喀拉卡爾藏族美食文化中心

施工過程©扎西培楚

室內(nèi)改造的需求是要增加使用面積，改變?cè)泄δ懿⒏纳圃胁缓侠淼牟季?，同時(shí)提升整體環(huán)境。在整體功能布局上，一樓作為新擴(kuò)張的空間用于開拓針對(duì)年輕人的新餐飲業(yè)態(tài)餐廳設(shè)計(jì)（酥油下午茶、自助藏餐、本地自釀酒吧），二樓保留原有功能（吧臺(tái)和開放式餐廳），通過調(diào)整布局改善餐廳空間利用，三樓通過重新梳理交通流線與空間布局改造為包間層并提升私密性以應(yīng)對(duì)傳統(tǒng)藏餐就餐習(xí)慣。

The primary requirement of interior renovation is to increase the usable area, and the second is to improve the overall environment while improving the original functions and spatial layout. In terms of the overall functional layout, the first floor is used as a newly expanded space to develop new catering formats for young people such as afternoon tea, self-service Tibetan food, local craft beer bar. The second floor maintains the original functions (bar counter and open restaurant), to improve the use of restaurant space by adjusting the layout. The third floor was transformed into a private room floor by reorganizing the traffic flow and spatial layout, and enhancing privacy to echo the dining habits of traditional Tibetan meals.

餐廳一層©扎西培楚

原建筑一樓為臨街鋪面，多數(shù)時(shí)間處于閑置狀態(tài)，我們將原有臨街鋪面打通使一層擁有了開敞的空間，在受限于原始結(jié)構(gòu)無法全部拆除墻體的位置，我們通過在兩側(cè)墻體開門并使用鋼質(zhì)門套作為結(jié)構(gòu)加固，使該部分形成了一個(gè)新的門廳，我們?cè)诖嗽O(shè)置新的入口作為餐廳次入口，并增加衛(wèi)生間使一層可作為功能完整的獨(dú)立空間使用。通過重新布局廚房送餐流線將原廚房出口移位與主入口分開，解決了之前廚房出口與餐廳入口在高峰期沖突的問題，讓餐廳主入口有一個(gè)完整的前廳。

The first floor of the original building was street-facing shops, which was idle most of the time. We opened up the original street-facing shops by removing the partition wall, so that the first floor has a new open space. In the shop where the wall cannot be completely demolished due to the original structure, we opened doors on both sides of the wall and used steel door sleeves as structural reinforcement to formthe space as a new foyer. We set up a new entrance here as the secondary entrance of the restaurant, and added toilets so that the first floor can be used as an independent space with complete functions. By re-arranging the kitchen delivery flow line to separate the original kitchen exit from the main entrance, the conflict between the kitchen exit and the restaurant entrance during the peak period was solved, and the main entrance of the restaurant has become a complete front hall.

餐廳一層©扎西培楚

在康巴地區(qū)的傳統(tǒng)藏房里，火塘是一家人日常生活的中心。在一樓弧形空間處，我們以藏族傳統(tǒng)的火塘為原型做了現(xiàn)代的演繹與表達(dá)，以重現(xiàn)藏房里大家圍爐喝茶、圍爐而話的生活感，以呼應(yīng)當(dāng)?shù)鼐用竦膫鹘y(tǒng)生活場(chǎng)景。

In the traditional houses in the Kham region, the fire pond is the center of the family's daily life, and many life scenes take place around the fire pond. In the arc-shaped space on the first floor, we made a modern interpretation and expression based on the traditional Tibetan fire pond, to reproduce the sense of life in thetraditionalhouse that families drinking tea and talking around the fire pond, which echoing the traditional life scenes of local residents.

原建筑天花橫梁的方向與高度關(guān)系較為混亂，是設(shè)計(jì)過程中很難處理的部分。受限于橫梁走向與高度，加之受到經(jīng)幡飛舞和藏族生活中銅器的啟發(fā)，我們放棄了最初用吊頂隱藏橫梁的想法，在一樓使用金屬垂簾圍繞火爐做向外輻射的弧形垂簾，隱藏了混亂梁位的關(guān)系。同時(shí)我們將垂簾的高度設(shè)置由周圍向火爐逐漸降低，在視覺上與火爐的煙罩相融合，讓地面與天花板的產(chǎn)生聯(lián)系。

The relationship between the direction and height of the ceiling beams of the original building is rather chaotic, which is a difficult part of the design process. Limited by the direction and height of the beams, and inspired by the flying of prayer flags and the copper-ware in Tibetan life, we abandoned the original idea of concealing the beams with a suspended ceiling, and used a metal curtain to surround the fire pond as an arc curtain on the first floor, by which we were able to hide the chaotic relationship of beams. At the same time, we set the height of the curtain to gradually decrease from the surrounding to the stove, visually blending with the Smoke hood, so that the ground and the ceiling are connected.

二樓是原餐廳的主要經(jīng)營(yíng)空間，也是許多人對(duì)餐廳曾經(jīng)的記憶所在。在二樓的餐廳設(shè)計(jì)上我們盡量保留原室內(nèi)布局。我們?cè)谧酪蔚倪x擇上采用了與原來相同的桌椅形式，以求保留其原有的空間感受。我們采用藏族傳統(tǒng)的矮桌與坐榻，其高度能讓使用者處于一種自然的前傾姿勢(shì)從而營(yíng)造出親近感。我們?cè)谧酪蔚倪x擇上采用了與原來相同的桌椅形式，以求保留其原有的空間感受。天花設(shè)計(jì)上，我們則將金屬網(wǎng)垂簾平行排布，以呼應(yīng)形狀與布局方正的藏式方桌與坐榻。

The second floor was the main business space of the original restaurant, and it is also a to memory the restaurant to customers. In the design of the second floor, we try to keep the original interior layout as much as possible, hence we adopted the same table and chair form as before, in order to retain its original spatial feeling. By using traditional Tibetan low tables and sitting couches, the height of users to be in a natural forward-leaning posture to create a sense of closeness. As for the ceiling, we arrange the metal mesh curtains in parallel to echo the square Tibetan table and seat with its square shape and layout.

餐廳小包間©扎西培楚

原建筑三樓主要作為相對(duì)私密的包間層使用，但因缺少硬性隔斷存在私密性不強(qiáng)的問題。受制于三樓無法拆除的承重磚墻結(jié)構(gòu)，我們通過與在墻體開門洞加鋼制門套支撐結(jié)構(gòu)的形式，重新布局了三樓的交通流線，利用原有墻體和新的輕質(zhì)隔墻，分割出了三間彼此隔離并帶有休息區(qū)的包間，并增加了中性洗手間以增強(qiáng)整個(gè)三樓的私密性，解決了此前二樓與三樓共用洗手間的情況。

The third floor of the original building was mainly used as a relatively private compartment layer, but due to the lack of rigid partitions, there was a problem of weak privacy. Constrained by the load-bearing brick wall structure on the third floor that cannot be removed, we re-arranged the traffic flow lines on the third floor by opening new door holes in the wall and adding steel door cover support structures. Using the original walls and the new light weight partition wall to divides three separate private rooms with a rest area, and adds a neutral toilet to enhance the privacy of the entire third floor, which solves the previous situation of shared toilets on the second floors.

室內(nèi)陳設(shè)上也盡量采用了藏式特色擺件，餐廳設(shè)計(jì)如極具藝術(shù)代表性和宗教屬性的藏族傳統(tǒng)繪畫“唐卡”。唐卡因宗教屬性唐卡的掛放多為供奉用途，在包間里我們使用了在藏文化中象征尊貴與敬畏的紅色作為懸掛唐卡背景墻。通過背景墻顏色與燈光，我們希望在利用唐卡做空間點(diǎn)綴的同時(shí)，傳達(dá)一種對(duì)藏文化的敬仰。

The interior furnishings also use Tibetan characteristic ornaments as much as possible, such as the traditional Tibetan painting Thangka, which is highly artistic and religious. Thangka with religious attributes are mostly used for enshrinement purposes. In the compartments, we used red, which symbolizes honor and awe in Tibetan culture, as the backdrop for hanging Thangka. Through the color and lighting of the background wall, we hope to convey a kind of respect for Tibetan culture while using thangka as space decoration.