三厘社 | 黑門一番

黑門一番位于江西南昌，是一家以烧鸟料理为主的日料品牌。在空间呈现之外，设计团队寄望通过独特的设计语言来呈现黑门一番的品牌深度——不止于普通的居酒屋空间，更是集居酒屋与炉端烧为一体的日本夜间餐饮文化体验店。

This project is located in Nanchang， Jiangxi Province. It is a Japanese food brand mainly focusing on roasted bird dishes. In addition to the space presentation， the design team hopes to present the brand depth of Kuromon Ichiban through a unique design language – not only the ordinary izakaya space， but also a Japanese nighttime dining culture experience store integrating izakaya and Robatayaki.

传统的日本和室建筑，风格简单，讲究小巧精细，在具象空间营造上与庭院文化密不可分。我们采取非传统的和室风格语言表达，以“丰富性”与“过渡性”为核心，借空间氛围与庭院感的装置搭建去呈现隐约在空间中的日式饮食文化礼赞。

The traditional Japanese Japanese-style buildings are simple in style， small and delicate， and are inseparable from the courtyard culture in the creation of figurative space. We adopt non-traditional Japanese space language expression， take “richness” and “transition” as the core， and use the sense of space atmosphere and the construction of installations to present the Japanese-style aesthetic praise vaguely in the shadowy environment

整体室内环境采用灰空间的手法，在营造精致用餐氛围的同时也制造许多耐人寻味的空间细节表达。顶部的木架构装置与木质桌椅成为空间中的亮色，增强空间的自然观感。起源于日本江户时代海边的渔民饮食“炉端烧”对餐厅环境中的烤炙感作出一定要求，墙面与顶地面均以消隐化处理，仿佛成为餐饮效果自然呈现的幕布，而明厨的抬高设计也使得空间内任意角落皆可见到料理的专注制作过程。在戏剧性的温暖柔光下，人与人的距离更容易亲密。

The interior environment is designed with grey space and there are many details. The wooden fixtures and tables and chairs on the top become bright colors in the space. “Robatayaki” makes certain requirements for the roasting feeling in the restaurant environment. The walls and top floor are all blanked.

木构装置的能量也在“物”化呈现中传达出日式料理文化对于自然崇敬的敏锐感受和思考。紧凑的空间布局让炉端烧的酒场氛围浮现淋漓，颇有螺狮壳中建道场的意味。

The energy of the wooden installation also conveys the keen feeling and thinking of the Japanese cuisine culture’s respect for nature in the “material” presentation.

空间选址位于商场一层，东侧入口与商场内部相联，西侧入口临街，双端的入口采取差异化设计，在食客与空间的初见中创造泾渭分明的差别感。西侧的入口在格栅罩式的立面设计上交映着茅草景观与柔光照射，让食客直接能窥探空间中丰富的动态，尺度清晰的外观立面的入口开洞诱发食客的来往

The location of the space is located on the first floor of the shopping mall. The west side is connected to the interior of the shopping mall， and the east side faces the street. The entrances at both ends adopt a differentiated design to create a clear sense of difference between the diners and the space. The entrance on the west side is covered by a grille. The fa？ade design of the style reflects the thatch representing the dry landscape and the soft light， allowing diners to directly spy on the rich dynamics in the space. The entrance opening of the clear-scale fa？ade induces the inflow of diners.

东侧临街的入口在混凝土预制块面中开了一个空间的退入，在夜间繁华的商业街利于点缀性的灯光与地引灯光营造出一个阴翳而神秘的地带入口，材质搭配之间让日式文化中的“下压感”放大，呼应日本文化体验的多元，从入口如室内经过一片狭窄幽暗的景观步道方能进入正式的空间内部，由闹市经入口处静谧的过渡空间，再抵达居酒屋

The entrance facing the street on the east side needs to pass through the dark landscape trail to enter the formal space. From the bustling city， through the quiet transition space at the entrance， and then to the izakaya.

“闹-静-闹”的空间游走层次，有机地与和室美学做呼应，两种游走视角传达出不一样的层叠递进，物理空间也因设计的仪式感而更容易与食客的情感体验做偶发性关联。

The spatial hierarchy of “noisy-quiet-noisy” enriches the aesthetics. The two wandering perspectives convey different layers and progressions， which are easier to arouse the emotions of the guests.

我们打破传统日料餐厅的营造模式，让精致与粗狂的对立与和室居酒屋做呼应，充分发挥灰空间的阴翳美学，不止于料理呈现，更希望在黑门一番的故事中传递多元的日式风情，带给来往的食客更多温暖的用餐体验。

We break the construction model of traditional Japanese restaurants， let the contrasting aesthetics of refined and rough and Japanese izakaya echo， give full play to the shadow aesthetics of gray space， not only present the cuisine， but also hope to convey diverse and diverse stories in the story of Kuromon. The Japanese style brings more warm dining experience to the diners.