Inspired by "The hidden restaurant is embraced by mountains and ocean.," JG PHOENIX blends the reclusive sentiment of Eastern literati with contemporary culinary aesthetics. Defining HAN SHE as a dining space where "every chopstick, every meal is a landscape," it strips away redundant decoration, harnessing the power of nature to reveal abundance in simplicity and conceal myriad phenomena within tranquility.

From this foundation, we choose to begin with the Eastern concept of "Entering": Entering an unconscious state, Entering an illusion of time and space, Entering a rhythm of resonance between heaven and earth.

Stepping into this intimate space reveals a collision between geometric order and natural wildness. The pathway, paved with rough-hewn stone, bears the textured weight of time. The division of public areas is not a rigid cut but a natural meridian drawn with organic materials, guiding visitors along their path. As the eye follows the stone grain, the raw wood reception desks on both sides accentuate the spatial centerpiece, creating a strong contrast in color tones. Illuminated calligraphy of “Hanshe” on the wall highlights the cultural emblem of the restaurant.

In the space between opening and closing, the sea breeze sweeps through the room, with bamboo gently swaying in the wind. The sunlight is softened by the bamboo leaves, casting scattered shadows on the stone floor. The entire floor-to-ceiling window becomes a giant frame, depicting the changing scenes of "dawn, noon, and dusk" as time passes. In the stillness, I am gazing at the mountains and the sea, my vision piercing through me, gathering into a doorway of light.

The clash of materials between the uniquely shaped fabric sofa and the metal-edged table represents the dialectic between coarse and fine textures. The black oak writing desk stands like an ink-colored island, while the landscape painting on the wall creates a serene atmosphere with its concise lines and asymmetrical composition, evoking the tranquility of "the mountains after a fresh rain."

The lattice gate opens slowly, with floating light and shadow, merging with the natural world, presenting a space that evolves in rhythm with each step, a seamless transition of scene and space. The subtle variations in scale and atmosphere awaken a desire for mysterious exploration. The neatly arranged lawn, in the morning and evening, is shrouded in mist from an underground fog system, resembling the breath of the earth. The old gardenia tree stands in the center of the lawn, its faint fragrance spreading throughout the garden.

The private room extends the traditional "eaves corridor" concept, creating a semi-outdoor resting area. The bamboo forest forms a curtain, the time of bamboo shoots shedding their skins and growing, while the rustling sound of grass leaves fills the air. Sunlight filters through, casting moving spots of light, and the spatial design brings a sense of playful exploration. In the misty green fields, I hope that each visitor who arrives here, upon opening the door for a moment, will catch a glimpse of the essence of Eastern civilization and feel the deep-rooted cultural heritage embedded in nature.

The dining area is planned with fourteen independent private rooms, each named after the eight scenic spots of Chaozhou, arranged around the central area in a way that encloses the inner courtyard, allowing each room to enjoy a unique view of the Shantou bay. Everything in sight is a swirling, fine-scaled sea and clouds. Facing the mountains and the sea, one can casually sit, free and unrestrained, relaxed and peaceful.

In the resting area, the sofa background and island table are accented with green marble. The stone veins resemble the mysterious fog of a marsh at dawn. Beneath the green cloud stone wall, a misty fireplace is embedded, with flames flickering in a charcoal wood fixture. The warm glow from the fireplace reflects on the marble, casting shimmering emerald fireflies on the wall. The black-toned furniture and gray cement-painted surfaces create a rational space, while a hand-painted ink painting of the marsh appears on the screen—where the mist and moss blend, the vibrant green ink saturates, encapsulating the breath of nature within an artificial order.

The charred wood pierces through time and space in an inverted keel form, with hanging art paper light fixtures. The main wall's cement texture is eroded by the sea, like an ancient rock cave. The embedded wine cabinet resembles the treasure of a sunken ship, preserving amber-colored time within its worn textures. Japanese rice paper weaves light and shadow between beams and columns, while translucent gauze softens the rigid architectural skeleton into a misty screen. As the slanted sunlight climbs onto the brass turntable, the shimmering waves leap on the wall. The blue outside slowly pours in, flowing across the wooden floor beneath. Behind the tea table, a warm-toned painting surfaces like a hidden reef, its color temperature harmonizing with the wooden cabinet at the end of the hallway, with the lacquered surface reflecting the flowing light.

Japanese paper screens transform into layers of delicate silk, filtering the slanting sunlight into fragmented golden flakes. Light ceases to be a silent visitor, instead becoming a sculptor wielding an etching tool, carving different textures on the walls and furniture, allowing the traces of light to evolve into the language of time. The load-bearing columns inside the room are coated with glossy white paint, softening their imposing presence. The dark yellow sofa appears as if it were solidified twilight, while the wavy tea table’s curved surface resembles the ripples of the sea. As the last ray of sunset sinks into the horizon, the space fills with the undisturbed evening twilight, awaiting the dawn to decipher it.

The mist locks the bay, and as the door opens, the carbonized wood slanted ceiling structure and semi-transparent Japanese paper screens seem to frame the chaotic sea mist outside, resembling a floating ukiyo-e scroll. Silver-painted designs emerge from the black wall, outlining the contours of hidden islands, with brushstrokes like mirages, appearing and disappearing in the air.

At the center of the room, the wooden tea table emits a warm aura, counterbalanced by the cold black oak dining table, creating a spatial interplay of yin and yang. The leather pendant light casts a hazy glow, turning the rising tea smoke into silver-gray veils. The unique texture of the wooden high cabinet is a key element of the room's design, where the rings of the tree and its crackling marks hide the fishing lights yet to break the dawn. In this moment, as tea smoke rises, the mist retreats like the ebbing tide on paper.

The carbonized wood slanted eaves and brass turntable engage in a silent duel under the dome, while the mirage surfaces on the lacquered column in translucent contours. The black oak dining table transforms into the deck of a returning ship, and the wall lights cast the silhouette of a whale’s tail. Suddenly, a faint glow appears from behind the paper screen, revealing the moonlight filtering through the layers of paper, writing a line of soft silver poetry on the glossy lacquered column.

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