俄罗斯阿泰斯特餐厅丨不详

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老刘说

Old Liu said

在特鲁布尼科夫斯基路上的一个带有阴凉平台的两层小房子。和 arkady novikov 与 atrem estafev 合作的，第一家标志性菜肴的高级餐厅。在开始这个项目时，我们惊讶于客户的独特视野，而不是由已经存在的餐厅的陈腐模型组成。

A small two-story mansion with the shaded terrace in Trubnikovsky lane. And the first fine dining restaurant of signature dishes by Arkadiy Novikov in partnership with chef Atrem Estafev. Embarking on the project, we were astonished at the uniqueness of the client’s vision which was not made up of clichéd models of already existing restaurants.

餐厅平面布置图

两个世界呈现在我们面前。底层描绘的是黑暗的世界，树根、土壤，还有丰富的土地。一楼充当了进入光明世界的入口，通风明亮。一个令人惊叹的楼梯层与黄铜板桥这些过渡阶段。其中一个特点就是俄罗斯的前卫厨房，用手工陶瓷制作。我们被委以如此大的任务，我们全身心地投入到世界的描绘之中。

The two worlds were presented to us. The ground floor depicted the Dark world. Roots, soil, and the earth itself in its richness. The first floor served as a portal into Light world, glowing and airy. A stunning staircase layered with brass sheets bridges these transition stages. One of the idiosyncrasies is the Russian avant-garde kitchen where the dishes are served on handmade ceramics. Having been commissioned with the task of such scale, we fully immersed ourselves in the elaboration of the worlds.

首先，我们需要参考点。一楼的根部发展成为光的世界，这就是为什么我们想出了一个主厨餐桌，可以容纳 10 个人的主意。在一楼，我们想要轻盈，和空间共舞，所以阿卡迪和阿尔特提出了壁炉作为中心装饰品的概念。一楼的粗糙结构的墙壁是地球的精华，与蘑菇帽相似的百叶窗欺骗你，让你以为它们是从餐厅的墙上长出来的。铜质的厨房岛屿，与埋藏在地下深处的金属类似。

First, we needed reference points. The rootedness of the ground floor developing into the light world. That’s how we came up with the idea of the chef’s table for 10 people with its roots. And on the first floor, we wanted lightness and dance with space. So Arkadiy and Artem brought forward the concept of a fireplace as a centerpiece. The ground floor with its lumpy textured wall is a quintessence of earth. The shutters which bear resemblance to mushroom caps trick you into thinking they grow out of the restaurant walls. The brass-patinated kitchen islands create the analogy with metals buried deep in the bowels of the Earth.

舞蹈与上层空间与地面区域紧密相连。阿尔卡迪·诺维科夫和阿尔泰姆·埃斯塔菲夫本人，全身心投入到这项合作工作中。我们建议把空间围绕在雕塑周围，这是项目的起点，我们发现将空间变得更加厚重是至关重要的，它同时具有可塑性和光线，形状方面。这个概念让我们看到了 henry moore 和 isamu noguchi 的作品。

Dance’ with the upper space went hand in hand with the ground area. Arkadiy Novikov and Artem Estafev themselves were fully involved with the collaborative work. We proposed to center the space around the sculpture, the starting point of the project and found it crucial to thicken the space into a massive entity, which is simultaneously malleable and light, shape-wise. This concept brought us to the oeuvre of Henry Moore and Isamu Noguchi.

我们同时在做水彩墙和家具的形状。我们所追求的是温暖和房间的动觉特性，这决定了灯饰的选择，作为这个世界的透明度、友好性和响应性的象征。一楼舒适的环境氛围对我们来说是最重要的。除了椅子以外，所有的家具都是按照我们的想法定制的。我们想在平静和微妙的物体 d’艺术上做最后的润色，所以我们选择了 alexander guyvoron 的黑白胶片摄影，他是一位摄影艺术家，在萨哈林岛上拍摄照片。

We were simultaneously working on the watercolor walls and the shape of the furniture. What we were striving for was warmth and the kinesthetic nature of the room. This determined the choice of light upholstery as a symbol of this world’s transparency, amicability, and responsiveness. Customers’ comfort in the soothing and ambient atmosphere of the first floor was of the utmost importance for us. All the furniture with an exception of chairs was custom-made by our ideas. We wanted to put final touches on calm and subtle object d’arts, so we opted for black and white film photography by Alexander Guyvoron, a photo artist who takes his pictures on the island of Sakhalin.

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