梦都會 - hhlloo

公司：	北京天作空间设计公司	类型：	室内
地区：	中国	标签：	餐饮空间

故乡院落和味觉的涟漪在记忆的湖面逐一荡开

自然舒阔与内部端然反复叠映，向远延伸

人们坐下来，看见一片黛色的静海

Ripples of homestead courtyards and flavors spread across the lake of memory.

The vastness of nature and serene interiors mirror one another, extending into the distance. People sit down and behold a tranquil sea of dark slate.

2023年12月，万寿宾馆南侧，夢都會·新派徽菜正式迎客。TANZO天作空间历时近四个月完成建筑改造和空间设计。品牌基因自传统徽菜迁延流变而来，在徽州院落的当代图景下，鲜活圆融的风味长卷徐徐展开。

In December 2023, on the southern side of the Wanshou Hotel, Meng Du Hui: New Huizhou Cuisine welcomed its first guests. After nearly four months of architectural renovation and spatial design, TANZO Space completed this transformation. Rooted in the evolving heritage of traditional Huizhou cuisine, this new space unfolds a vivid and harmonious gastronomic journey within a contemporary vision of Huizhou courtyards.

梦都会·新派徽菜

Meng Du Hui: New Huizhou Cuisine

《晋书》说“徽州人好离别”，背井离乡时怀揣碎银子，夹一本《士商要览》。从黑发到皓首，带着山林里丰富的竹、木、茶、桑、药周游全国，一去经年。

According to the Book of Jin, "Huizhou people are accustomed to partings." Carrying silver and a copy of The Essentials for Scholars and Merchants, they would leave their homeland, venturing for years with Huizhou's rich resources of bamboo, wood, tea, mulberry, and medicinal herbs in hand.

400年前徽班进京，经过吸纳、融合、磨炼造就了京剧这一伟大剧种。安徽和北京，在并行的历史中早有渊源，这也成为梦都會空间的索引。

新店风味以安徽本土山野湖鲜见长，又做南北古今融合，重食补与养生。但万变不离其宗，店内70%的食材每日由产地空运而来，这是铁律。菜单随时令更替，一个不断深入村落山野挖掘本土食材的多人团队全年无休。徽州“三石”、问政山笋、刀板香等等地道徽味开始被越来越多饕客乐道。

Four centuries ago, the Huizhou Opera troupe journeyed to Beijing, blending, evolving, and ultimately shaping the iconic art form of Peking Opera. The shared history between Anhui and Beijing informs the essence of Meng Du Hui.

The restaurant’s menu centers on the fresh mountain and lake produce of Anhui, blending southern and northern influences and emphasizing nourishment and health. Yet, the core remains unchanged—70% of the ingredients are flown in daily from their place of origin, which is a strict rule. The menu changes with the seasons, supported by a dedicated team that tirelessly explores villages and mountains, unearthing local ingredients year-round. Authentic Huizhou flavors, such as the “three stones”of Huizhou, Wen Zheng bamboo shoots, and Dao Ban Xiang, are becoming increasingly popular among food enthusiasts.

设计价值·不止寻味

Design Vision: More Than Flavor

去年，设计师王大泉和梦都团队辗转安徽村落半月，以寻找一个打动人心的锚点。古都巍峨、京西显贵；皖地内敛、儒秀灵透——梦都會注定是一个碰撞叠映的空间，蕴含属于徽州的回望、怀旧和乡愁，亦有京城的气韵、包容、疏阔；有属于东方美学的无限和释然，更有世界性的广大与包容。空间将在新与旧、安徽和北京、自然和城市的相交处做出构建。

Last year, designer Wang Daquan and the Meng Du Hui team spent two weeks journeying through Anhui villages, searching for a compelling anchor for their space. Majestic ancient capitals and the grandeur of Beijing contrast with Anhui's understated elegance and cultural heritage. Meng Du Hui was always destined to be a space of overlapping contrasts—Huizhou’s nostalgia and Beijing’s cosmopolitan air; the boundless beauty of Eastern aesthetics and the expansive inclusivity of global culture. The space would be crafted at the intersection of new and old, of Anhui and Beijing, of nature and the city.

设计没有刻意为之的激情，有的尽是从源头出发细水长流的线索。梦都會的线索是京皖古今、山水人文交织在一起的。自然、空间和人互为守护，传统在这里延续并开启新的身份；古老的味道和记忆不再封存于历史长河，而是不断变幻，有了喜人新貌。

The design is not driven by passion but by the slow, thoughtful flow of its origins. Meng Du Hui’s narrative weaves together Anhui and Beijing, past and present, nature and culture. Here, nature, space, and people protect one another, allowing tradition to continue while assuming new identities. The ancient flavors and memories are no longer confined to history; they evolve and take on new forms, breathing fresh life into the present.

在空间和觉知的奇观里，人们惊喜的获得了一种更开放的地方性想象——青瓦出檐长、马头白粉墙的徽州在融合的空间视觉里有了多义性的生长，徽菜这一略显寂寥的传统菜系也在这样的背景下迸发出积蓄已久的力道和价值。

In the marvel of space and perception, visitors encounter a more open, localized imagination—Huizhou’s iconic black-tiled roofs and whitewashed walls grow anew within a blended visual space, while Huizhou cuisine, a tradition once in quiet decline, bursts forth with renewed strength and significance.

消隐边界·无限的内外

Blurring Boundaries: Infinite Inside and Out

在有限的内部置于一个无限，在城市喧嚣里辟出一块自然，天地四时往来悠游，梦都會由此而生。

In this limited interior, an infinite expanse unfolds. Within the city’s hustle, Meng Du Hui carves out a pocket of nature, where time flows at its own leisurely pace.

初次环游，建筑掩在园区树影后，近入口时视觉能够透过影壁上的圆形开孔穿透立面直达内部。视觉的远端镜面反射其间光影，人穿行其间层叠浮动，圆滑的孔洞如现实和虚幻空间的偶然重叠，象外有象、引人入胜。

Upon first approach, the building is hidden behind the trees of the garden. As one nears the entrance, the eye is drawn through a circular opening in the screen wall, revealing glimpses of the interior. Reflections in mirrors at the far end of the space play with light and shadow, while the rounded apertures create an intriguing overlap of reality and fantasy, enticing visitors further inside.

转身入内，向两侧延伸而去的水景托起踏步将人引入。远端有一座简洁的亭子，不规则林立的纤细立柱与视线尽头挺修茂盛的竹林融为一体。通过精细处理高差，使建筑、植物、亭台、水景在视野里层叠错落，一如徽派建筑与北京的融合转译，

在中国人的精神先验中，亭子同时是“外化而内不化”的代表，它如同空间的序言，释放出诗意的洗练。

Upon entry, steps flanked by water features lead visitors onward. At the far end, a simple pavilion with slender, irregular columns merges with the dense bamboo grove at the horizon. Through precise treatment of elevation, the architecture, plants, pavilion, and water features layer and overlap in the field of view—much like the fusion and reinterpretation of Huizhou architecture with Beijing’s style.

In Chinese cultural understanding, a pavilion is the representative of “Outwardly adapting to circumstance, yet inwardly preserving authenticity”. It serves as the prologue to the space, releasing a refined poetic energy.

进入内部，设计荡开一笔，经过重新解析的庭院、回廊、天井、窗扇等建筑意象贯穿始终。设计引水、铺石、挑空，山水天光一一纳入，虚实并叙。

Inside, the design opens up, with reinterpretations of courtyards, corridors, atriums, and window lattices running throughout. Water flows, stones are laid, and the interplay between light and shadow invites nature into the scene, blurring the lines between the real and the imagined.

面向“自然”的视野和现代的结合共同织补起完整的空间，内外的边界早已消隐，封闭和开放相互渗透，都市与自然叠映的端头，是不可见却恢弘无限的想象空间。

在辩证的设计眼光下，动即是静，内也是外，天涯即比邻，瞬间可恒久。属于东方美学的生动和松弛让一切都处于绵延生长中。

Facing nature while embracing modernity, the space weaves a seamless whole, where the boundary between inside and outside has long vanished. Openness and enclosure permeate each other, as urban and natural landscapes intertwine. At the horizon, where these worlds meet, lies an invisible yet infinite realm of imagination.

In this dialectic design, movement is stillness, the inside is the outside, and the farthest distance is right next door. The dynamic calm of Eastern aesthetics allows everything to be in constant, organic growth.

万象在侧·叠加的幻术

All Things Present: Layered Illusions

空间是在一个现代性的简洁构成下层层丰富递进的，条形灰砖与简素的肌理漆在立面铺陈延展，在垂直方向的天花尽头弯折隐入天光，高度设计和弧面控制减少了对封闭边界的感知，而它的意向既是安徽的也是北京的，作为空间叙事的大背景恒定而有力。

The space, while rooted in a minimalist modern framework, progressively builds in richness. Gray bricks and simple textures extend across the facades, with ceiling heights bending and vanishing into the sky above. This subtle manipulation of height and curvature minimizes the perception of boundaries, grounding the space in both Anhui and Beijing, giving it a stable, compelling backdrop.

背景之上是简化解构后插入的木构院落、庭院回廊，他们串联并定义出室内多个功能区。窗扇格栅进一步细密地分隔出空间层次，镂空叠错、层层荡开。花木山石、画屏灯烛充盈其间，如此内部便有了万千变化。

Set against this are the deconstructed wooden courtyards and corridors, which link and define the various functional areas within. Latticed window screens create finer divisions, layering space with complexity. Flowering plants, stones, painted screens, and lamps fill the interior, allowing for constant variation within.

从二层回廊向下俯瞰，一块狭长繁茂的竹林小景从灰瓦框起的天井中浮现，灯影复照竹叶和青苔，凝固的徽州恍若在无言中伫立。

From the second-floor corridor, a lush, narrow bamboo garden emerges from the framed courtyard below, with lamplight reflecting off the bamboo leaves and moss, evoking a timeless vision of Huizhou.

若是从一层向上仰望，天花玻璃饰面映照着竹林，飘飘荡荡如一池静水。徽州长街小巷里的寻常人家复现，祖辈的风雅和不绝于耳的稚子书声仿佛从未消逝。如若换一个视角，竹林与天花亦是古朴氛围里一件师法自然的当代艺术品。

Looking upward from the ground floor, the ceiling’s glass surface reflects the bamboo, drifting like still water. The ordinary households of Huizhou’s long streets and alleys reappear, with ancestral elegance and the never-ending sounds of children reading, as if the passage of time has paused. From a different perspective, the bamboo grove and ceiling become a piece of contemporary art, drawing inspiration from nature, seamlessly blending into the rustic ambiance.

另一处矩形挑空在U型酒窖和散台侧上方。酒窖净透如琉璃，光在其上的反射再次回应了水的意向，优雅的枝型落地灯洇开光晕。视线由此向上，现代性逐渐被高悬阵列的纸灯笼模糊，灰墙斑驳、树影婆娑。

Another rectangular opening hovers above the U-shaped wine cellar and the surrounding tables. The cellar, clear as glass, reflects light that once again echoes the imagery of water, while elegant branch-shaped floor lamps cast a soft, spreading glow. As the eye is drawn upwards, the modern elements gradually dissolve into a blur of hanging paper lanterns, with dappled grey walls and the flickering shadows of trees.

再向上，一块洁净澄明的天空衬在视线尽头，雨水将一切搅匀。时间、地景、天地人都随着视线攀升逐一交融——万象在侧，望而动衷。

Further up, a clean and clear sky forms the backdrop at the farthest point of view, rain blending everything into one. Time, landscape, earth, sky, and people all merge as the gaze ascends—surrounded by the world, stirred at the core.

居之沉潜，游之触发

Stillness in dwelling, inspiration in wandering

自象征九宫天下观的木构屋面步入餐厅内部，一种漫步式的环游感如影随形。整个空间的构建是极静的，而体验始终是流动的。它的寂静是一种有回应的、唤起记忆的寂静。就像伍尔夫所说，涌入视线和意识的片段“宛如一阵阵不断坠落的无数微尘”，空间并无定式。

Stepping inside from beneath the wooden roof, symbolic of the Nine Palaces cosmology, one immediately feels a sense of wandering, as though embarking on a leisurely circuit. The structure of the space is profoundly quiet, yet the experience is one of constant flow. Its silence is one of resonance, evoking memory. As Woolf once described, fragments enter one's vision and consciousness “like countless grains of dust falling without end”—here, the space defies fixation.

金砖是静的，光是弥漫的；窗是静的，树是簌簌的；画屏是静的，观想的心是流淌的。

无论处于哪个角落，空间必有延展的深度和动感。跌落的马头墙、解构的如意门、廊柱窗栏层层隐现，木、石、纸、漆等建构材料以丰富的肌理建构起场景，更建构起情感。

The golden bricks are still, while the light is diffused; the windows are still, but the trees rustle; the screen paintings are still, yet the contemplative mind flows. Wherever one stands, the space has a sense of depth and movement. Sloped horsehead walls, deconstructed ruyi gates, columns, and latticed windows appear and disappear in layers. Wood, stone, paper, lacquer—these materials, with their rich textures, construct the scene, and more importantly, they build emotion.

步入茶室需拾级而上，身侧立面青砖有序阵列，天光倾泻，恍若步入一个时间和空间都压缩倒错的通道，时间飞逝或停滞似乎皆有可能，正是经过短暂的抽离，眼前豁然开朗——

Ascending to the tea room requires climbing a few steps, with orderly arrays of green bricks lining the walls. Sunlight pours in, and it feels as though one has entered a passage where time and space compress and distort. Time may fly or stand still, anything seems possible. After this brief detachment, the view suddenly opens up.

提篮陈列柜提示着一个不容薄待的大徽州，透过格栅，茶室在环游的尽头静待来客。

The display shelves, featuring traditional baskets, hint at the grandeur of Huizhou, while through the latticework, the tea room quietly awaits its guests at the end of the journey.

环游可以从任何一处开始，在任何一处暂歇。空间投入使用后，店里的员工最先察觉空间“一天之内都在变化”，居游、动静、虚实之间，观想的往返片刻不曾停歇。

The journey can begin anywhere and pause at any moment. Once the space was in use, the staff were the first to notice how it “changes throughout the day.” Between dwelling and wandering, stillness and movement, reality and illusion, the cycle of contemplation never ceases.

在皖地山脉流水层层叠叠的褶皱中，孕育出丰饶鲜美的食材。彼时徽商行船有的是时间慢慢煮炖，所以徽菜重火工。四百年后，不计成本、不厌其精是梦都會的底气，而设计也将这份火工延续到了空间。

The rich and fresh ingredients from the folds of Anhui’s mountains and rivers have always nourished the land. In the days of the Huizhou merchants, slow-boiling was a necessity for those long voyages, and thus Huizhou cuisine became known for its skill with fire. Four hundred years later, this dedication to time and effort forms the core of Meng Du Hui , and this commitment is reflected in the design of the space itself.

如今，梦都會每逢假日往往一座难求，除了徽味之外，令人流连的大约还有如烟的梦里徽州、宛自天开的自然化境、山光满几的诗意，以及久居都市的人内心的自在遨游。

Today, Meng Du Hui is often fully booked during holidays. Beyond the flavors of Huizhou, it is perhaps the dreamlike atmosphere, the seamless blend with nature, the poetic beauty of mountains reflected in the furniture, and the inner freedom found by city dwellers that leave visitors longing to return.