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Biiird Yakitori

BigER Club Design

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Dining Area - Wu Siming
Dining Area - Wu Siming
Facede - Wu Siming
Dining Area - Wu Siming

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Comments
Innovation
Functionality
Creativity
Eco-Social Impact
Total
JURY VOTES
Restaurant
6.63
6.38
6.84
5.99
6.46
Niels Kramer
Niels Kramer Creative Director EMEA at Tétris Design & Build
Very welcoming space. Fantastic eye...
7
8
8
6
7.25
Emma Maxwell
Emma Maxwell Founder at Emma Maxwell Design
I love the use of materials and the...
7.05
4.3
7.25
5
5.9
Philipp Schlauch
Philipp Schlauch Senior Workplace Consultant at Drees & Sommer
I like your approach of hidden stat...
6
6.75
6
5.5
6.06
Eunice Wu
Eunice Wu Property Director at China Merchants Shekou
Sustainable design and comfy atmosp...
7
6
6
7
6.5
Andy Thaemert
Andy Thaemert Sr Creative Director  at Nike
a ceremony in simple block material...
7
7.5
7.5
5
6.75
David del Valle
David del Valle Founder at Del Valle Studio
Complex location, and a creative re...
6.36
6.47
7.65
5.56
6.51
Chantal Vos
Chantal Vos Associate Partner at Kraaijvanger Architects
beautiful interventions draw unforc...
6
7.5
7
7
6.88
Hongdi Li
Hongdi Li Founder and Creative Director at Studio Lux
6.5
6
7.5
5.5
6.38
Hihope Zhu
Hihope Zhu Founder and Chief Architect at Archihope
6
6
5
6
5.75
Corey Martin
Corey Martin Principal Designer at Hacker Architects
The core is striking, creating a co...
8.65
7.89
8.21
6.89
7.91
Collin Burry
Collin Burry Design Principal at Gensler
Brutalism for this century?...
6.48
6.56
6.94
6.86
6.71
Samar Younes
Samar Younes Founder and Chief Imagination Officer at Samaritual
Great contrast of textures and mate...
6
5
6
5
5.5
Vincent Zhang
Vincent Zhang Cofounder at Domani Group Limited
6.09
5
5.88
6.61
5.9
Client
Tony Ng
Floor area
274 ㎡
Completion
2022

The word "yakitori", leaving aside the differences between the traditional and simplified forms, is essentially a Japanese word meaning the various parts of a bird grilled on a skewer. It first appeared in 1643 (Edo period) in the cookery book "Yakitori", which describes the cooking of various birds. Food has always been an irreplaceable reality, influencing people's daily lives from the inside out and acting as a critical clue to reshaping commercial spaces. The characteristics of the ingredients and cooking methods of each type of food and drink interact with the form of dining, combining many intrinsic factors to create a variety of dining space typologies, developing a unique sense of 'ritual' and even a particular dining culture. 

After analyzing the site conditions and functional requirements, we decided to place the dining area and kitchen in the ample space with the columns, with the dining area surrounding and wrapping the kitchen inwards. In contrast, the columns are tucked away in the kitchen. This avoids the abruptness of a column in the middle of the space and creates a continuous semi-ring space, thus increasing the visual continuity. More importantly, the efficiency between the kitchen and the dining area has been improved. 

While satisfied with the main spaces' capacity and efficiency, the space's eastern side is almost completely covered by the two larger functional divisions of the kitchen and dining area. The remaining smaller service spaces such as toilets, storage rooms and staff changing rooms need to be cleverly mediated on-site and organically integrated into one multifunctional 'core' (infrastructure and circulation core) placed on one side. At this point, the "design" is "done". We are not willing to stop at aesthetics, problem-solving and efficiency. Private spaces may be able to release a certain degree of social properties (publicness) through some strategy. By dividing the central functional spaces, the dining area and the "core" are independent of each other but partially connected, thus creating a more "interesting" residual space in an organised way. 

Regarding spatial possibilities, we have attempted to reactivate some of the remaining space during non-dining hours, perhaps as additional social spaces and exhibition spaces. Spatial forms often reflect social forms, as well as the relations of production and underlying logic at a particular stage. The relationship between people and space, people and people, people and things, is constantly being reconfigured with the spatial empowerment of consumption and entertainment through the internet. When achieved with some success, this satisfaction can lead to experience and the exploration of the 'new' being limited by specific popular contexts. As a typical contradiction in commercial space, we had to respect the commercial logic and solve the problem while discussing some "doctrine".