Project: Caffe La Tana Designer: Ste. Marie Art and Design Location: Vancouver, Canada Completion date 2018 Photographer: Ian Lanterman, Conrad Brown, glasfurd - walker, Ste. Marie Art and Design

项目：Caffe La Tana设计师：Ste。玛丽艺术和设计地点：加拿大温哥华，2018年完成日期：伊恩·兰特曼，康拉德·布朗，格拉斯福

This fall the team behind Osteria Savio Volpe - Pepino’s Spaghetti House opened the doors of their third concept, La Tana– loosely translating in Italian to “The Den” and pointing to the idea that this was the home of our beloved Fox, Savio. An old world-inspired establishment, Caffe La Tana is styled after the Italian alimentari: a small, neighbourhood gathering place serving pastries and simple meals; brewing strong, Italian style espresso; making fresh pasta in house; and stocking the finest imported Italian meats, cheeses and dry goods. Strategy | Narrative | Concept Bedecked with deep green marble, antique shelving and custom woodwork, classic tiled flooring, and a tailor-made, hand-drawn wallpaper, the La Tana space, designed by studio, Ste Marie, evokes Italy’s elegance as influenced by Ste Marie’s eye for the unexpected. “We endeavoured for La Tanato be two things: elegant and effortless,” — a physical manifestation of the Italians’ age-old gift of making art out of life, as best exemplified by the Pasta Fresca station, where guests can watch the pastaio’s labour of love in progress. “Selfishly, I wanted a place that would bring me back to my favorite memories of traveling in Italy with my family and happening upon a tiny hole in the wall that turns out to be warm, welcoming and special.” -Craig Stanghetta

今年秋天，奥斯特里娅·萨维奥·沃尔普身后的球队

C.C: Carmen Cheung, Ste. Marie Senior designer and Project lead C.S: Craig Stanghetta, Ste. Marie Creative Director and La Tana Co-owner K.R: Kate Richard, Designer

C.C：CarmenChung，Ste。Marie高级设计师和ProjectLeadC.S：CraigStantagetta，Ste。MarieCreativeDirector和LaTanaCo-OwnerK.R：KateRichard，设计器

What was the brief? C.S: In this instance I co-own the place, so we are directing the brief in many ways. Our studio has a department that focuses solely on positioning, narrative and concept development and as such, that side of the studio took the lead on working with ownership, on getting clarity of concept, product offer, experiential opportunities etc. Frankly, I’d been wanting to do a little shop like this for so long. I had been squirrelling away little ideas and pieces of the narrative whenever I would travel to Italy or hear stories from friends and family about their favourite little spots. So this phase was mostly just us following our hearts and stomachs to unearth ideas that we selfishly wanted to exist in our backyard. The idea for the name was a play on the name of our other restaurant: Savio Volpe – La Tana being the idea that it’s the Cantina of our cunning fox where he keeps his treasures.We had also opened a small “Red Sauce” spot just next door which obviously skews to the New World interpretation of Italian cuisine so we really wanted La Tana to be the counterpoint to that in every way.Next door has the typical Red Vinyl booths and carpeted dinning room of those heyday joints in Jersey, NYC and Montreal so we pushed for this deep green palette for the neighbouring La Tana and we’re pretty iron clad that every choice here needed to skew Old World – albeit with a bit of irreverence and originality in the nuance.

简报是什么？在这种情况下，我共同拥有这个地方，所以我们在很多方面都在指导简报。我们的工作室有一个专门负责定位、叙事和概念开发的部门，因此，工作室的那个部门率先与业主合作，明确概念，提供产品，提供体验机会等等。坦白地说，我很久以来一直想做这样一家小店。每当我去意大利或从朋友和家人那里听到关于他们最喜欢的小景点的故事时，我都会把故事中的一些小想法和片段藏起来。所以这个阶段主要是我们跟随我们的心和胃去发掘我们自私地想要在我们的后院存在的想法。这个名字是我们另一家餐厅的名字上的一出戏：萨维奥·沃尔普-拉塔纳认为这是我们狡猾的狐狸的坎蒂纳，他的宝库就在这里。我们还在隔壁开了一个小的“红酱油”点，这显然与新大陆对意大利料理的解读有偏差，所以我们真的希望拉塔纳能成为这方面的对立面。在新泽西，Next门上有典型的红色乙烯利摊位和雕刻餐厅，纽约和蒙特利尔，所以我们为邻近的拉塔纳(La Tana)推出了深绿色的调色板，我们非常铁板一块，这里的每一种选择都需要扭曲旧世界-尽管在细微之处带有一点不敬和独创性。

CC: In this project our vision was to create a space that encapsulated the grocers/cafes in Italy during the 19th century, having that old-world Italian charm when you walked through its doors and imbuing a sense of familiarity, charm and comfort.

CC：在这个项目中，我们的愿景是创造一个空间来封装19世纪意大利的食品店和咖啡馆，当你走过它的大门时，它有着古老的意大利魅力，并注入了一种熟悉、迷人和舒适的感觉。

What are some design details? Materials used, color palette? CC: Some design details include: A hand applied plaster technique, giving an aged surface texture on the walls. A custom designed wallpaper with images pulled from archived Pomology - Zoology textbooks. A colour pallet comprised of monochromatic, muted grey-greens tones with a selection of unique marbles layered throughout. Subtle hints of orange focus attention toward the front bar, accentuating the featured daily food offerings. One of the stand out pieces was the purchase of a rare brass pendant fixture designed by Luigi Caccia Dominioni in 1965. The warm glow can be seen from outside thecaféin the evenings welcoming you in.

一些设计细节是什么？用料，调色板？CC：一些设计细节包括：一种手工应用的石膏技术，在墙上赋予老化的表面纹理。一种自定义设计的壁纸，里面有从归档动物学中提取出来的图像

C.S We also had our friend Antique and Architectural Salvage expert Scott Landon help us find some extremely rare Italian antiques, objects and fixtures. Including a 60 year old map of the Venice trading routes and a late 19th century Italian mirror. Another vendor that specializes in Italian plaster casting was helpful in creating ornate rosettes and wall mount sculptural elements. What I like the best however is the interplay between these classical elements and the more modernist forms of the stonework and custom art.

我们也有我们的朋友古董和建筑救助专家斯科特兰登帮助我们找到一些非常罕见的意大利古董，物品和固定装置。包括一张有60年历史的威尼斯贸易路线地图和19世纪末的意大利镜子。另一位专门从事意大利石膏铸造的供应商帮助创作了华丽的玫瑰花和壁挂式雕塑元素。然而，我最喜欢的是这些古典元素与更现代的石材和风俗艺术之间的相互作用。

Could you speak a bit more to the wallpaper? When asked to design the wallpaper for the space, I looked at it as an experiment in storytelling. I was brought on near the projects completion, so it was really fascinating for me to be able to see the design decisions of the space come to fruition and connecting them to the narrative in which they were informed. In turn, the wallpaper became a reflection of this narrative, exploring how the foxes den becomes this neighbourhood gathering place, where food brings community together. I had fun diving into the open source archives of various libraries/museums to source the content and actually ended up gaining a fair amount of insight on botany/pomology in the pr0cess. Visually, the design of the wallpaper was inspired by the walls of Victor Hugo’s Hauteville House and Carlo Mollino’s Turin apartment, Museo Casa.

你能对墙纸多说几句吗？当被要求为这个空间设计壁纸时，我把它看作是一个讲故事的实验。我是在项目完成的时候被带到这里的，所以我能看到这个空间的设计决策得以实现，并将它们与他们所了解的故事联系起来，这对我来说是非常有趣的。反过来，壁纸成了这种叙述的反映，探索狐狸窝是如何成为邻里聚集地的，在那里食物把社区聚集在一起。我在各种图书馆/博物馆的开放源码档案中进行了有趣的探索，以获取相关内容，并最终获得了大量关于植物学/植物学的洞察力。从视觉上看，壁纸的设计灵感来自维克多·雨果的豪特维尔住宅和卡洛·莫利诺的都灵公寓Museo Casa的墙壁。

Was the other custom artwork informed by a similar process? KR: Carlo Mollino was a big inspiration throughout the process of most of the art. His 1945 Casa M2 Photo Panel was a single black and white photograph mounted on 25 separate panels. We found some Italian artwork in the New York Public Libraries Public Domain archives and placed it in 16 separate frames as a homage to Mollino’s work.

其他的定制艺术品是否通过类似的程序被告知？卡洛·莫利诺是整个艺术过程中的一大灵感源泉。他1945年的CasaM2照片面板是一张黑白照片，安装在25个独立的面板上。我们在纽约公共图书馆公共领域档案馆发现了一些意大利艺术品，并将其放在16个不同的框架中，作为对莫利诺作品的敬意。

What were the challenges with the project? The solution? CC: We were met with a few challenges when it came to building the glass enclosure for the pasta prep area and installation of the pasta drying rack. The original design included three glass sides but would have been difficult to secure in place. In the end, we decided to go with one glass panel at the front with 2” round poles on either side, extending from the marble counter top to the ceiling providing the extra strength needed. Securing the wooden dowels for the pasta rack was also tricky, as a lot of options would have either been too insecure, or taken away from the design intent. Craig came up with the idea of using a through hole, allowing us to then add brass finials at the end of each rod, which turned out to be one of the most interesting details in the café.

该项目面临哪些挑战？解决办法？CC：我们遇到了一些挑战，当涉及到建造意大利面准备区的玻璃外壳和安装意大利面烘干架。最初的设计包括三个玻璃边，但很难固定到位。最后，我们决定在前面用一块玻璃板，两边都有2“圆的杆子，从大理石台面延伸到天花板，提供额外的强度。为意大利面架固定木钉也是很棘手的，因为很多选择要么太不安全，要么被剥夺了设计意图。克雷格想出了使用直通孔的想法，允许我们在每个杆的末端添加黄铜材质，这是咖啡馆里最有趣的细节之一。

What was unique about the project location/ building. Did this provide design challenges? CC: The location played a big part in the project, it was the perfect backdrop for Caffe La Tana because of its rich history and connection to the Italian community. Caffe La Tana is well suited for this neighbourhood which often is referred to as ‘little Italy’.

项目位置/建筑的独特之处。这提供了设计上的挑战吗？地点在这个项目中发挥了很大的作用，它是卡菲拉塔纳的完美背景，因为它有着丰富的历史和与意大利社区的联系。Caffe La Tana非常适合这个常被称为“小意大利”的地区。

主要的项目影响或启示是什么？CC：我们从意大利建筑师卡罗莫利诺，卡罗斯卡帕和奥地利/捷克建筑师阿道夫卢斯的灵感。卡菲·拉塔纳是他们现代建筑风格和极简主义设计原则的反映。石头、大理石和彩绘的木材被深思熟虑地使用，以确定框架和塑造内部形式，使他们几乎可以感觉到雕刻从一个共同的材料/颜色块。

Any design standouts? CC: My favourite feature has to be the front bar, especially the green marble with subtle hints of yellow and white veins flowing together. The striking orange marble ledge sweeps across the entire length, staggering at different heights as it draws your eyes further into the space. From there you continue to look around to uncover the many details that build on the narrative of the fox’s den.

有什么设计上的亮点吗？CC：我最喜欢的特征必须是前面的酒吧，特别是绿色大理石与淡淡的黄色和白色脉一起流动。令人印象深刻的橙色大理石悬崖横扫整个长度，在不同的高度摇摇晃晃，因为它吸引你的眼睛进入更远的空间。从那里开始，你会继续环顾四周，发现建立在狐狸巢穴叙事基础上的许多细节。

C.S: I agree with Carmen – the bar is the lifeblood of the space. It grounds everything and allows us to sort of dance around the space creating visual interest in every tiny nook and cranny. Without it I feel the space would be a bit whimsical and not have that firmness and conviction of what you’re lucky to happen upon in the ancient towns throughout Italy. So much of this place is an homage to the nobility of material, craft and culture that we couldn’t stop short and needed to lean into the old materials and techniques of the bygone masters. That said we also have been having a lot of fun finding new interpretations of old imagery and executing them in new ways. You can see it in the custom work we had commissioned and in other pieces we executed in house. We worked with a local artist James Daviduk to hand paint another standout feature: the custom tile backdrop for the meat station which features our hero fox surrounded by a bounty of food and being hailed by his fellow forest creatures! Oh, not to mention we have an extremely gifted designer within the studio Kate Richard who designed our wallpaper and custom artwork throughout.

我同意卡门的说法-酒吧是太空的命脉。它让我们在太空中跳舞，在每一个微小的角落和缝隙中创造视觉兴趣。没有它，我觉得空间会有点异想天开，没有那种坚定和信念，你幸运地发生在意大利各地的古镇。这个地方的很多地方都是对物质、工艺和文化的崇高的敬意，我们不能短暂地停下来，我们需要依靠过去大师们的旧材料和技术。尽管如此，我们也有很多乐趣，寻找新的解释，旧的形象，并以新的方式执行。你可以从我们委托的定制作品和我们在家里执行的其他作品中看到它。我们和当地的艺术家JamesDaviduk一起画了另一个特色：肉站的定制瓷砖背景，里面有我们的英雄狐狸被丰富的食物所包围，并受到他的同伴森林生物的欢迎！哦，更别提我们工作室里有一位极具天赋的设计师，凯特·理查德，他自始至终都设计了我们的壁纸和定制艺术品。