.베스트 디자인 미디어 상
.베스트 디자인 미디어 상
우수컨텐츠 로고
우수컨텐츠 로고
우수컨텐츠 로고
인터넷 심의위원회 배너
The Highest Quality & Retention of Design
디자인 트렌드를 선도하는 대한민국 프리미엄 미디어 그룹
The Highest Quality & Retention of Design

The Challenge of Cooking

Everyone has an instinct for pursuing the things pleasing to the eyes. This is especially true in the 21st century. It is not suitable to settle a place for entertainment and business talks around the museums, libraries, and culture centers, as the cultural atmosphere around is much too dense; nor is it appropriate to choose that place near the residential areas, where the flavor of life is all too strong. An ideal place would be a scenic spot which is not very far from the bustling of the city while also keeps quiet in a noisy neighbourhood. That is where the Joyous Club is located. The place is at Anno Domini Park, which is near to the entrance into the Xixi National Wetland Park in Hangzhou. Standing on the balcony, one can see that the verdant and beautiful Xixi Wetland lies just ahead. The highlights for this design is practicability and artistry. Practicability can be understood as comprising environmental comfortability, functional applicability and economical utilization. Environmental comfortability directly reflects the service quality of the chamber. Functional applicability is related to the convenience of aspects of daily management. And economical utilization is important for the cost control at the earlier stage and management in the latter period. Artistry can add to the special visual characteristics and culture connotation of the chamber. It will give soothing feelings to the guests, both visually and psychologically, thereby making deep impressions on them and increasing the brand value of the chamber—a win-win situation. DISPLAY: The furniture should be of high quality and also be comfortable. The artwork should be authentic, all hand-made by artists and artisans. The decorations should be highly refined, less is more is the principle of Joyous Club for building a high quality chamber. SPACE: The indoor will have both closing and opening sections. According to the desired functions, the column grids can be used to segment the space into large and small areas. During the party, the space can either be all opened to hold the guests, or separate out private spaces to gain the quiet from the noise. The balcony outside is built with a multi-functional sunshine room, considering that there is a beautiful outdoor environment. In the room one can sit, lie, and crouch. The room can be either fully sealed or fully opened, in which there is both air conditioning and heating equipment, therefore season is not a concern. COLORS: The strong and elegance are a unity of opposites. The room of red wine and cigar is decorated with strong magenta, and the study room of meditation is painted in deep blue, while in the open spaces, beige, khaki, and black are the main colors irregularly scattered. LIGHTS: The lanterns for floodlights, decoration, and illumination can be turned on or off in different areas. When the room temperature is low, strong and weak lights can be mediated. The combination of lights can be changed according to the time and season, in order to echo the different themes of the party held in the chamber.

The Pocket Money Restaurant

Although there are not too many hard walls that function as partitions, the eaters are brought into different atmospheres through highlighting the effects of the changing in the areas under the status of four-dimensional space so as to form emotional stay of people on different drama scenes in various areas. Therefore, divided areas are naturally formed in the hearts and eyes of the eaters. Of course, where area division is concerned, the designing also adopted some rather traditional and direct methods, such as an elevated area forming a dispersion in height, etc. No matter whether the overall style of the restaurant is being confirmed or the various designing elements are being utilized, all these must be established on the basis of correct positioning of spaces. The Pocket Money Restaurant exists in the spirit of attracting young people, subverting traditional dishes, pursuing changes, innovating with tastes, and being brave to break through. Because the design has combined the dramatic, artistic, and expressive forms of “stage drama”, the space is intended to be used for the expression of drama, abstractness, contradiction, and exaggerated emotions, so as to conform to its identity as a break through and creative restaurant. “Post-modernism” had thus been born, and become the core word for its designing language. The word “post-modernism” first appeared in the book “Spanish Poetry Anthology” written by a Spanish writer De Onis to describe the reverse motion occurring within the interior part of modernism. In the 1960s, deconstructivism came into being in the wake of “God is dead” of Nietzsche, Heidegger's phenomenology, and the “May 1968 protests in France” sweeping Europe. It stresses the freedom and banter of thinking and proposes to break, overlap and reconstruct, and promotes the dissipation of a body so as to achieve a feeling of uncertainty, which had a tremendous influence on post-modernism. The appearance of post-modernism is a kind of criticism on modernism and an inheritance based on this criticism. The designing principle of overturning and reconstructing the existing vocabulary relationship and logically negating tradition has been taken to produce new and alternative aesthetic significance. The designing philosophy of post-modernism completely discarded the seriousness and simplicity of modernism in interior design. On the contrary, it strengthened the vagueness and bantering and transformed the coldness and rational rebellion of modern design into a kind of ridiculing method, to be adopted in the designing of details so as to intentionally produce contradictory and deceptive emotions. This kind of emotion resulted in non-traditional coloring techniques and a lot of details filled with decoration feeling in the creation of the space. There are rich and highly pure bright colors utilized in all parts of the Pocket Money Fashionable Chain Restaurant, and the large amount of “Pop-Art” decorations on the walls are the most direct manifestation of them. Meanwhile, post-modern art also contains a kind of historical metaphor. Within the restaurant, a traditional arch manifested abstractly and classical sculptures from Renaissance area Europe can be seen everywhere, and have formed strong contrast and collision with the modern simple and abstract plane. This simultaneously also implies the various kinds of changes and creations of the dishes within this Restaurant. The Pocket Money Restaurant has always attracted a lot of eaters with its excellent but cheap cuisine as well as continuously creative dishes, while what has rendered the eaters full of enjoyment and forgetful of leaving has been the novel, exquisite, and charming environment and design of the restaurant. The initial inspiration for the design of the restaurant came from the art of drama related to living theatre. It is different from the style setting of an ordinary dinning space, and the designers wished to build the interior space of the Pocket Money Fashionable Chain Restaurant to be a multicolored stage, where there are lamps, music, and props. The eaters subtly become the “leading character” of the stage in their immersion in the scene, and the strong feeling of being drawn into the indoor environment could easily make people feel “lost” in the scene of the stage and the designed scenario so as to achieve resonance. The highly pure color, the background of spotlights, and the displays with a rather strong prop feel seem to all be a visual feast resulting from a joint performance of the designer’s hands. Where the space structure designing and functional displaying of the restaurant are concerned, the designing also uses stage plays as its source of inspiration. The whole restaurant is a one floorspace and it is displayed to the surrounding area with the working area as its center. On the basis of taking reasonable kinetonema as the center, the design separated the whole space into a “scene” with driving force and a multiple area pattern. The application of lamplight is also one of the more important elements in this case. Based on the premise of meeting the needs of lamplight for dinner, the designer hopes to achieve more “dramatic” effects through the application of lamplight, to use the changes of light and shadows to draw the outline of the weakness, solidness, and strength within the scene, and to utilize the relationship between brightness and darkness to activate the emotions and participating feelings of the eaters, thereby intensifying a kind of dinning atmosphere that is filled with vitality, relaxation, creativity, and tolerance. Through its differences from the set styles of ordinary dinning spaces, the designer hopes to create in the indoor space of the Pocket Money Fashionable Chain Restaurant a colorful stage where the lamplight, music, and props are able to narrate the charm of art. The eaters coming here would subtly become the “leading character” on the stage immerging in the site. In addition, the strong feeling of being brought into the indoor environment could easily make people feel “lost” in the scene of the stage and the designed scenario so as to achieve resonance.

Jinyuanbao Shishanghui Restaurant

Jinyuanbao Shishanghui Restaurant, located in Nanjing Wanda Plaza, mainly serves authentic Huaiyang Cuisine. Nowadays when Sichuan Cuisine and Hunan Cuisine prevail, the restaurant offers a taste of hometown. The designer starts from the reality of Huaiyang Area and the IMPRESSIONS OF VILLAGES is selected as the theme of restaurant design. The far mountains, breezes, flowing clouds, vegetable gardens, and grasslands that are partitioned by bamboo fences and other active elements are made into abstract static models inside the restaurant. The egg-shaped braided fabrics divide the hall space. Through an elliptical viewing frame, the far mountains are presented, which makes the restaurant clients feel at first as if they are in the nature. The designer realizes in a straight way the image positioning, function setting, and traffic diversion in the egg-shaped braided fabrics. The space less than 600 m² is required to accommodate 200 people at one time for dinner. Each dining unit is primarily to have 4-6 people, the rectangular dining tables are arranged flexibly, and the three nest-shaped spaces half separated are presented in a round table way, which is accepted as a Chinese way of dining. Such layout extends the previously compact spaces. The seemingly compact layout actually means to reduce the space occupancy of the traffic. The suspended ceiling with free curves looks like flowing clouds and leads the trends of all elements in this space. The arrangement of the lights and the layout of tables and chairs form a hidden axis, connecting elaborately the elements that seem scattered. The designer did not use the so-called original rough materials to introduce a tactile impression of villages; alternatively, the concrete reality is transformed into the abstract for presentation, the abstract thinking changes into actual experience, and finally, it returns to the abstract. The far mountains are slightly reflected on the walls, the terrazzo ground by monolithic casting is peaceful, bright, and clean, on which the surface of the river in front of the door reflects itself and the vertical spiral lamp post is the whirlwind over the levee that runs together with the flowing cloud on the top.

Fangsuo Book Store in Chengdu

Chu’s initial proposal was centered around “The Secret ScriptureLibrary”. Scripture libraries have been found around either in or under Buddhist temples for centuries and have an extended meaning of stored wisdom in Mandarin Chinese. This concept really resonated with Fang Suo and was immediately accepted. In the fourteen month process that ensued, neither party wavered on this core concept of a Secret Scripture Library. In the beginning there was no definitive picture for how the Cheng Du -Fang Shuo Bookstore should look aesthetically. However, it was imperative to the owner that the bookstore had to have Chengdu (provincial capital of Sichuan, China) running through it’s very core. With this in mind, the Chu Chih-Kang team began research on the city and found significant historical connections to the site, such as links to Daci Temple and one of the most famous monks in Buddhism - Xuan Zhang of the Tang dynasty. This research also brought to light the emotional connection that people of Sichuan have with “Wo” (a nest, cove or home) and “Bai” (intentional placement or design). In the thousands of years of Chinese history, there have been numerous and infamous quests for ancient scriptures and the wisdom that they hold. This spirit of exploration was something that Chu wanted to capture in the Fang Suo Bookstore. Moreover, Chu not only wanted people to experience this quest into the unknown, but he also wanted the bookstore to have the solemnity of a temple since books represent some of mankind's most deep and profound wisdom. Chu envisioned a bookstore that embodied the essence of ancient scripture libraries, but he also wanted a space that spoke to the Sichuan people and their way of life. Sichuan people lead a slow-paced and relaxed lifestyle and they love to socialize. Within the province you’ll always find spaces where you can nuzzle down and read a book or coffee shops where you can socialize with your friends. These spaces represent how central “Wo”(a nest, cove or home) and “Bai” (intentional placement or design) are to the Sichuan people. Designing a bookstore has always been a dream for Taiwanese designer Chu Chih-Kang. The inception of this dream came almost 14 years ago when Chu came across some interesting bookstore designs. Chu has always been attracted and inspired by interesting bookstore designs because they are not simply commercial shops designed to sell books. They are spaces that collect and share knowledge as well as being spaces for relaxation and contemplation. For Chu, to be able to create such a place is the ultimate achievement. When the opportunity arose to partner with Fang Suo Bookstore on their latest project, there was absolutely no doubt in Chu’s mind as to whether or not he would accept this opportunity. The Buddhist expression fa wu ding fa - nothing is fixed, always pushes Chu to create and innovate. This embodies his entire design philosophy. The concept of “The Secret Scripture Library” was one that Chu developed with full hearted satisfaction. When a perfectionist and dreamer cross paths it is inevitable that challenges follow. The toughest challenge for Chu was how to improve and push the project to it’s very limits so that the customers walking through the store would experience genuine emotions and embark on the narrative of the scripture hunt. The experiences of the customers would be the defining factor to make this piece truly memorable. From start to finish there were around 50 revisions to the design and Chu invested almost four times the manpower and resources compared to other projects. “There is no wasted effort, when one is not afraid of adversity and puts their all into something” - Chinese proverb. For Chu, this attitude drove him and his team towards the finish line of this project. For Chu, the written word represents the collection of shared knowledge and wisdom. With this foundation of our known world we explore the unknown future. To encourage the customers to join him on this journey of exploration, Chu has infused the space full of imagery of the vast cosmos, with designs of constellations and planetary diagrams. Chu really wanted for people visiting to feel that they were in the vast depths of the cosmos. Following the theme of the cosmos, the entry to this building is through a sculpture shaped like a meteor. This mysterious tunnel is intentionally designed to feel narrow and confined for those passing through. This near claustrophobic experience is then followed by the immediate release into the large open space where you feel the pressure immediately released. The journey through this meteor, this ark to knowledge, is designed to release tension and allow customers to enter the space with a relaxed frame of mind, open to discovery and enchantment.

Amazing Club

Whenever the noisy during the day into the lights dim, the bar is often the urban population to give vent to their feelings, drinking place. The bar that have variety noisy and Madden Manyao is more popular in this moment. So, in this case, we try to get rid of the shackles of genre industry, and to break the cycle of nightclubs single style, find themselves in an alternative path, just like the music from Bossa Nova, although a small minority mixed Multivariate but seems to have become a favorite of urban upstart. In the design of the space, whether guests are come for drinking alone or having fun in small groups, according the different needs of our customer's size and emotions, we divided the space to four parts, they are Hall Area, Performance Area, small Lounge Hall and the only VIP ROOM.Combined with the current young diverse preferences and fashion retro chase, we didn't use the overly thematic design approach in the style of the space, instead of using a more random mix of design techniques, industrial constructivism and ruggedly pristine American rustic element integration, and even the French romantic retro nature used to divide space, somewhat blend and mutual rending. In order to increase the visual tension and emotional memory, also we use different combination of contradictions, such as new and old, rigid and soft in the material, also the color's light and dark, So the space has a unified common perceptual similarity, but also catalyze the subtle emotional touch. Intended to portray a seemingly casual but lithe graceful emotional experience their own space.

Wu Yutai Tea House, Yutai Orient

Life is an art of time, so is tea. Beauty is more than the static moment, instead, it contains the instant feel. The designer understands the concept of “Great image is shapeless while great thoughts are selfless”with meditation of Zen. The focus is on the combination of contemplation and restraint to highlight the existence value and significance. Adhering to this temperament, the designer has brought new life to Chinese tea culture of centuries old from the modern Chinese perspective. Moreover, the precise use of the traditional Chinese materials and ancient elements fills the whole tea house with integration of ancient and modern charms as well as the feminine gentleness. The entrance of the tea house is designed with refined Chinese elements by means of mosaic, bamboo & rattan, marble and copper plate. It seems as if the designer wanted to tell us about Chinese tea culture. The surface decoration with Chinese elements adds humane senses to the modern architecture, making the tea house a natural and relaxing place that is hard to find in a metropolitan. Thus the ice-cold sense of distance of the modern architecture is reduced in such a smart way. In between the entrance and the lobby is a huge golden tea barrel, making a sharp contrast with themosaic on the floor to catch our eyes the moment we step inside the house. What a clever design! A rosewood bar as long as 8 meters is the first thing we can see when entering the lobby. This bar full of tea cultural elements is designed for reception as well as for customers to chat while drinking tea. The roof in triangle post-and-lintel structure and the cane woven with bamboo and rattan make a contrast in the space decoration while materials with tough lines and rich texture complement the furniture and furnishings with traditional Chinese elements well so as to demonstrate the designing concept of Oriental Zen all through. The VIP tea area is designed with human-oriented concept and its flexible space is used to maximum. Wooden screens are used to divide the tea area into several parts to create a private and quiet space for customers, which not only enlarges the space of use but also brings more life to the space. Such design integrating the ancient and modern elements can be found throughout the whole project. The hand-painted jasmine and giant oil paintings by artists fit the brand theme with tender beauty of Orient and perfect matching of lights. Thewonderful design enables the century-old brand of Wu Yutai to survive in a new way so as to promote the jasmine tea - one of our non-material cultural heritages to the world.

Shichen Fortune Club

Tea-tasting has been regarded as elegant all the time, which not only has high requirements for the quality of tea but also for the tea-tasting environment. Nothing can be more suitable than a natural and simple space environment for tea-tasting. Shichen Fortune Club takes building stones as the main material and creates elegant space atmosphere with three colors – black, white and grey. Although lots of stones are used, the space does not appear to be dull. Changeful stone materials form a stereoscopic sensation with diverse ways such as glaze and rough surface, creating a multi-layered visual impression for the space. The landscape wall at the entrance is made of green plants, which presents a kind of natural style in the space together with the waterscape. The floor is paved with grey rustic tiles, and all furniture and decoration choose black, bringing a touch of calmness.

Tsuruichi Yakiniku Beijing / Lee Hsuheng

Tsuruichi Yakiniku is a very popular Japanese Yakinikum restaurant famous for its wonderful beef barbecue. It is located in Tsuruichi area, east of Osaka, where many Korean families live among the local Japanese households, and therefore, it sees a unique and diverse culture there. Tsuruichi, in Japanese, means “the top one in Tsuruichi area”, and actually, it is the first Yakinikum restaurant in this area in the recenthundred years. We used strip-type partition board in this project, because it is always used in Japanese architecture. And in fact, the use of numerous close-grained stripes, to some extent, satisfied the aesthetics of the Japanese people, because we found an interesting way of drawing rains in Ukiyo-e (a famous Japanese painting collection) when we were finding materials and inspiration for the design: the drawer Utagawa Hiroshige useddense strips to paint the pouring rains in Summer in the picture named Sudden Rain Falling on the Bridge of his Hundred Beautiful Sceneries in Edo Era collection. The sudden change of weather and the instant reactions of pedestrians were captured by the drawer and showed in the pictures, making a great painting collection and even attracting Vincent van Gogh’s attention and therefore, the picture collection became wellknown in the world. This way of painting rain is unique also because you can neither see it in the Western paintings nor in Chinese ink paintings. In the design, the restaurant echoes the crowded streets and dense buildings: the two entrances are at the gable walls, and when you are inside the restaurant, the tri-angle slope crest immediately comes to your sight. Also, we intentionally lower the eaves in order to use the tri-angle roof to indicate the relationship between Japanese architecture and the hill of woods. In Japanese architecture circle, if the entrance is in the gable wall, it is called “tsuma iri”, otherwise, if the entrance is under the eave, it’s called “hira iri”. The eave of this restaurantis only 2.1 meters, which is very low even for a residential building, let alone this is a restaurant, a public building. So we were claimed by the Developer that we have no common sense of architecture, and the customers are able to touch the roof as long as they stretch their arms. But we explained to them that we made the eave so low is because we want to make the walls hided by the eaves and their shades, in this way, the tri-angle roof can be stood out and therefore make the restaurant look like a small hill among the modern buildings in the city.