02 

荷塘悅色|一池秋水映芙蓉 可愛(ài)深紅愛(ài)淺紅

Lotus pond scene | Blooming flowers reflecting in the pond reveal red with different saturation

“四季輪換景隨時(shí)異，境由人定，在新舊與藝術(shù)，人文的土塘上構(gòu)筑空間氤氳”。小院竹籬，春水秋月，雖由人作，宛自天開(kāi)。畫(huà)中有境，境中有畫(huà)，移步意境，踏步山水中覽盡荷塘悅色，途中八角亭點(diǎn)綴一園景色，任憑小徑引領(lǐng)著向餐廳入口尋尋步進(jìn)石獅駐守的祥瑞之境，佳境隱序。AD艾克建筑設(shè)計(jì)基于人口紅利消失，消費(fèi)謹(jǐn)慎，行業(yè)內(nèi)卷的大背景下，鎖定消費(fèi)人群，對(duì)空間進(jìn)行人群屬性定位，并貼合新舊交替的城市規(guī)劃群，深圳餐廳設(shè)計(jì)在平和中制造張力?？臻g處理上向細(xì)處察，向遠(yuǎn)處觀，不論身在空間何處，都可以在綠影搖曳的視線余光中切換內(nèi)外感受。

Surrounded by a vibrant natural environment, the mellow space is created based on the combination of the old and new, art and humane. The yard built with bamboo fences is like a masterpiece of nature. Stepping into the multilayered picturesque landscape, visitors will enjoy the lotus pond scene, encounter an octagonal pavilion and a path leading to the restaurant, a secluded place with Chinese guardian lions sitting at the entrance. In the context of the shrinking demographic dividend, prudent consumption, and fiercely competitive market, AD ARCHITECTURE conceived the space based on the target customers and took account of the integration of the old to the new in urban planning to create tension in the peaceful space. With delicate design in detail and a big-picture vision, visitors will enjoy an alternation between indoor and outdoor experiences anywhere in the restaurant filled with swaying shadow of greenery.

03 

碧瓦朱檐|入門一徑小迂回 殿后鞓紅色漫秾

Gray tiles and vermilion eaves | A winding path leading to the luxuriant red hall

踏過(guò)悠悠小徑，穿越滿園旖旎。深圳餐廳設(shè)計(jì)空間情緒強(qiáng)調(diào)與室外綠境連廊的聯(lián)系以及相對(duì)年輕的構(gòu)體張力形成強(qiáng)烈的色彩對(duì)沖，連廊與穹柱拉長(zhǎng)空間距離，狹長(zhǎng)進(jìn)深形成的慢鏡頭感。大廳的構(gòu)成以墻面紅色藝術(shù)漆進(jìn)行幾何構(gòu)成分割，創(chuàng)作者對(duì)體塊張弛有度的克制，將塊面和線條及光線以結(jié)構(gòu)學(xué)的視角最大程度地進(jìn)行幾何符號(hào)詮釋。

Passing through the winding path, the guests will encounter the restaurant entrance. The space design emphasizes the connection with the outdoor garden landscape and corridor, and creates a strong color contrast with structures as the media. The entrance elongated by the corridor and columns becomes narrow and long, which creates a slow-motion illusion. The hall is defined by red wall coatings and a restrained scale of structures, where the block, plane, line, and lighting are interpreted as geometric expressions from a structuralist perspective to the greatest extent.