Page 99 - AIT0623_E-Paper

Entwurf • Design Studio Komo, Stuttgart
Bauherr • Client Ōkyū GmbH, 70178 Stuttgart
Standort • Location Calwer Passage, Stuttgart
Nutzfläche • Floor space 230 m 2
Fotos • Photos Philip Kottlorz, Stuttgart
Mehr Infos auf Seite • More info on page 142

RESTAURANT OKYU

IN STUTTGART

Setchūyō is an eclectic architectural style that emerged
in Japan during the Muromachi period from the fusion of
three previous styles. What is considered an old tradi-
tion has now been taken up again by Studio Komo: For
the Stuttgart Ōkyū restaurant, they reinterpreted classic
elements of temple architecture and adapted them to
the needs of an upscale experience gastronomy.

F or operator Phuc Nguyen Duc, Õkyū is already the third Japanese
restaurant in the city of Stuttgart. When he heard about Piëch Hol-
ding’s plans to renovate the listed Calwer Passage, he was immediately
enthusiastic: the prime location right in the heart of the city and the ar-
chitecture of the future-oriented building with its greened façade and
sustainable concept convinced him straight away. The “only” thing left
to do was to find a partner for the design of what he intended to call
the “royal palace” (Õkyū). As a boutique interior-design agency, Studio
Komo, which describes itself as a “passionate facilitator of possibili-
ties”, was virtually predestined. And so, their extraordinary attention
to detail now indeed characterizes the entire space for the guests
which is divided into different distinct areas: the courtyard (Basho), the
garden (Kōen), the fountain (Funsui), the kitchen (Kitchin) and the
bathhouse (Yokujō). These historical references have been adapted to
modern times but are definitely noticeable. They are complemented by
other influences from Japanese culture: traditional Japanese linen cur-
tains (Noren) stage the ceiling, and short poems with a maximum of 17
syllables (Haikus) adorn the walls in unexpected places. To enhance
the temple-like visual relationships, the floor plan is axially aligned –
with a red dot at the end of the restaurant which emphasizes the lon-
gitudinal axis. The moulded stone walls are particularly striking for this
specific room which is five metres high in places: covered with a red
ceramic glaze, they form the perfect counterpoint to the green ceramic
tiles, the dark-green terrazzo on the walls, floor and furniture, and the
light-green bouclé fabric of the seating niches in front of an unusual
red mirror surface. The exciting complementary contrast is set off by
black ceilings and floor coverings, a black counter and black chairs
that stand at the specifically designed tables: their surface is made of
rattan, whose capillaries have been filled with red paint and thus
create a unique impression which, in turn, is punctuated by a red cir-
cle: this is not only a graphic allusion to the Japanese flag but also con-
Grundriss • Floor plan fidently marks the point where the fine food is best displayed.

AIT 6.2023 • 099