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Kalakal Tibetan Cuisine and Culture Center
Kalakal Tibetan Cuisine and Culture Center
Yunnan, China
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Other Projects by Parallect Design
Kalakal Tibetan Cuisine and Culture Center
Yunnan, China
Firm
Type
STATUS
Built
YEAR
2020
SIZE
1000 sqft - 3000 sqft
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.
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.
The renovation of the external façade 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.
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.
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.
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.
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.
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.
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.
The renovation of the external façade 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.
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.
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.
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.
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.
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.
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