喀拉卡尔藏族美食文化中心

施工过程©扎西培楚

室内改造的需求是要增加使用面积，改变原有功能并改善原有不合理的布局，同时提升整体环境。在整体功能布局上，一楼作为新扩张的空间用于开拓针对年轻人的新餐饮业态餐厅设计（酥油下午茶、自助藏餐、本地自酿酒吧），二楼保留原有功能（吧台和开放式餐厅），通过调整布局改善餐厅空间利用，三楼通过重新梳理交通流线与空间布局改造为包间层并提升私密性以应对传统藏餐就餐习惯。

The primary requirement of interior renovation is to increase the usable area, and the second is to improve the overall environment while improving the original functions and spatial layout. In terms of the overall functional layout, the first floor is used as a newly expanded space to develop new catering formats for young people such as afternoon tea, self-service Tibetan food, local craft beer bar. The second floor maintains the original functions (bar counter and open restaurant), to improve the use of restaurant space by adjusting the layout. The third floor was transformed into a private room floor by reorganizing the traffic flow and spatial layout, and enhancing privacy to echo the dining habits of traditional Tibetan meals.

餐厅一层©扎西培楚

原建筑一楼为临街铺面，多数时间处于闲置状态，我们将原有临街铺面打通使一层拥有了开敞的空间，在受限于原始结构无法全部拆除墙体的位置，我们通过在两侧墙体开门并使用钢质门套作为结构加固，使该部分形成了一个新的门厅，我们在此设置新的入口作为餐厅次入口，并增加卫生间使一层可作为功能完整的独立空间使用。通过重新布局厨房送餐流线将原厨房出口移位与主入口分开，解决了之前厨房出口与餐厅入口在高峰期冲突的问题，让餐厅主入口有一个完整的前厅。

The first floor of the original building was street-facing shops, which was idle most of the time. We opened up the original street-facing shops by removing the partition wall, so that the first floor has a new open space. In the shop where the wall cannot be completely demolished due to the original structure, we opened doors on both sides of the wall and used steel door sleeves as structural reinforcement to formthe space as a new foyer. We set up a new entrance here as the secondary entrance of the restaurant, and added toilets so that the first floor can be used as an independent space with complete functions. By re-arranging the kitchen delivery flow line to separate the original kitchen exit from the main entrance, the conflict between the kitchen exit and the restaurant entrance during the peak period was solved, and the main entrance of the restaurant has become a complete front hall.

餐厅一层©扎西培楚

在康巴地区的传统藏房里，火塘是一家人日常生活的中心。在一楼弧形空间处，我们以藏族传统的火塘为原型做了现代的演绎与表达，以重现藏房里大家围炉喝茶、围炉而话的生活感，以呼应当地居民的传统生活场景。

In the traditional houses in the Kham region, the fire pond is the center of the family's daily life, and many life scenes take place around the fire pond. In the arc-shaped space on the first floor, we made a modern interpretation and expression based on the traditional Tibetan fire pond, to reproduce the sense of life in thetraditionalhouse that families drinking tea and talking around the fire pond, which echoing the traditional life scenes of local residents.

原建筑天花横梁的方向与高度关系较为混乱，是设计过程中很难处理的部分。受限于横梁走向与高度，加之受到经幡飞舞和藏族生活中铜器的启发，我们放弃了最初用吊顶隐藏横梁的想法，在一楼使用金属垂帘围绕火炉做向外辐射的弧形垂帘，隐藏了混乱梁位的关系。同时我们将垂帘的高度设置由周围向火炉逐渐降低，在视觉上与火炉的烟罩相融合，让地面与天花板的产生联系。

The relationship between the direction and height of the ceiling beams of the original building is rather chaotic, which is a difficult part of the design process. Limited by the direction and height of the beams, and inspired by the flying of prayer flags and the copper-ware in Tibetan life, we abandoned the original idea of concealing the beams with a suspended ceiling, and used a metal curtain to surround the fire pond as an arc curtain on the first floor, by which we were able to hide the chaotic relationship of beams. At the same time, we set the height of the curtain to gradually decrease from the surrounding to the stove, visually blending with the Smoke hood, so that the ground and the ceiling are connected.

二楼是原餐厅的主要经营空间，也是许多人对餐厅曾经的记忆所在。在二楼的餐厅设计上我们尽量保留原室内布局。我们在桌椅的选择上采用了与原来相同的桌椅形式，以求保留其原有的空间感受。我们采用藏族传统的矮桌与坐榻，其高度能让使用者处于一种自然的前倾姿势从而营造出亲近感。我们在桌椅的选择上采用了与原来相同的桌椅形式，以求保留其原有的空间感受。天花设计上，我们则将金属网垂帘平行排布，以呼应形状与布局方正的藏式方桌与坐榻。

The second floor was the main business space of the original restaurant, and it is also a to memory the restaurant to customers. In the design of the second floor, we try to keep the original interior layout as much as possible, hence we adopted the same table and chair form as before, in order to retain its original spatial feeling. By using traditional Tibetan low tables and sitting couches, the height of users to be in a natural forward-leaning posture to create a sense of closeness. As for the ceiling, we arrange the metal mesh curtains in parallel to echo the square Tibetan table and seat with its square shape and layout.

餐厅小包间©扎西培楚

原建筑三楼主要作为相对私密的包间层使用，但因缺少硬性隔断存在私密性不强的问题。受制于三楼无法拆除的承重砖墙结构，我们通过与在墙体开门洞加钢制门套支撑结构的形式，重新布局了三楼的交通流线，利用原有墙体和新的轻质隔墙，分割出了三间彼此隔离并带有休息区的包间，并增加了中性洗手间以增强整个三楼的私密性，解决了此前二楼与三楼共用洗手间的情况。

The third floor of the original building was mainly used as a relatively private compartment layer, but due to the lack of rigid partitions, there was a problem of weak privacy. Constrained by the load-bearing brick wall structure on the third floor that cannot be removed, we re-arranged the traffic flow lines on the third floor by opening new door holes in the wall and adding steel door cover support structures. Using the original walls and the new light weight partition wall to divides three separate private rooms with a rest area, and adds a neutral toilet to enhance the privacy of the entire third floor, which solves the previous situation of shared toilets on the second floors.

室内陈设上也尽量采用了藏式特色摆件，餐厅设计如极具艺术代表性和宗教属性的藏族传统绘画“唐卡”。唐卡因宗教属性唐卡的挂放多为供奉用途，在包间里我们使用了在藏文化中象征尊贵与敬畏的红色作为悬挂唐卡背景墙。通过背景墙颜色与灯光，我们希望在利用唐卡做空间点缀的同时，传达一种对藏文化的敬仰。

The interior furnishings also use Tibetan characteristic ornaments as much as possible, such as the traditional Tibetan painting Thangka, which is highly artistic and religious. Thangka with religious attributes are mostly used for enshrinement purposes. In the compartments, we used red, which symbolizes honor and awe in Tibetan culture, as the backdrop for hanging Thangka. Through the color and lighting of the background wall, we hope to convey a kind of respect for Tibetan culture while using thangka as space decoration.