內容簡介
《私房菜館》案例風格鮮明，設計新穎，構思精巧。在現代的背景下，以中式傳統的意境營造雅致的就餐氛圍，以復古的筆觸打造出一處處引人入勝的私密就餐環境。其空間氛圍的營造尤為突出，不僅傳達出空間所蘊含的文化與理念，而且對讀者具有有很高的參考價值。
圖書目錄
北京廣澤匯
Beijing Guangzehui
聚春園驛館
Spring Park Posthouse
同興和會所
Tongxinghe Club
醉東方
The Intoxicating East Restaurant
天意小館
Tianyi Restaurant
橋亭活魚小鎮
Qiaoting Live Fish Town
喜悅西餐酒吧（萬象城店）
Xiyue European Cuisine Bar （Wanxiang City Store）
這一鍋台北中山北店
Top One Pot Zhongshan North Store
這一鍋朝富店
Top One Pot Chaofu Store
北京鶴一燒肉
Tsuruichi Beijing
石家莊春秋茶樓之五間房
Five Rooms in Spring and Autumn Teahouse， Shijiazhuang
輕井澤三多店
Karuizawa Sanduo Store
火炬餐廳
Flare Restaurant
皇家君逸餐廳
Royal Jun Yi Restaurant
九里河餐廳
Jiuli River Restaurant
蓬萊怡景餐廳
Penglai Yi Jing Restaurant
三亞七仙嶺西餐廳
Sanya Qixian Ridge Western Restaurant
南池茶舍
Namche Teahouse
梅林閣
Plum Trees Pavilion Restaurant
日式餐飲“上海煙霧”
Japanese Dining "Kemuri Shanghai"
望洋樓南青山店
Bouyourou at Minami Aoyama
潮泰軒
Chao Tai Xuan
Edge 餐廳
Edge Restaurant
唐坊酒店
Tangfang Hotel
翡翠拉麵小籠包荃灣店
Crystal Jade Restaurant， Tsuen Wan Store
大牌檔餐廳
Da Pai Dang Restaurant
融餐廳
Rong Restaurant
台中八道藏
Ba Dao Cang Restaurant In Taizhong
太古倉藍韻法國餐廳
Le Grand Blue At Taigucang Dock
燒肉孫三郎
Japanese BBQ Restaurant Magosaburou
港麗餐廳
Charme Restaurant
北京壽州大飯店SPA 館
Beijing Shouzhou Hotel SPA Club
北京壽州大飯店
Beijing Shouzhou Hotel
海壽司慶城店
Hi Sushi Qingcheng Store
科隆巴赫音樂餐廳
Krombacher Music Restaurant
老龔家宴
Lao Gong Jia Yan
老台門酒會
Temen Wine Club
正山堂
Zhengshan Tang
百花琴台西餐·語茶
Flowers Qintai Barbecue Restaurant
巴伐利亞西餐廳
The Bavarian Western —Style Restaurant
Ellas Melathron Aromata 餐廳
Ellas Melathron Aromata
CB 餐廳
CB Restaurant
麥卡利斯特大廈
Macalister Mansion
序言
As the Chinese saying goes, "food is the paramount necessity of the people." China has a long history of food culture, which differs in different regions in this great country. Chinese cuisine is called "art appreciated by tongues" by its people. The desire for food is part of human nature, and the dietary habit can reflect the spirit of a nation. Nowadays, catering industry has become inseparable in our daily life.
A dozen years working experience in catering industry has gifted me some perception and inspirations by Huazhong University of Science and Technology Press. I'd like to take this opportunity to share my opinion about "private-dish restaurants" with the readers and industry insiders.
Contrary with popular business catering, private dishes are different with the dishes supplied in star hotels and conventional social catering. They are unique and featured. You will feel at home and relaxed in private-dish restaurants, which is quite different from your experience in conventional business restaurants and hotels.
In my humble opinion, three factors should be taken into consideration in the design of private-dish restaurants: the first is to relax the dining environment, the second is to romanticize the whole atmosphere, and the last one is a deep planning based on dining procedure, such as tea
service before the meal, special performance at meal time, and recreation after the meal. The feature "private dishes" should also be reflected in the design.
What's more, it will be better to attach importance to the connection between the design of private-dish restaurants and courtyard, tea room, study, piano room. Humanistic spirit, the restaurant owner's view of life and traditional culture like tea ceremony and incense lore will add much spiritual connotation to the restaurant.
Private dishes are often related to cultural connotation, therefore, specific history and culture carried in a dish can find expression in the interior design, such as decorative style of the restaurant interior, furniture of a particular period, and even a doorknob. This kind of combinational planning will make a reminiscing and choice private-dish restaurant. It does not mean, however, do indulge the design in retro, but just to diversify the ways of expression.
It's worth noting that uncreative expression of cultural connotation of private dishes will just make a stuffy design which only presents a certain historical feature but lose the spirit of time. Therefore, an artistic expression of cultural connotation should remember to present the implication of culture. For example, in the center of a courtyard, a basin of rock with water and fish in it will be a metaphor of "the raining water merges into the hall" in a Shanxi Courtyard House. In this way, without need of building the whole place into a Courtyard House, an image of courtyard is established. This is the artistic expression of implication.
The practice of mix and match in the design will lighten the whole space. Let's take a look at three shining examples. Example one, in the moment the guest opens the door, he will meet a doorknob made from an idea of cloud, and a traditional Chinese landscape painting on the door. Example two, to hang on the wall a traditional Chinese Landscape Painting with carved wooden fish in it will increase the delights of the environment. Example three, paint color on Ming-style furniture of hardwood or make the Ming-style furniture of stainless steel, copper or acrylic materials. The mix and match style will bring a fresh air and much fun into the private-dish restaurant.
In this day and age when traditional culture is getting revitalizing, people not only appeal for cultural inheritance, but also yearn for fashion and art. This mix and match concept will be met with postmodern technique of expression in the design, which will bring about unexpected beauty.
s will soon come out. I believe that the readers will benefit and lean a lot from the excellent works, the designer's wisdom and the editor's effort in this fascinating book.
歷史演變中形成了不同的風格，中國人還把“中國菜”稱之為“用嘴巴鑑賞的藝術”。食色，人之本性也。一個民族的飲食習慣最能體現一個民族的精神，時至今日，餐飲行業已與人們的日常生活密不可分。
我也是在這個行業一晃十幾載，有所感悟，但也時時覺得無知頗多。這次受華中科技大學出版社邀請為《私房菜館》一書作序，倍感榮幸。在此，也願意就“私房菜館”這一話題與行業人士及廣大讀者作一探討，希望見仁見智。
私房菜，是相對於主流商務餐飲而言的。從經營定位來說，它有別於星級酒店的餐飲和常規的社會餐飲，這使其具有私家收藏性和特色性。從出品的特性來講，與私房菜對應的環境設計，意味著反正統商務的居家性和休閒性。
我個人主張從生活角度入手來思考設計的定位，一頓美餐，是可以給人帶來快樂的，那就意味著要考慮三個方面：其一，如何讓就餐氛圍輕鬆下來，營造清新休閒的氣場；其二，如何增強環境浪漫的味道；其三，基於就餐程式的深層規劃，如餐前喝什麼茶，餐中有什麼特別節目可以給客人帶來驚喜，餐後可以玩什麼，以便結合私房菜主題進行特別設計等。
此外，還要考慮與主體功能的連結、延展，與庭院的連結，與茶室的連結，與書房的連結，與琴室的連結，與茶道、香道的連結，與人文精神和主人生活觀的連結，因項目而定，不拘一格。
私房菜具有很強的文化性。在設計組織方面，要把私房菜有關的歷史文化提煉植入，如內建築風格、歷史典故、特定時期的家具，甚至細緻到一個門把手，儘可能地與主題有著某種淵源。這樣的組合規劃，很容易為私房菜營造出強烈的“追憶”特徵和“考究”的經典印象，但這並不意味著“一味”復古、因循守舊，表現手段反而可多元化。
文化的素材，要符合與私房菜相關的歷史特徵，但在套用方面要用表意的藝術手法，只沿襲那個歷史時期的擺設就會顯得很古板，缺乏時代精神，所以要使用表意的手法，如內庭院的設計，中間就放一個門海（石盆），裡面放上水，養上魚，隱喻山西民居四合院中“四水歸一”的意象，就可以表達出庭院的印象，不必把周邊環境都做成四合院的建築形式，這就是表意。
作為私房菜，要進行生活感的塑造，在概念、氣場的塑造上還要注重空間的混搭，表現一定的功能，如客人們打開門的一剎那，“門把手”是雲的創意，門上刻的是中國的傳統山水畫；再比如表現水，用國畫筆墨做山水圖掛在牆上，水中的魚是用木雕刻而成的，與二維的國畫相結合，這樣，環境的趣味性就很強烈了。
將傳統的明式家具，刷成彩色或做成不鏽鋼、銅製、亞克力材料的，這些混搭的手法都給客人帶來眼前一亮的感覺，給私房菜的環境帶來嶄新的氣息和無限的趣味。
東方文化復甦的今天，當代人對傳統的傳承有訴求，同時又渴望時尚和藝術帶給人的驚喜，當代人對事物的認識和觀念本身就是混搭的，在設計中運用有時會帶來意想不到的效果。
《私房菜館》一書即將付梓，其中收錄了當代很多優秀作品，凝聚了編者的心血，匯集了設計者的智慧，希望其別具匠心的安排，會讓我們有所收穫、有所借鑑。
A CCTV documentary A Bite of China elaborates the relationship of food and culture around China. Take flour-made food for example. There are hundreds of types of eating flour-made food in China. If we look form another aspect, Chinese cuisine culture has developed to a stage that people enjoy the whole process of dining instead of just satisfying human palates. A dining space is a place for gathering and communicating. As a dining space designer, I'm always thinking about who will come to a restaurant and what do they need there. When designing a restaurant in a big city, a designer should remember that the guests'mental feeling in the restaurant is more important than their stomach feeling. This is a very interesting rule that reminds me of the process of making dumplings in the families of northern China. The key point in this process is family communications. A good communication will lead to a dumpling feast, and a bad one may make the dumplings unpalatable.
In the year of 2013, I have been to several countries for work and award reasons. I travelled to Fukuoka and Tokyo in Japan. In Fukuoka, I visited Starbucks and Kyushu Geibunkan designed by Kengo Kuma. In Tokyo, I also visited Kengo Kuma's works, Nezu Museum and Asakusa Culture Tourist Information Center. I appreciate Mr. Kengo Kuma's works a lot, which are perfect integration of culture and business. In the end of 2013, I went to Paris and visited Camelia at Mandarin Oriental, and Miss Ko designed by Philippe Patrick Starck after work. The two restaurants tell us the growth of life and creativity, which is very exciting.
Looking back at the past decade of architectural design in Beijing, we can find the repetition of "construction and abandonment". The decoration of even a large hotel or restaurant could not live long there. We can often come across a restaurant with decades-old decoration abroad. In China, however, the decoration of a restaurant has durability of only five to ten years. I hope that the life of our dining spaces can be prolonged by designs. The market-oriented decoration of a restaurant should live for twenty years or even more than a hundred years. We can try to achieve this aim though "slow design" which can be interpreted as this: to design and decorate a restaurant little by little, perfecting the completed, appreciating the matured, having fun in the collocation of various materials, and enjoying the compromise of creativity and technique, instead of finishing the design and decoration in three months without a break. Time-consuming and difficult designs and projects are always most fascinating, and the Forbidden City in Beijing is a typical example. Therefore, I conclude that designs born out of a compressed time are weak in power. However, a problem that Chinese designers are facing is that low-cost projects which demand the reduction of time and the pursuit of speed are still the mainstream in this field.
Private-Dish Restaurants is a wonderful book which assembles dining spaces of all sorts and full creativity. When a designer starts to design a restaurant, he should recall Naoto Fukasawa's "product fitness 80" advocation which means "cutting excessive material desires to live a fit life",
just like the philosophy of an old Chinese saying "Eat until you are eight percent full". An ordinary but comfortable chair is always silently playing a practical and important role in your daily life.
央視紀錄片《舌尖上的中國》告訴我們：中國各地的飲食與當地文化的關係，單單麵食大江南北就有上百種吃法，從另一個角度來看，中國飲食文化發展至今，人們對於飲食已經不僅僅是滿足口腹之慾，而是享受整個用餐的過程。餐飲空間是人與人聚集、交流的場所，所以作為餐飲空間設計者的我，時常會想什麼人會來這兒，什麼是來此的人所需要的，因為在設計大城市的餐館時，心理因素遠比生理因素要重，這個過程其實令我感到最有意思，就像是北方人在家包餃子，重點在於包餃子過程中人與人之間的交流，交流得好結果就是水到渠成，交流得不好水餃吃起來可能就索然無味了。
我在2013 年，由於工作與獲獎的原因得以到訪世界各國。日本去了兩趟，在福岡參訪了隈研吾的福岡星巴克與九州藝文館，在東京則去了根津美術館與淺草文化中心，我很欣賞他的作品，總是能將文化與商業結合得那么流暢。年底去了巴黎，工作之餘到訪Mandarin Oriental 的Camelia餐廳，又去了菲利普·斯塔克設計的Miss Ko餐廳，感受建築師的創意與生命的延續，真是太令人激動了。
回顧北京十年，便知我們設計師不斷的重複“建造與廢棄”的設計過程。即使設計、裝修一個面積很大的酒樓或餐廳，它們的使用壽命也很短，很快就損壞了。在國外，我們常常可以光臨裝修超過數十年的老店；在國內，一家餐廳的裝修卻只有5～10 年的耐久性。我希望能透過設計來延長餐飲空間的生命力，一個餐廳的設計僅僅因為市場的需要，也應該被保留二十年，甚至上百年。因此，我們應該思考嘗試著“慢設計”。 例如，我們試著不要在3 個月內一口氣將一家餐廳連設計帶裝修都完成，而是讓它一點一點的完成，一面打造，一面將已完成的部分進行完善，並欣賞它的老化，感受各種材料搭配運用的樂趣，享受創意與工
藝的碰撞過程。同時，一點一點的動手將裝修搭建起來，因為耗時費事的設計與工程是最吸引人的，我們北京的故宮就是典型的例子。因此，我認為壓縮時間而產生的設計創意，其力道是弱的。不過，環顧四周，不想花時間，只想追求速度，降低成本的項目還是主流，這是我們設計師要面對的課題。
《私房菜館》是本絕對精彩的書，它聚集了五花八門、創意十足的餐飲空間，當我們提筆設計餐飲空間時，也許可以憶起深澤直人先生所提倡的：“物的八分目”，說的是“減低過高物質欲望的體認，達到生活更適切平衡”， 如同老祖宗所說，“飯要吃八分飽就好”。例如，一把看似平凡卻很舒適的椅子，永遠都靜靜地在生活里扮演實用且重要的角色。
名人推薦
不知何時開始，人們對酒樓食肆的喧囂變得有些厭倦了，熱愛美食者鑽進橫街窄巷，尋找美味佳肴，還有那份流失已久的恬淡心情…… 所謂私房菜，也就是在私密的自家廚房裡烹製而成、無所謂菜系，無所謂章法，只要別家沒有，只要味道獨特。獨特的味道需要獨特的環境，別無他家的菜式必然不能在千篇一律的室內空間裡享用，於是私房菜館的獨特與私密成為室內設計的一大亮點。
“私房”兩個字本身就包含了太多的隱秘，太多的誘惑和太多的期待。私房菜館的設計很講究，須帶點私密性，沉穩內斂不張揚。現代人吃私房菜，不單在吃身份，也是在吃文化。私房菜館從環境到服務所蘊涵的文化氣息，讓人們在獨特的氛圍中享用一份精細的美食。《私房菜館》便集萃諸多私房菜館，以設計師靈巧的手法營造出氤氳、大氣的中式就餐空間，讓就餐者在如此雅致的餐飲空間中舒緩心情，享受精緻的雅淡之宴。
