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空?不??，但聞?語聲。返景?深林，復(fù)照?苔上。——王維《?柴》
In empty mountains, no one’s seen. Yet human voices linger near. Returning light through the forest glows, and softly falls where green moss grows. —Wang Wei, "LuChai"
01?Sven Zhang 一樓半開放公共餐區(qū)
Semi-open public dining area on the first floor
03?Sven Zhang 露出梁底天花
Exposed beam ceiling
02?Sven Zhang 遠(yuǎn)看燈線隱去，就餐高頂儀式感
Concealed lighting lines emphasize a sense of ritual beneath the high ceiling
Moss照?苔是?家?端中餐廳，品牌調(diào)性沉靜、內(nèi)斂?優(yōu)雅，位于?棟柱?規(guī)整分明的建筑?。?以?為天，不同于?餐以?叉作為餐具解構(gòu)?材，中餐是??雙筷?夾起?物，?同送??中品嘗豐富的層次，講求“天?合?”的融合與平衡。中餐所蘊(yùn)含的飲??化和哲理博?精深，我們以此為靈感進(jìn)?空間設(shè)計轉(zhuǎn)譯。
MOSS is a high-end Chinese dining restaurant with a calm, restrained, and elegant brand identity. It is located within a building characterized by a well-defined grid of columns. Unlike Western dining, which deconstructs food with knives and forks, Chinese dining uses a pair of chopsticks to lift food, delivering a rich layering of flavors in one bite, embodying the philosophy of "harmony between humans and nature." The profound culture and philosophy of Chinese cuisine inspired the spatial design of the restaurant.
12?Sven Zhang 包間設(shè)有茶室
Private dining rooms equipped with tea rooms
11?Sven Zhang 二樓包間材質(zhì)以藝術(shù)涂料、石為主，不失現(xiàn)代感。
Second-floor private dining room finished with artistic coatings and stone, balancing modernity and restraint
09?Sven Zhang
餐廳總共有三層，?層是公共餐區(qū)，另外兩層均為獨(dú)?包間。空間劃分遵循原始建筑柱?，布局對仗?整。從電梯出來即可?印有標(biāo)識的前臺和酒柜，穿過開放酒柜區(qū)，?排落地窗框映?眼簾，我們希望在此打造富有節(jié)奏感的空間印象，于是將建筑??窗戶的節(jié)奏引?室內(nèi)空間排布，并?厚重的深?胡桃?勾勒，進(jìn)?步強(qiáng)調(diào)和重復(fù)了這種韻律，形成建筑與室內(nèi)空間的連通和對話，奠定了整個?樓公共就餐區(qū)的空間基調(diào)。
The restaurant spans three floors, with the first floor serving as a public dining area and the upper two floors consisting of private dining rooms. The space is divided according to the original building’s grid of columns, with a symmetrical and orderly layout. Upon exiting the elevator, guests are greeted by a reception area and wine cabinet. Passing through the open wine cabinet area, floor-to-ceiling windows come into view. We aimed to create a rhythmic spatial impression here by incorporating the rhythm of the building’s fa?ade windows into the interior layout, further emphasized and repeated with heavy dark walnut framing, establishing a dialogue between the building facade and the interior space. This set the tonal foundation for the entire second-floor public dining area.
08?Sven Zhang 入口印有照青苔標(biāo)識的前臺
Entrance reception desk featuring the MOSS logo
10?Sven Zhang
19?Sven Zhang 開放酒柜
Open wine display cabinet
20?Sven Zhang 開放酒柜
Open wine display cabinet
沿窗就餐區(qū)的桌椅擺放與每個窗框融為?體，窗框既是框景，?作為兩?餐位。同時露出這?區(qū)的梁底天花，將所有管道??等設(shè)備收納于旁邊的吊頂中，窗框?度與吊頂?shù)撞?平，兩者之間的?差為吊燈的?線排布留下空間，并與天花脫開?定距離，遠(yuǎn)看燈線隱去，當(dāng)落座于此?可以體驗(yàn)到?種?頂儀式感。在空間另?端的盡頭，“銹跡斑駁”的鏡?呼應(yīng)空間整體材質(zhì)調(diào)性，映照出對?的窗戶，延伸強(qiáng)化了空間節(jié)奏。
The seating arrangement along the window area integrates with each window frame, which serves as both a view frame and a two-person dining space. The exposed ceiling beams in this area house all piping and ductwork in adjacent drop ceilings. The window frame height aligns with the bottom of the drop ceiling, leaving a gap for pendant lighting arrangement. The lights are set apart from the ceiling, providing a sense of height and ceremony when seated, while maintaining an unobtrusive presence from a distance. At the other end of the space, a “rusty” mirror reflects the overall material tone of the space and the windows across, extending and enhancing the spatial rhythm.
04?Sven Zhang 一樓半開放公共餐區(qū)
Semi-open public dining area on the first floor
06?Sven Zhang
05?Sven Zhang
樓上是獨(dú)?包間層，常規(guī)中餐廳多注重包間內(nèi)的空間，外部?廊幽暗窄?。我們試圖打破這種局限，減弱?廊的縱深感，避免空間壓抑。設(shè)計以“客廳”為概念，從電梯廳出來布局了?個彈性空間，通過中軸?的開合，空間既可作為開放待客區(qū)，關(guān)閉起來?形成臨時獨(dú)?包間。電梯廳整?墻的精選?理?材延伸??廊，營造空間的?限貫穿感，此外包間?把?沿?同款材料作為細(xì)節(jié)處的回應(yīng)。
The upper floors are dedicated to private dining rooms. Traditional Chinese restaurants often focus on the interior space of the private rooms, leaving the external corridors dark and narrow. We sought to break this convention by reducing the depth of the corridors to avoid a stifling atmosphere. The design adopts a "living room" concept, creating a flexible space near the elevator lobby that can serve as both an open reception area or a temporary private room through the opening and closing of central axis doors. The entire wall of the elevator lobby is clad in carefully selected marble that extends into the corridor, creating a sense of infinite continuity. Additionally, the door handles of the private rooms feature the same material for a detailed response.
25?Sven Zhang 電梯廳整面墻精選大理石材延伸至走廊
Elevator lobby with a full-height marble wall extending seamlessly into the corridor
26?Sven Zhang 設(shè)計避免外部走廊幽暗窄小，打破局限減弱走廊的縱深感
Corridor design that breaks conventional constraints, softening spatial depth
23?Sven Zhang
24?Sven Zhang
房間分隔依據(jù)柱?規(guī)整地進(jìn)?空間劃分，但在???關(guān)處，我們有意偏離柱?，將墻體分隔脫開?定距離，露出柱?和梁，建筑本身的“?架”成為?關(guān)的“雕塑”。?字形梁柱的體量感、?廊淺?的材料和包間??深????，反差間形成空間張?。?關(guān)偏離退讓所留出的空間，作為進(jìn)?包間前的留?，與?廊融合，仿佛是城市?街區(qū)轉(zhuǎn)?處的?袋空間?？?從電梯出來穿過?廊??包間，?路體驗(yàn)空間的開合與流暢，?不是封閉悠?的筆直路徑，最后進(jìn)?包間前的短暫停留，為包間留?想象空間。
The spatial division of the rooms adheres to the column grid but deviates slightly at the entrance, exposing columns and beams to form a sculptural "skeleton." The cross-shaped columns and beams create a sense of volume, contrasting with the light-colored materials of the corridor and the dark wooden surfaces of the room entrances, generating spatial tension. The space created by the setback at the entrance serves as a waiting area before entering the private rooms, blending with the corridor and resembling pocket spaces at urban street corners. Guests experience the fluidity and openness of the space, rather than a long, narrow, enclosed path, culminating in a brief pause before entering the private rooms, leaving plenty of room for imagination.
27?Sven Zhang 空間標(biāo)志性裸露梁柱“雕塑”
Exposed beams and columns as sculptural elements
21?Sven Zhang
22?Sven Zhang
根據(jù)功能所需，包間設(shè)計有茶室或榻榻?區(qū)，有的含壁爐或 KTV 休閑功能。家具部分選?業(yè)主收藏的?頭?家具，靠墻展臺的印璽?雕擺件、壁龕?的陶罐，這些?物件與家具?起營造優(yōu)雅的中式古典感?？臻g材質(zhì)以藝術(shù)涂料、?為主，不失現(xiàn)代感。配合同?吸?軟包，保證了包間聲學(xué)環(huán)境舒適性。
Depending on functional needs, private rooms are designed with tea rooms or tatami areas, some featuring fireplaces or KTV leisure functions. The furniture includes the owner’s collection of old wooden pieces, along with seal stone sculptures and pottery in wall niches, creating an elegant classical Chinese ambiance. The materials used include artistic paint and stone, maintaining a modern feel. Matching sound-absorbing soft packages ensure acoustic comfort in the private rooms.
13?Sven Zhang 部分家具選用業(yè)主收藏的木頭老家具，靠墻展臺的印璽石雕擺件、壁龕里的陶罐
Vintage wooden furniture from the owner’s collection, seal-stone sculptures on display shelves, and ceramic jars in wall niches
14?Sven Zhang 
16?Sven Zhang 包間內(nèi)的榻榻米區(qū)
Tatami area within the private dining room
17?Sven Zhang 包間盥洗室
Washroom of the private dining room
18?Sven Zhang 包間盥洗室
Washroom of the private dining room
整個餐廳的燈光未采???積下照光，?是從不同?度的多層次精準(zhǔn)照明，點(diǎn)到為?，營造沉靜的?級氛圍。除了照亮桌?的吊燈，在局部設(shè)置點(diǎn)狀聚光照亮桌?的植物盆景，不經(jīng)意間暗寓餐廳名“照?苔”。軌道?射燈點(diǎn)綴于墻上，關(guān)照展現(xiàn)著藝術(shù)品擺件。另外，藝術(shù)造型的臺燈和墻邊地?zé)粑⒐鉅I造出居家舒適感。包間?牌、把?邊也都貼?地??射燈照亮，空間更顯低調(diào)與?級。
The lighting design avoids large-scale downlighting, opting instead for multi-layered, precise illumination from different angles to create a serene, sophisticated atmosphere. Besides pendant lights illuminating the tables, spotlights highlight table plants, subtly alluding to the restaurant’s name, "MOSS." Track spotlights accentuate wall art pieces, while artfully designed table lamps and floor lamps along walls create a homely comfort. Small spotlights were used to illuminate room number plates and door handles, adding a sense of understatement and sophistication to the space.
07?Sven Zhang 餐廳半開放用餐區(qū)域照燈細(xì)節(jié)
Lighting details in the semi-open dining area
15?Sven Zhang 餐桌細(xì)節(jié)
Dining table detail
28?Sven Zhang
29?Sven Zhang 地?zé)粑⒐馍錈艏?xì)節(jié)
Subtle glow from floor lights and accent spotlights
我們?yōu)槠放贫ㄖ圃O(shè)計的標(biāo)識從漢字筆畫解譯，?正如印章，帶有?絲國?古韻?息。最終從?化空間轉(zhuǎn)譯到布局?框架，再到平?視覺，豐富融合?不失細(xì)節(jié)，??不彰顯品牌沉靜優(yōu)雅的調(diào)性?質(zhì)。
The brand’s custom-designed logo draws inspiration from Chinese character strokes, resembling an ancient seal and exuding a sense of traditional Chinese charm. In conclusion, from cultural spatial realization to the overall layout and visual identity design, every detail highlights the brand’s calm and elegant temperament.
30?Sven Zhang 餐廳標(biāo)識設(shè)計，彰顯品牌沉靜優(yōu)雅的調(diào)性氣質(zhì)
Restaurant signage design expressing the brand’s calm and elegant identity
31?Sven Zhang-GIF 彈性空間中軸門可關(guān)可合，關(guān)閉時成為獨(dú)立包廂空間，門打開則成為開放待客區(qū)
Flexible central-axis doors: closed to form independent private rooms, opened to create an open reception space
01 一層平面圖
First-floor plan
02 二層平面圖
Second-floor plan
03 三層平面圖
Third-floor plan
項(xiàng)?信息
業(yè)主：照?苔 Moss
項(xiàng)?地點(diǎn)：杭州云起中?
項(xiàng)?類型：餐飲
項(xiàng)?規(guī)模：900平??
設(shè)計時間：2022年10?
建成時間：2024年2?
主持建筑師：董雪蓮, Matteo Piotti, Andrea Maira
設(shè)計團(tuán)隊(duì)：?荒設(shè)計團(tuán)隊(duì)
設(shè)計范圍：建筑改造，室內(nèi)設(shè)計，VI 視覺標(biāo)識設(shè)計
光學(xué)顧問：??（上海）照明設(shè)計有限公司
聲學(xué)顧問：上海德洛聲學(xué)科技有限公司
施?單位：上海翼楠建筑?程有限公司
主要材料：混凝?，?泥?流平，微?泥，吸??氈，吸?噴涂，藝術(shù)涂料，花崗巖，
?理?，?灰?guī)r，不銹鋼，?頭，瓷磚，鋼板
品牌：草字頭，Viabizzuno
攝影：張??
