾满,剩下的卫生间、储藏间、员工更衣室等面积较小的服务空间需要巧妙利用现场调解,有机地融合为一个整体,组成一个置于一侧的多功能“核心筒”(基础设施、交通盒)。 至此,“设计”算是“做完了”。但我们不甘心停留在审美和解决问题、提升效率的层面上。私人空间或许能通过某种策略释出一定程度的公共性与社会性。 策略 通过对功能空间的大分割,使用餐区和“核心筒”彼此独立但又局部相连,于是有组织地产生了更“有趣”的剩余空间。在对空间可能性上,我们试图将一部分剩余空间在非用餐时段重新激活,或许能成为新的社交场所和展览空间。 空间形态往往反映着社会形态,也体现出特定阶段的生产关系和底层逻辑。人与空间、人与人、人与物的关系,随着消费和娱乐在互联网的空间赋能下不断被重构,例如“网红”空间在社交裂变的加持下,一定程度上满足了商业空间的利益。这种满足,在取得某些成效时,就会形成经验,也会导致对“新”的探索被某种流行语境限制住。面对商业空间这一个典型的矛盾体,我们既要尊重商业逻辑,解决问题,同时也要谈些“主义”。
The word "yakitori", leaving aside the differences between the traditional and simplified forms, is essentially a Japanese word meaning the various parts of a bird grilled on a skewer. It first appeared in 1643 (Edo period) in the cookery book "Yakitori", which describes the cooking of various birds. Food has always been an irreplaceable reality, influencing people's daily lives from the inside out and acting as a critical clue to reshaping commercial spaces. The characteristics of the ingredients and cooking methods of each type of food and drink interact with the form of dining, combining many intrinsic factors to create a variety of dining space typologies, developing a unique sense of 'ritual' and even a particular dining culture. After analyzing the site conditions and functional requirements, we decided to place the dining area and kitchen in the ample space with the columns, with the dining area surrounding and wrapping the kitchen inwards. In contrast, the columns are tucked away in the kitchen. This avoids the abruptness of a column in the middle of the space and creates a continuous semi-ring space, thus increasing the visual continuity. More importantly, the efficiency between the kitchen and the dining area has been improved. While satisfied with the main spaces' capacity and efficiency, the space's eastern side is almost completely covered by the two larger functional divisions of the kitchen and dining area. The remaining smaller service spaces such as toilets, storage rooms and staff changing rooms need to be cleverly mediated on-site and organically integrated into one multifunctional 'core' (infrastructure and circulation core) placed on one side. At this point, the "design" is "done". We are not willing to stop at aesthetics, problem-solving and efficiency. Private spaces may be able to release a certain degree of social properties (publicness) through some strategy. By dividing the central functional spaces, the dining area and the "core" are independent of each other but partially connected, thus creating a more "interesting" residual space in an organised way. Regarding spatial possibilities, we have attempted to reactivate some of the remaining space during non-dining hours, perhaps as additional social spaces and exhibition spaces. Spatial forms often reflect social forms, as well as the relations of production and underlying logic at a particular stage. The relationship between people and space, people and people, people and things, is constantly being reconfigured with the spatial empowerment of consumption and entertainment through the internet. When achieved with some success, this satisfaction can lead to experience and the exploration of the 'new' being limited by specific popular contexts. As a typical contradiction in commercial space, we had to respect the commercial logic and solve the problem while discussing some "doctrine".
外立面
用餐区
用餐区
休息区
2楼包间
砖拱结构和操作区关系
楼梯扶手
平面图
剖面图
分析与轴测图