© Photographix | Sebastian + Ira

(C)照片：Sebastian Ira

架构师提供的文本描述。苏拉特可能不像印度孟买和德里的大都市那样缺乏空间，但餐厅类型学认为，在封闭的空调环境中经营的餐馆占主导地位。这并不是说有相当多壁画区的餐馆不存在，但这些餐厅仅限于那些对“造地”不太重视的功利主义企业。

Text description provided by the architects. Surat may not be as space-starved as Indian metropolises of Mumbai and Delhi, but the restaurant typology sees a predominance of eateries operating within enclosed, air-conditioned environments. That’s not to say that restaurants with a considerable al fresco section do not exist, but these are limited to largely utilitarian establishments that pay scant heed to ‘place-making’.

Text description provided by the architects. Surat may not be as space-starved as Indian metropolises of Mumbai and Delhi, but the restaurant typology sees a predominance of eateries operating within enclosed, air-conditioned environments. That’s not to say that restaurants with a considerable al fresco section do not exist, but these are limited to largely utilitarian establishments that pay scant heed to ‘place-making’.

 © Photographix | Sebastian + Ira

(C)照片：Sebastian Ira

因此，当客户接近建筑师设计一家咖啡馆/餐厅时，设计思想立即转向创造城市所缺乏的东西：一个真正意义上的精心设计的花园餐厅。考虑到土地是租来的，这进一步澄清了这一愿景：一种将建筑形式保持在最低限度，并使用经济材料使项目成本合理化的设计。

So when the clients approached the architect to design a cafe/restaurant, the design thoughts immediately veered to creating something that the city lacked: a well-designed garden restaurant in the true sense of the word. Given that the land was leased, further clarified this vision: a design that kept the built-form to the minimum and used economic materials to rationalise project costs.

So when the clients approached the architect to design a cafe/restaurant, the design thoughts immediately veered to creating something that the city lacked: a well-designed garden restaurant in the true sense of the word. Given that the land was leased, further clarified this vision: a design that kept the built-form to the minimum and used economic materials to rationalise project costs.

 © Photographix | Sebastian + Ira

(C)照片：Sebastian Ira

在一条安静的小巷里的位置是合适的：相对的宁静将进一步的必要的休息空气，这是这种发展的关键。虽然餐厅必须有一定的隐私，考虑到它的位置，建筑师也想“回应”街道。因此，一个广阔的景观高架设置创建了一个过渡从街道水平飞灰砖墙，标志着‘边界’的餐厅。这个绿色的乐队可以作为街道边的咖啡馆，方便快速咬一口或喝杯咖啡。

The location in a quiet by-lane was opportune: the relative serenity would further the requisite laid-back air that was crucial to this type of development. While the restaurant had to have a certain privacy, given it’s location, the architect also wanted to ‘respond’ to the street. Ergo, a wide landscaped elevated set-back was created as a transition from the street level to the fly-ash brick masonry wall that marked the ‘boundary’ of the restaurant. This green band would serve as a street-side cafe, handy for a quick bite or cuppa. 

The location in a quiet by-lane was opportune: the relative serenity would further the requisite laid-back air that was crucial to this type of development. While the restaurant had to have a certain privacy, given it’s location, the architect also wanted to ‘respond’ to the street. Ergo, a wide landscaped elevated set-back was created as a transition from the street level to the fly-ash brick masonry wall that marked the ‘boundary’ of the restaurant. This green band would serve as a street-side cafe, handy for a quick bite or cuppa. 

在墙的另一边，入口是通过一个像大厅一样的封闭空间(由一个水体支撑)编排的，这个空间将你“释放”到餐厅本身，一个开放的庭院坐落在一个L形半封闭的区域内。内在的视觉审美是有机的，自由流动的，材料、色彩和形式都植根于地球。座位的选择范围从壁画到不同程度的半开放。紧邻庭院空隙的是原位形成的光滑水泥“长凳”。入口大厅的一边是一段由薄薄的、起伏的水泥墙面所保护的部分，墙的剪裁-比墙壁更多-是一个开放的部分，两者的屋顶都是波纹的GI板，它们的边缘被切割，它们共同增强了有机的外观和感觉。

Beyond the wall, the entry was orchestrated through a lobby-like enclosed space (abutted by a waterbody) that ‘releases’ you into the restaurant proper, with an open courtyard nestling within an L-shaped semi-enclosed area. The visual aesthetic within is organic and free-flowing, with materials, colours and forms that are grounded to the earth. The seating options range from the al fresco to ones with varying degrees of semi-openness. Immediately bordering the courtyard void are smooth cement ‘benches’ created in situ. While to one side of the entrance lobby is a section shielded by a slim undulating ferrocement wall with cut-outs — more screen than wall — to the other is an open section, both are roofed by corrugated GI sheets whose edges are cut such that they, collectively, reinforce the organic look and feel.

Beyond the wall, the entry was orchestrated through a lobby-like enclosed space (abutted by a waterbody) that ‘releases’ you into the restaurant proper, with an open courtyard nestling within an L-shaped semi-enclosed area. The visual aesthetic within is organic and free-flowing, with materials, colours and forms that are grounded to the earth. The seating options range from the al fresco to ones with varying degrees of semi-openness. Immediately bordering the courtyard void are smooth cement ‘benches’ created in situ. While to one side of the entrance lobby is a section shielded by a slim undulating ferrocement wall with cut-outs — more screen than wall — to the other is an open section, both are roofed by corrugated GI sheets whose edges are cut such that they, collectively, reinforce the organic look and feel.

 © Photographix | Sebastian + Ira

(C)照片：Sebastian Ira

这种颜色方案是一种土红的优势，入口和材料上有一块蓝色的蓝色，在一个朴素的马赛克、水泥和MS的平滑膨胀中排列的残余石头与乡村的外观对准。高架施工的铁棒形成了起伏的安装，几乎象一个重轮廓的场地，表现为线框图纸。它的阴影在地板上产生了起伏的效果，扭曲了视图并增加了对VISTA的更多的活力。

The colour scheme — a predominance of an earthy red, with a dash of blue at the entrance — and materials — leftover stone arranged in a homely mosaic, smooth swells of cement and MS — are aligned to a rustic look. Overhead salvaged construction iron rods form an undulating installation, almost like a heavily contoured site manifested as a wire-frame drawing. Its shadows create a rippled effect on the floor, distorting views and adding more dynamism to the vistas.

The colour scheme — a predominance of an earthy red, with a dash of blue at the entrance — and materials — leftover stone arranged in a homely mosaic, smooth swells of cement and MS — are aligned to a rustic look. Overhead salvaged construction iron rods form an undulating installation, almost like a heavily contoured site manifested as a wire-frame drawing. Its shadows create a rippled effect on the floor, distorting views and adding more dynamism to the vistas.

 © Photographix | Sebastian + Ira

(C)照片：Sebastian Ira

当然，没有植物的花园餐厅会在哪里。精心策划的热带绿色植物-法国法郎属植物、海棠属植物、龙葵属植物、竹子属植物、香蕉属植物、花椰菜等等-给餐厅注入了天然的新鲜气息。战略种植-作为边界，在庭院的中心，一个小床铺在一个开放的部分，创造了一个郁郁葱葱的自然面貌。

And of course, where would a garden restaurant be without plants. Curated tropical greenery — frangipani, heliconia, dracaena, bamboo, banana, bougainvillea, and many more — imbue the restaurant with natural freshness. Strategic plantings — as borders, in the centre of the courtyard, a small bed in the paving of an open section, create a lush natural look.

And of course, where would a garden restaurant be without plants. Curated tropical greenery — frangipani, heliconia, dracaena, bamboo, banana, bougainvillea, and many more — imbue the restaurant with natural freshness. Strategic plantings — as borders, in the centre of the courtyard, a small bed in the paving of an open section, create a lush natural look.

 © Photographix | Sebastian + Ira

(C)照片：Sebastian Ira

Architects Studio Lagom

Location Surat, Gujarat, India

Principal Architect Hardik Shah

Design team Krishna Kapadia, Kruti Sheta-Patel

Area 3500.0 ft2

Project Year 2018

Photographs Photographix | Sebastian + Ira

Category Coffee Shop

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