古老矿城的现代新生——SUSURU 餐厅设计_餐饮空间_设计案例作品

发布时间：2017-12-06 03:12:00 {{ caseViews }} {{ caseCollects }}

设计亮点

将东京地铁站和火车设计元素融入餐厅设计，以白色为主的内饰搭配黄色亮点，形成独特的品牌形象。

扬·弗拉诺夫斯基

从1906年起，SUSURU Ramen和Gyoza酒吧坐落在一座显眼的建筑中，使它的立面和街道变得生动起来。与市议会的密切合作，该设计打破了传统的采矿美学的典型地区。随着这个城市的成长和发展，它吸引了更多的外国关注，他们不一定和很多年前这个主要是矿业城市的地方有着相同的关系。SUSURU餐厅面向的是新来者，也是游客，最重要的是，对于那些希望看到城市发展和多样化的长期居民来说。

Situated in a prominent building from 1906, SUSURU Ramen and Gyoza bar enlivens the façade and street it rests on. Working closely with the City Council, the design breaks away from the traditional mining aesthetic typical of the area. As the city grows and develops, it attracts more foreign attention, whom don't necessarily have the same rapport with what was largely a mining town many years ago. The SUSURU restaurant is for the newcomers, for those visiting, and most importantly, for those long term residents wanting to see the city develop and diversify.

扬·弗拉诺夫斯基

随着一种新的和外国食品类型的城市引进，这一设计提供了机会，为完全新鲜的东西。以东京地铁站和火车设计为线索，以白色为主的内饰作为黄色亮点的背景，这是该品牌的象征。在这个基础上，我们增加了临时图形设计元素，菜单板，标牌，平板盖和门，这些都是为了增加焦点和引起注意。这些元素是季节性循环的，就像广告增加了地铁站和火车车厢的生命力。

With the introduction of a new and foreign food type to the city, opportunity was afforded in this design for something completely fresh. Taking cues from Tokyo metro station and train design, a predominantly white interior acts as a backdrop to a yellow highlight, a signifier of the brand. To this base, we add in temporary graphic design elements, menu boards, signage, tablet covers and doors that are made to add focal points and to draw attention. These elements are cycled seasonally, much like advertisements adding life to the metro stations and train carriages.

扬·弗拉诺夫斯基

作为建筑师，我们从理念构思、品牌开发到产品和材料采购、项目管理、营销和广告以及用户体验(UX)界面设计等方面对项目进行监督。这使我们完全控制了整个过程，本质上类似于Gesamtkunstwerk。

As the architects, we oversaw the project from idea conception, brand development through to product and material sourcing, project management, marketing and advertising and User Experience (UX) interface design of the ordering systems. This gave us complete control over the entire process, similar in nature to Gesamtkunstwerk.

扬·弗拉诺夫斯基

在我们可能的情况下，当地的制造者被使用，特别是用家具的设计来振兴城市的金属工业，以用于采矿的设备。可以批量采购的重复产品是从中国大型工厂进口的。

Where we could, local fabricators were used, particularly to re-liven the metal industry in the city, with designs for furniture, as apposed to equipment for mining. Repetitive products that could be sourced in bulk were imported from larger factories in China.

扬·弗拉诺夫斯基

到目前为止，人们对这座城市的反应似乎是前所未有的，被形容为“纽卡斯尔城市化(最终)”，是“2049年看似合理的未来的前奏”，类似于“一家医院咖啡厅在一本”精灵“(Pokémon)漫画小说中画成的样子。”

The response thus far from the city seems unprecedented, described as “Newcastle Urbanisation (finally)”, as a “prelude to the plausible future of 2049”, and resembles “what a hospital cafe might look like when drawn in a Pokémon graphic novel.”

扬·弗拉诺夫斯基