GUOXIN DESIGN STUDIO

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PROJECT 介绍

Project Name：春发生
Location：陕西 西安
Indoor area：140㎡
Project type：餐饮空间
Completion Date：2019
Materials：海吉布乳胶漆 | 水纹玻璃 | 做旧银镜
Design Director：郭莘
Designed by：
郭莘空间设计 | 郭莘 | 朱宇航

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CULTURE 饮食文化
好雨知时节，当春乃发生。《春发生》由此命名。1920年至今的老字号了。百年老店的饮食文化传承和积淀。贾平凹 《废都》里的《春发生》原型。唐时，长安城里流行着吃“煎白肠”，初名为“杂糕”，相传药王孙思邈吃后觉得腥味大，油腻多，便传店家改良之策，并留其药葫芦让店家调味，店主为感激孙思邈，特将药葫芦高悬门口，“ 杂糕 ” 亦改名为 “ 葫芦头”。

Good rain knows its time right; It will fall when comes spring. Chun Fa Sheng (Spring Comes), the restaurant won its name after the poem. Century-old brand since 1920. The heritage and culinary culture of a century-old restaurant. The prototype for the restaurant "Chun Fa Sheng (Spring Comes)" in Jia Pingwa (a well-known Chinese writer)'s novel: The Abandoned Capital. In the Tang Dynasty, fried white intestine was a popular snack in the capital city of Chang’an. It was originally called "Mixed Entrails". According to legend, Sun Simiao, famed as the "Medicine God", found it too smelly and fatty, and imparted an improved culinary method to an owner of a restaurant with a bottle gourd of medicine for the flavoring.The restaurant owner hung the gourd high at the door as a way to express his gratitude to Sun Simiao. Thereafter “Mixed Entrails” was renamed Hulutou.

设计图纸

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NOTES 方案
春发生面积仅140㎡，和西安饭庄共用一个后厨，拥有自己独立的门头和进出口，空间内部和西安饭庄是互通的。

With an area of only 140m, Chun Fa Sheng (Spring Comes) Restaurant shares a back kitchen with Xi'an Restaurant, has its own separate front and entrance, and the interior of the space is interchangeable with Xi'an Restaurant. 

餐饮店一般22：00点就打烊了，而店主意把春发生打造成一个“午夜食堂”，希望给周边和晚归的人留一盏灯，午夜摇身一变小酒馆，喝点小酒，吃着梆梆肉，小巧而舒服的空间。因此营业时间顺延至晚间的1点

Other restaurant usually closes at 22:00, but the concept of the restaurant is to make Chun Fa Sheng (Spring Comes) Restaurant a midnight eatery, hoping to leave a light on for the neighbors and late comers, transforming it into a bistro at midnight, a small and comfortable space for drinking and eating Bangbang Meat (Pork and pig’s entrails). The opening hours have therefore been extended to 1p.m

因为空间只有140㎡，白天满足节奏较快的餐饮模式，而晚上需要满足较为私密的就餐环境，所以我们将大空间分割成一个个独立的小空间，但是透过视口，却又能相互看到。您可能在某个转头的瞬间，会和对面的客人有一瞬间的眼神交流，但又独立存在。这样的空间即有趣又有少许的暧昧。每个空间都被设计成了半围合半开放的形式。在空间的最后，我们有意压低了整个空间的比例，让最后一排卡座的客人头顶弧形的金属罩，最低点控制到了2米，但中间弧形顶部的高度却达到3.2米，这样人们会有一种被包围的感受。


As the space is only 140 m², we have divided the large space into small, independent spaces that are visible to each other through the viewports, as the fast-paced dining mode is catered for during the day and the more intimate dining environment is needed at night. There may be a moment of eye contact with the guest across the room at some turn of the head, but it exists independently. The space is interesting and slightly ambiguous. Each space is designed to be half enclosed and half open. At the end of the space, we have intentionally depressed the proportions of the whole space so that the last row of cardholders have a curved metal cover over their heads, controlled to a minimum point of 2 meters but with a height of 3.2 meters at the top of the middle curve, so that people will have the feeling of being surrounded.

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MATERIALS & LIGHT 剪影

透过顶部的光线，撒下来斑斓的灯光，形成了视觉和光影的双重“借位”。想起王家卫的电影，复古的色调，光影的波动，水纹玻璃里的剪影，可能又会是一段故事吧。


The light from the top is scattered with splashes of light, creating a double 'borrowing' of vision and light and shadow. Thinking of Wong Kar-wai's films, the retro tones, the fluctuating light and shadows, the silhouettes in the watery glass, it could be another story.

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