喀拉卡爾藏族美食文化中心

項目名稱：喀拉卡爾藏族美食文化中心

項目類型：建筑改造

項目地點：中國云南省迪慶藏族自治州香格里拉市安康巷4號

設計單位：平介設計、云南福龍設計事務所有限公司

項目團隊：扎西培楚，楊楠，王乙童，李宗鍵

建成狀態(tài)：建成

設計時間：2018年10月-2020年1月

建設時間：2020年1月-2020年10月

建筑面積：1000平方米

攝影：扎西培楚

遠看建筑©扎西培楚

在喜馬拉雅山脈以東，有一系列南北走向的高山峻嶺，這就是中外聞名的三江并流的橫斷山脈地區(qū)。香格里拉，地處三江并流腹地，作為歷史上茶馬古道的重鎮(zhèn)，不同民族文化在此交匯融合，造就了當地獨具特色的文化環(huán)境。從二十世紀初約瑟夫·洛克初次將橫斷山區(qū)展現于世界前，再到詹姆斯·希爾頓筆小說里的凈土，香格里拉以其自然風光與民俗文化吸引著世界各地的旅客來此尋找心中的家園。

In the northwestern part of Yunnan Province, in the Hengduan Mountains, there is a mysterious and tranquil place called "Shangri-La". This place Located in the hinterland of the Three Parallel Rivers, it was once an important town on the Ancient Tea Horse Road. The integration of multiple ethnic groups has created a unique local cultural environment, attracting tourists from all over the world to find their homes in their hearts. At the beginning of the 20th century, the Hengduan Mountains were first shown to the world through the explorer Joseph Charles Francis Rock. In the 1930s, "Shangri-La" appeared in James Hilton's novel "Lost Horizon". The pure land depicted in the book was longed for by the world, and make Shangri-La known to the world.

項目定位與策劃Programming

項目位置©平介設計

老喀拉卡爾藏餐廳照片©扎西培楚

二十年前，一戶名叫白瑪的家庭在香格里拉獨克宗古城外城區(qū)開了第一家藏餐廳，這家名叫喀拉卡爾藏餐廳虔誠的追求“在’溫暖’的香格里拉，開一家溫暖的店，等候一群溫暖的人來”的理念，生意追求不溫不火為度，誠信真實食材為底。

Twenty years ago, a Tibetan family named Pema opened the first local Tibetan restaurant “Karakal" in the outer urban area of the ancient city of Dukezong, Shangri-La. Karakal pursues to protect the authenticity with care.Keeping the business moderate, and the food ingredients are natural. Always adhere to the concept of "open a warm store in the warm Shangri-La, and wait for a group of warm people to come".

二十年后的今天我們希望以白瑪·喀拉卡爾的積淀為基礎，展現香格里拉獨特的地域文化，設計改造一個新的復合空間，一個能讓旅客品嘗到香格里拉原真的藏族美食的舒適餐廳。同時，我們設想這個空間也是香格里拉各界文化人士相聚與交流的家園。這里可為諸如文化沙龍，攝影展，座談會等各類文化活動提供場所。通過舒適優(yōu)雅的環(huán)境與豐富的文化活動將大家連接在一起，期待文化與思想的交流能夠迸出精彩的火花。

Today, twenty years later, we are designing and transforming a new composite space, hoping to use the accumulation of Pema Karakar as the starting point and the most authentic Tibetan cuisine as the medium to show the regional cultural characteristics of Shangri-La. At the same time, we envision this space as a home for local people from all walks of life in Shangri-La to gather and communicate. It can provide venues for various cultural activities such as cultural salons, photography exhibitions, and symposiums. Serving the cultural life of the local people through a comfortable and elegant environment. We looking forward to the exchange of culture and ideas can burst out wonderful sparks.

建筑改造Architectural Transformation

外立面夜景©扎西培楚

場地由兩部分組成：三層餐廳及兩層庭院式住宅?，F有三層建筑為十年前建成，旁邊的老宅為九十年代所建，老建筑為10年前業(yè)主自建的磚混建筑，存在立面造型與所在地文化環(huán)境不符，空間利用低并在冬季存在嚴重的保暖問題。

The site consists of two parts: a three-story restaurant and a two-story courtyard residence. The existing three-story building is a brick-concrete building built by the owner ten years ago, and the old residence next to it was built in the 1990s. The facade of the original building on the site does not match the local cultural environment, in the meantime the space utilization is low, and there are serious thermal problems in winter.

設計過程©平介設計

建筑軸測圖©平介設計

在一個具有強烈地域性建筑文化的環(huán)境里如何以現代的手法，設計出一種既具現代感又蘊含藏地文化特色的空間形態(tài)與建筑是貫穿項目始終的目標與挑戰(zhàn)?；谶@個目標，設計團隊也考察了香格里拉周邊諸多傳統(tǒng)建筑與新建的口碑項目（梅里既下山、阿若康巴酒店等）。受限當地政策（新城規(guī)劃對立面風貌控制的要求）與項目預算，我們放棄了最初基于評估后認為結構不合理性提出的重建想法，轉向通過對建筑外立面及室內空間進行改造的方式，以增加本土文化特征并提升室內環(huán)境品質。而在整個過程里我們嘗試打破當地對于建筑盲目追求傳統(tǒng)元素與材料堆砌而忽視使用體驗的現狀，回歸并關注地域建筑的樸素、內斂與溫暖，以及對使用體驗的尊重。

In a context with a strong regional architectural culture, how to use modern techniques to design a built environment that is both modern and contains Tibetan culture is the goal and challenge throughout the project. Based on this goal, the design team investigated a number of traditional buildings around Shangri-La and several newly built commercialprojects with favorable comment (MSunyata Hotel in Meili Snow Mountainn, Arro Khampa Hotel, etc.). Initially, we proposed an idea of reconstruction based on the assessment that the original building structure was irrational. However, due to local policies (requirements for the control of facades in new town planning) and project budgets, we gave up the idea of reconstruction and switched to adopting the renovation of external facade and indoor space. The renovation increase the local cultural characteristics and improve the quality of the built environment. At the same time, we also tried to break the current situation of blindly pursuing traditional elements and materials in the building and neglecting the use experience during the whole design process, and returning to the basic consideration of the use experience, focusing on the simplicity, restraint and temperature of the regional architecture.

建筑街景©扎西培楚

建筑街景雪景©扎西培楚

建筑街景夜景©扎西培楚

建筑外立面改造運用了藏族傳統(tǒng)建筑的門窗元素，包括藏式九宮格窗（藏語稱格尼）與飛子木窗頭（藏語稱八蘇），并使用退臺形式的窗套營造傳統(tǒng)藏式建筑門窗所具有的層次與韻律，餐廳設計所有窗戶均采用雙層中空玻璃和加厚型材以保證室內保溫效果。在窗頭與窗套的材料選擇上，我們使用了銹蝕折形鋼板代替?zhèn)鹘y(tǒng)的木材，以解決木材在高原室外環(huán)境下不耐久的問題。外墻涂料使用了淡夯土黃真石漆來制造傳統(tǒng)藏房的夯土墻的粗糙紋理質感，通過對傳統(tǒng)元素的現代演繹，采用在地成本可控的現代用料以回應當地居民對地域建筑的“記憶”。在立面照明設計上我們同樣避免使用直射光源而采用底部和凹槽打燈去突顯材料和立面的質感。

The renovation of the external fa?ade of building uses the door and window elements of traditional Tibetan architecture, including Tibetan-style lattice windows and wooden window heads, and use of window trim in the form of setbacks in order to create the rhythm of traditional Tibetan building doors and windows. In consideration of the plateau climate, all windows use double-layer hollow glass and thicker glass frames to ensure indoor thermal insulation. In the material selection of window head and window trim, we used rusty steel plate instead of wood to solve the problem that wood is not durable in the outdoor environment of plateau. The exterior wall was painted by pale rammed earth yellow real stone paint to create the rough texture of the rammed earth walls of traditional houses. Through the modern interpretation of traditional elements and use of modern materials with controllable costs we were able to respond to the "memory" of local residents to regional buildings. In the design of facade lighting, we also avoid using direct light sources and use bottom and groove lighting to highlight the texture of materials and the form of external facades.

室內改造與設計Interior Renovation