Global NEW Trends in Dining Space

GLOBAL NEW TRENDS in Dining S pace

Global New Trends in Dining Space

發行人 孫 因

發行單位 台北市室內設計裝修商業同業公會

地址 106 台北市大安區復興南路二段 286 號 8 樓

電話 02-2735-6603

傳真 02-2735-5704

網址 www.taid.org.tw

編輯單位 台北市室內設計裝修商業同業公會

執行長 謝坤學

理事長 孫 因

謝坤學 劉東澍 趙東洲 戴源昌 王萬亭

黃璟達 顏德松 凌健星

黃麗玲 游秀林 任祖植 賴誌謙 鄭慶麟 王子亦 林仁德 洪晉鈺 趙志元 辜長江 王本楷 黃珮瑄 陳鵬旭 張浩凡 陳國隆 陳鶴元 周天倫 宮恩培 林炳坤 景雅琦 任柏澄

蔣光輝

林彥宇

彭誠浩

李祖嘉 郭明福 樓永堅 李錫欽 鄭乾池

2016 TAID INT’L Design Forum Taste in Taipei

092 102 114 124 136 148 160 166 B 176 186 196 206 218 230 240

留白以蘊暖 Cadena + Asociados Hueso 內面世界 WEIJENBERG RAW

幻音殿堂

STUDIO MODE PM: CLUB

寧靜致遠 海天一線 伊莎貝爾 Isabelle Miaja OZEN by Atmosphere

舊瓶新酒風情畫 Ezequiel Farca + Cristina Grappin Expendio Tradicion Mezcal Bar

品酌食尚 玩味空間劇本 甘泰來．archinexus DOZO IZAKAYA 光透茶室 舉重若輕 TOKUJIN YOSHIOKA KOU-AN Tea House

初心的工藝魂 喜多俊之 TOSHIYUKI KITA Sasayama Gallery Kita's

差異共融 再現經典 GAMFRATESI Verandah 穿透時空的人文幽光 周鍊．Brandston Partnership Inc. Chimei Museum

綠色生 新體驗 Hypothesis Vivarium 日月光澤醞釀下的成熟葡萄

FCC Arquitectura + Paulo Lobo Cella Bar

現代粵式餐廳 再現尊貴風範

STRICK LAND Inc. Lai Heen 微笑浮屠

Joy Interior Design Studio Tien-Shui-Yueh Hotpot

沈默的翡翠書寫光影的淨白

姚仁祿．DX CREATIVE HOUSE +DX MEDIA The Museum of Jade Art

Dining Space Collection

I am especially pleased with the boards on the walls, says Lindvall, made from expanded metal that I found in Germany, cut into smaller segments and placed in black lacquered steel frames, which gives a hint of Art Deco style. Usine

冷冽精萃中的暖心風味

瑞典 斯德哥爾摩

指的是「工廠」，本案前身為 Stockholm 重要地段 Södermalm 區的香腸工廠，而後曾 作為瑞典稅務機關使用，現今，新任業主與設計師合力打造成為複合式休閒餐飲空間，佔地 2000 平方， 包含餐廳（ Restaurant Bistro 38 ）、酒吧（ Bar Poche 36 ）、咖啡、外賣及會議等服務空間。連接三個主 要空間的走廊同時是藝品畫廊，其中作品由來自 Noll Images 的策展人 Dennis Blomberg 、攝影師 Johan Annerfelt 在上海的作品， Usine 餐廳展現出對空間、對美食、對藝文的喜愛與重視。 設計師選擇瑞典在地極簡結合工業風格處理空間的基本調性，相當適得其所，基地本身因此得以保留著舊 工廠原味，擁有歷史感，再搭配異國風格的法國（ French-Scandinavian ）、上海、紐約和阿姆斯特丹現代 設計手法進行空間混搭調味，時空交織下，粗糙質感中表現了溫柔的細膩，在如此空間中，細細品嘗著精 挑的浪漫優雅餐盤所盛裝的法式美食，毫無違和。作為新的大型餐飲空間需求， Richard Lindvall 除去不必 要的天花與隔間內裝，露出工廠建築原有的結構和管路設備，層高因而拉伸、視野因此開闊，並增添通風 採光與彈性使用的可能性，壓迫感也隨之消散。工業風格有趣的地方，不僅是制式的空間設計，可替換的 傢俱、餐盤、選物、器皿、盆栽，甚至具變動性的人們，每個剎那，都成為美味冷盤中的新菜。

點綴空間的溫暖配件

設計師和諧地搓揉工業風格中黑、白、灰三個理性而經典的色調，散布在每處角落，屬性熱鬧的餐飲空間 頓時多了一分素靜。輕塗白漆的天花、柱體與貼白磁磚的柱腳、服務區的白色金屬網，搭配灰色混凝土的 地板之外，接待處、酒吧區域、大沙發前的茶几以及休息室中長達 3.5 米的洗面台均使用混凝土灌漿而成，

Usine 餐廳的背景色。設計感十足的黑色補強鋼柱架、金屬擴展網與窗框、自然垂放的電線和裸露管線、

風格家飾，不刻意隱藏，透過合理的位置安排以及顏色的配合，

DESIGN CONCEPT

A 2000 square meter former sausage factory in the heart of Stockholm’s lively Södermalm neighborhood has undergone an extensive renovation to give place to the new Usine concept, created by internationally renowned designer Richard Lindvall, previously known for the restaurants Museet and WIN awarded restaurant Nazdrowje. The new space, which opened its doors at the end of April 2015, includes Restaurant Bistro 38, Bar Poche 36, café, take-away, reception and conference spaces.

Richard Lindvall has developed the overall concept in close collaboration with the owners and restaurateurs Tim Karlsson and Michael Andreasson, previously coming from celebrated Stockholm restaurants Franska Matsalen, Pontus in the Greenhouse and most recently Museet. Before the one year long renovations, the premises were used by the Swedish Tax Agency and consisted of a maze of tiny meeting rooms with a ceiling height of 240 cm. The entire bottom floor of the building was completely stripped down, and no trace of the old bureaucrats can now be seen in the new restaurant.

While the menu focuses on modern French cuisine, the interiors are more inspired by Scandinavian minimalism with an industrial twist. Lindvall says he took inspiration from hotels and restaurants in Shanghai, New York and Amsterdam. “Big impressive buildings with lots of space and hard materials, but which are still keeping a welcoming atmosphere are very rare in Sweden, so I went abroad for inspiration on how to achieve this feeling. I was a bit afraid of making it too cold, it was important to create a warmth in the environments, but still keep it raw and fresh.”

Usine has been described as “a restaurant that could have been in New York or any other big international city, where one has created a Scandinavian feeling, but nothing like this has ever been done in Sweden before”.

Materials of high quality were selected to last time. Maple wood custom millwork and cognac leather upholstery accompanied with concrete, galvanized steel, white tiles and black iron details create a stylish but relaxed atmosphere. To introduce an accent color, Valcromat in orange and brown was used for table tops, side tables, cabinet doors and menus. 48 tons of concrete was poured into the construction, not only for for the floors, but also to construct the two bars, reception desk, a large sofa table and a 3,5 meter wash basin in the rest room.

The large space is divided into three rooms, all revolving around a central black iron beam structure that has been designed to serve unique functions for each area.

The center of Bistro 38 holds a long two-level sofa where one side faces the massive concrete bar and the other, lower part is turned towards the dining area furnished with an elegant mix of French bistro chairs and tables in marble and white pigmented maple with black cast iron bases, custom designed by Richard Lindvall for the restaurant.

In Poche 36, the central iron beam has been transformed into a flexible table that can serve both as seating and as service station for the staff. The bar is accentuated by expanded metal painted in the same light gray hue that has been used for walls and ceilings throughout the entire premises; Farrow & Ball’s Ammonite.

In the café area the main iron feature was turned into a high shelf structure with bar seating around the base. Along one side is a 5,5 meter long reception desk in concrete (used for visitors to the companies inhabiting the upper floors of the building), lifted an inch from the floors to give a lighter expression.

Large scale photo prints grace the walls in Bistro 38, shot in Shanghai in a collaboration between Lindvall and photographer Johan Annerfelt. “The man in the image first meeting the guests, was a cook at restaurant Shintori, whom we just snapped in the entrance on our way out.”

Connecting the three areas is a spacious corridor serving as a gallery, curated by Dennis Blomberg from Noll Images, with new exhibitions coming up continuously.

For Usine’s graphic profile, Lindvall called in Serhat Ferhat from Studio Dare, who created the clean typographic concept applied to everything from menus, plates and coasters to the large windows.

RICHARD LINDVALL

Richard Lindvall is a Stockholm based designer predominantly working with interior design and concept direction, but also within a number of creative fields such as photography, publication and graphic design. Striving to always make his projects completely unique, Richard also designs furniture and decor that is incorporated into each of his interior projects.

Richard is simultaneously driven by functionality and aesthetics, resulting in spaces that are at the same time spectacular and minimalist, exclusive but welcoming. This approach has given his work international attention in numerous publications such as Frame, Dwell, Dezeen and Elle Decoration, as well as won prestigous awards such as the World Interiors News award in the category Restaurant Interiors for Restaurant & Bar Nazdrowje, and an honourable finalist space in Architizer’s A+ Awards.

In Its Restaurant The Ocean, Le Comptoir Group Celebrates The Natural Wonders Of The Sea In A Magnificent Design That Spectacularly, And Cleverly, Represents The Finest In Life Both Above And Below The Water Line.

THE OCEAN

In its restaurant the ocean, le comptoir group celebrates the natural wonders of the sea in a magnificent design that spectacularly, and cleverly, represents the finest in life both above and below the water line.

A stretch of floor-to-ceiling windows reveals panoramic sea views, complemented by striking textural finishes that harness the beauty and spirit of the deep blue. From its booths and tables inspired by coral reefs to tailor-made ceramics inspired by oceanic flora, every feature evokes a sense of serene oceanic bliss.

Space is a luxury, and the ocean’s expansive 10,000 square-foot setting – complete with private dining rooms featuring built-in aquarium walls that house hundreds of hovering jellyfish – was designed to accentuate its size without sacrificing intimacy. The space commands attention with exquisite interior design elements, while maintaining a sense of tranquility under the sparkling backdrop of repulse bay.

The ocean sets the standard for luxurious entertaining. A place where design, attention to detail and cuisine meet harmoniously to redefine the ultimate dining experience.

DESIGN CONCEPT

The ocean, protean and primeval, has enchanted many who have come before. along the coast of repulse bay beach, an oceanic sanctum has been imagined as a place of marvels, where one can experience beyond the surface of the sea and into the alluring depths of the unknown.

The restaurant’s interior invites you through a pool of dark blues and cyan, balanced with sandy brown finishes throughout. Ceiling-to-floor windows offer a clear panoramic view of the sea-side on the horizon, diving into the deep through the portal frames flourished with silver leafs.

There is an emphasis on intimacy, as the ocean houses three private dining rooms for an added lap of luxury. magic is added with a backdrop of the ocean itself, while the walls of a jellyfish aquarium surrounding each private dining room, submerging each visitor into a pool of conversation as they observe the mystique of nature around them.

But the devil truly is in the details, with tableware and furnishings taking design cues from coral leafs, anemone spirals and fibonacci suites in shells – each designed to reflect the undersea organic geometry lives.

香港素有「東方之珠」美稱，在特殊歷史淵源下，以多元文化和經濟發展聞名於世。由於地窄人稠，生活空間被高 度利用，人們身處濕熱擾嚷都市叢林之中，對於象徵自然與開放的海洋總有幾分莫名憧憬。做為旅遊勝地、美食天 堂，海濱景點與各式美食餐廳在當地自是不可計數；但是能在具體場合裡，巧妙而平衡地將「海洋」所應對的多層 次感官維度同時呈現者，誠屬少見。位於港島南端旅遊勝地淺水灣，由香港餐飲集團 Le Comptoir 所策劃的日式法 國餐廳 The Ocean ，近期正以獨樹一幟的湛藍情調，為美食愛好者的「海洋經驗」提供嶄新範式。 座落於全港首間灘畔購物商場 The Pulse ，佔地一萬平方英呎， The Ocean 所提供的觀海視野誠屬得天獨厚，不論 晝夜皆有美景環繞。餐廳本身引人注目之處遠遠不僅於此，不論是結合東、西方手法的跨文化精緻料理，或者強調 永續節約，以線捕手法獲取，並於料理過程充分利用的非冷凍海鮮食材，都令人印象深刻。扣連於優秀的內外條件 中， The Ocean 堪稱完美地透過內部空間設計，形塑具體情境，將鮮活豐富的感官經驗加以聯繫，在整合之中延展 其可能性。走訪 The Ocean ，觸目皆如置身海域，觀者彷彿穿越水陸分野，身處湛藍幻境。 藉細節鋪陳，餐廳內部空間遍布圓弧曲線，在不規則中蘊藏和諧。大片落地窗帶入深邃海景，壁面則利用仿舊擦漆， 沿著地板及用餐位置的淺色木作基底以藍白漸層向上堆疊，形成裡外呼應的空間氛圍。翻浪煙波、海天一線，設計 者在柔和而實穩的主題性裡大肆調度線條感，將陳設器物的色調、質材反覆排列，藉以表現海底世界的寧靜與多變。 以地中海式風格為主調，廳內桌椅較為低矮，多以低彩度、渾圓木料製作，並於根部突顯線條設計。室內動線多由 拱型飾門與漸層霧面屏風調節，線條與平面的組合樣態豐富，整體視覺維度和灘畔景致相應，隨著光影游移，時而 放射、倏忽交織。

將視線移至整體空間的中、上段，弧狀沙發提供觀者舒適支撐；各式手工玻璃吊燈小巧繽紛，恰似晶瑩氣泡，為盤 中佳餚折射柔美適中的溫潤光度。桌面設計以藍白色調為主，材質取向圓潤平滑，杯盤餐具皆為名家手筆，以漸層 暈染的海洋色調替美食做襯，成為饗宴裡不可或缺的感官前導。 The Ocean 藉弧面鋪排以構築空間感，不同功能區 塊裡巧妙各異。以包廂為例，設計者以連續體般的平整木作搭配大型水族景觀，令用餐者有如置身於玻璃船艙；在 吧台，連貫式的木作又由桌台基底向上延伸為酒架，宛如迎風揚帆的甲板；化妝室則以細緻馬賽克磁磚鋪設，晶瑩

The interior design project, Spring Valley Brewery, is a combination of restaurant and brewery, where brewery tanks and heating kettles are lined up next to the restaurant area. Here customers can freely enjoy craft beer freshly brewed on the spot.

Shin Ohori

01

02

外延伸，不受天氣限制。

03 串聯五棟木屋的連續性步道，讓休 憩設施點綴出空間裡的閒適感。

DESIGN CONCEPT

LOG ROAD DAIKANYAMA is a new type of commercial facility in Daikanyama in Tokyo, where a park and shops are integrated to form a new streetscape and enhance the value of this area. We were in charge of the overall architectural design, landscape planning, and also did interior design of Spring Valley Brewery, a restaurant / brewery located at the entrance of the facility.

The interior design project, Spring Valley Brewery, is a combination of restaurant and brewery, where brewery tanks and heating kettles are lined up next to the restaurant area. Here customers can freely enjoy craft beer freshly brewed on the spot.

Our idea is to communicate the craftsmanship of the brewery by showing the brewing process to customers by integrating the restaurant seating area and the brewing equipment area. Large communal tables, counters, and outdoor terrace seating serve as places for active communication and various beer experiences.

Spirit of craftsmanship is expressed spatially by raw textures of materials such as concrete, steel, wood, as well as exposed equipment and air ducts on the ceiling. The material palette of this restaurant/ brewery corresponds to that of the entire facility, manifesting the overall vision of Log road Daikanyama.

The site of Log road Daikanyama is a long strip of land with the entire length of 220 meters and a floor area of 3200 m2, a former site of disused tracks of the Tokyu Toyoko line. The commercial complex consists of five tenant buildings with a network of landscape elements such as a gently winding and descending promenade, cozy terraces scattered here and there, various benches, and lush greenery.

We thoroughly studied the inclination of the narrow and long site as well as position, height and density of the surrounding buildings. Then, based on these studies, we carefully decided position of the buildings finished with unpainted red cedar while paying attention to spaces in between, and also finalized the layout of the promenade.

Throughout the design and construction process, we always envisioned the image of the facility that has naturally aged with the passing of time, rather than the just-opened and most-talked about fashionable commercial facility at the peak of its beauty. We imagine that red cedar finish will gracefully fade into gray color; the greenery will grow, integrate into the surrounding nature, and change the colors as seasons pass by; and the shops will become a part of the community; and the facility, as well as its visitors, will hopefully become an indispensable existence for Daikanyama. Log road Daikanyama will remain there as it is, while slowly integrating into the surroundings to become a part of new streetscape of Daikanyama.

公尺的狹長地形中，轉化限制為 優勢，是首道給設計團隊的挑戰課題。為尊重在地居民對於土地文 化的特殊情感，特別邀請到原本就是在地居民的品牌設計師柴田陽 子負責整體規劃，在他充分與居民溝通及形成共識的過程中，間接 地影響到在地居民對於新建設的期待與想像。

主持建築師大堀伸，以原木色調作為主視覺，部份鄰近高樓的牆面， 採用洗鍊的清水混凝土做圍界，規劃團隊因地制宜地善用空間上的 限制，就地串聯起五棟新建的木造建築物，使其具有美食、購物、

休憩等空間機能，銜接五棟木造商舖的 200 尺長小徑，可連結代官 山與惠比壽，更可見到昔日鐵道的舊址遺跡，在這散步路型之中； 部分舊鐵道枕木被細膩地安放於花圃週邊，而碎石則鋪設在道路兩 側便於排水的淺溝，諸類細節的安置可以感受到設計團隊對於鐵道 舊址的用心。

造景的部分，則邀請園藝設計師齊藤太一，運用日本國內自產的植 栽及海運而來的花草做環境配置，透過不同造型的告示牌，解說花 草植物的名稱，十分精緻，點綴出四季不同的美麗景致，讓繁忙的 城市也能擁有舒適的森林庭院。一連串由大至小的空間細節安排， 成功地鋪陳五棟商舖的序幕。

MR. TONY CHI

Tony Chi, founder and president of the tonychi studios, has crafted his internationally acclaimed design firm around creating spaces that seek to evoke emotion. That is his primary criteria. He does not merely decorate interiors; figuratively, he constructs the soul of a body. Creating the essence and experience of hotels, restaurants, clubs, high end residences, public areas and even cars around the world.

Specializing in restaurant development, the tonychi studios were established in 1984. As a small startup company, he formed creative partnerships with restaurateurs and chefs to complete many turnkey projects close to his base in New York City. Two years later, the tonychi studios matured from restaurant developer to a global design agency and took its first step to becoming an international powerhouse.

In 1986, they engaged projects in Hong Kong and Japan. In the following years, they expanded to projects in South Pacific Asia, the Middle East and Europe. By 1992, tonychi studios had come full circle, returning to the U.S. As the company steadily increased its global presence and reputation, Tony carefully cultivated the company accordingly. He recruited talent from around the world because he knew long term success in global execution has its roots in global integration and because global innovation demands diversity.

The firm’s design philosophy is beautiful but practical, modern but comfortable. The company does not limit itself to a specific style or look but rather creates custom projects for each client. However, there is one common aspiration behind all projects that makes tonychi and associates exceptional. Tony Chi calls it “invisible design” and explains it as, “what touches you rather than what you see.” It is the meticulously orchestrated subtleties of the understated rather than an “in your face” approach. Invisible design allows patrons to participate and use their surroundings to create their own individual experiences and ensures a look that retains beauty over time.

To ensure flawless process, progress and refined results, the designers at tonychi studios treat projects holistically. The are engaged throughout the whole continuum of work, from planning and consulting, development and execution of interior, architectural and landscape design, to urban planning and multi-media production. The tonychi studios team provides design services to a diverse group of clients in major business, cultural and leisure centers around the world.

These include such globally recognized names such as Global Hyatt, Mori Building Co. Ltd., Mandarin Oriental Hotel Group, Hilton International, Four Seasons Hotel Group, Rolaco Group Services, S.A, MGM Grand, and Elite Concepts Management Hong Kong to name a few. Recently completed projects include the Rosewood London, Andaz Tokyo, Mandadrin Oriental Guangzhou and various other private residences. tonychi studios has catapulted from obscurity to global preeminence within 2 decades. The firm has collected a innumerable awards and accolades over the years but Tony Chi and the team he leads are as intense and dedicated as ever. These industry validations have not quenched his inherent fire. To him, design is like breathing; it’s simply second nature.

位於東京心臟地帶的港區虎之門，過去在幕府時代為江戶城外廓城門――虎之御門的所 在，具有深厚的歷史，在上個世紀六零年代，亦曾發展為東京極盛一時的商辦區，爾後隨 著都市的擴張與發展，此區域的核心商業機能逐漸被取代。近年，虎之門地區的更新計畫 因 2020 年奧運的舉辦，成為東京都心再開發的象徵，而 Andaz Tokyo 所在的虎之門之丘， 則是該更新計畫中最重要的起點。 虎之門之丘這個由過去商業區轉換為多元居民、工薪族與外來旅客組成的地域，作為連結 日本過去、現在與未來的交會點，在此一鑑往知來的所在，季裕棠以記憶的連結為概念出 發，在室內空間中，藉由深度日本文化與地域獨特性格的展現，試圖在這個別具指標意義 的地理位置，以探索藝術與空間的相互影響，在 Andaz Tokyo 內，將多元族群海納百川的 聚合在一起，重新定義飯店體驗的意義，讓各種平凡與不平凡的交會時刻，都能成為銘刻 於腦海中記憶的一瞬之光；讓 Andaz Tokyo 的每一個場域、轉角，都能成為使用者創造明 日記憶的感性領域。

解構在地元素，再創地域文化新體驗

透過取材自當地的原生材料為素材，創造出空間的純淨和諧，並藉由此種空間與大自然的 互動，形成使用者對日本文化的親密體驗。位於 Andaz Tokyo 一樓的入口玄關處，季裕棠 即以藝術長廊的形式，在過廊壁面飾以不同的色彩搭配，創造出如同日本花園般活潑、親 切的感受，熱情地將喜迎貴客的歡欣愉悅，透過藝術的方式，誠摯地展現在每一處空間的 細節中。同時，當地特有的和紙與摺紙藝術亦被大量使用於室內空間的壁面處理上，每一 種不同的和紙與複雜的摺皺，皆表現出不同的藝術形式，藉由繁複細緻的和紙壁面，配合 玄武岩、金屬材質與木質家具，以及色彩豐富的藝術壁畫，創造出素樸質感中，令人驚艷 的鮮明對比，並反映優雅洗練的細緻日本文化中，帶有的驚喜與獨特魅力。

由電梯直達五十一樓， Andaz Tokyo 挑空的遼闊大廳就這樣在眼前展開，延續地面層精緻 的日本藝術裝飾風格，大廳內白色牆面與黑色線板的組合，搭配原木色系的木質材料與精 細的日式格狀雕花，呈現出傳統中帶有前衛形象的風雅質感。位處大廳一隅的餐廳 Andaz Tavern ，同樣具有壯麗的挑空空間，配合天花可開闔的天棚、湛藍的天空，彷彿與高樓俯 瞰的東京灣景致連綴成一片，木質壁面地板，搭配紅灰相間的皮質沙發與點綴其中的五葉

DESIGN DESCRIPTION

Inspired by the essence of Japan, the forming of memories that connect the past, present and future, Andaz Tokyo redefines the hotel experience as a center for a neighborhood in a transitional area of Tokyo by exploring the interaction of art, architecture, space planning. Reflecting and expands the Andaz brand definition as a hotel expressing its unique character and expression in culture and location.

Located in the heart of Tokyo in the area of Toranomon Hills, an area experiencing a transformation from a former predominant business community into a diverse one composed of residents , workers and travelers, the property explores how a hotel property can evolve from its typical hotel definition into an experience of the new and familiar where workers, residents and travelers all gather, a place where memories are made forever imprinted on each us coming from ordinary moments of a meeting of new friends or from the extraordinary moments such as one’s first impression of Tokyo and Japan.

The design vision was to create an intimate experience of Japan throughout the entire property, an experience formed by Japan’s relationship with nature, a harmony found in the purest form of its native materials. The experience of Japan immediately greets visitors upon their arrival at the porte-cochere The predominance of washi paper throughout the hotel reflects the design inspiration of a place where memories are forever made. In a land renowned for its fine quality of paper and the Japanese origami paper art form, an art form composed by making intricate folds of paper, these elements are predominant throughout the property. Just as each fold represents a making of a new form of expression, washi guides you throughout your first arrival at the porte cochere throughout the art gallery corridor into the passenger lift, throughout each of the space. A common palette composed of walnut, basalt stone and bronze including washi are all subtle in their simplicity, giving comfort in their harmony, yet marvel in their contrasting tones.

Andaz Tokyo reflects the past, captivates the present and beholds a future journey timelessly evolving with the community of Toranomon Hills. It is the unique experience of Japan and the common familiarity to gather together with friends and guests. Andaz Tokyo is the essence of the hospitality experience, an experience that is meant to exist in all aspects of our lives where people gather and interact with one another.

LEVEL 51 FLOOR PLAN

Nozomi Sushi Bar

this project Masquespacio illustrates its ability to work on projects from different cultures, showing their interest to study each project meticulously with the aim to create a unique history for clients and their consumers.

Nozomi Sushi Bar

DESIGN CONCEPT

Spanish creative consultancy Masquespacio present their last project Nozomi Sushi Bar. The project realized in Valencia consists in the branding and interior design for the new sushi restaurant from José Miguel Herrera and Nuria Morell, both passionate by the Japanese culture and specialists in authentic traditional sushi.

The project in which Masquespacio began to work in January 2014 starts with a previous study of Japanese culture and the origin of sushi. A study in which was involved the whole team of the Spanish creative consultancy to understand and represent the Japanese culture through the brand image and specially through the interior of the new restaurant from José Miguel Herrera and Nuria Morell. The brand name Nozomi was chosen by the founders of this project being a ‘Japanese high speed bullet train’ and at the same time meaning ‘fulfilled dream’; two significances with which with José Miguel and Nuria felt identified and that create a duality present continuously through the whole project: “Emotional classic’ and ‘Rational contemporary’.

Starting with the brand image we can see how this duality is represented on one way as ‘Rational contemporary’ through the Western typography, while on the other the hiragana (Japanese writing) shows the “Emotional classic’ touch through its logo.

On the other hand Masquespacio for the branding uses the verticality typical for Japanese writing in this case both for the Western and Eastern writing form. A fact repeated for the tablecloth that contains an illustration of Koi fishes, a symbol of good luck and perseverance in Japanese culture.

Ana Milena Hernández Palacios: “We wanted to play continually with the expressed duality both through the interior design as well as the brand image, seeking to create a reinterpretation of the basic elements of a Japanese dinner table, by means of the tablecloths and menu cards, with its form of a Japanese fan, but also through the different complements like the chopstick rest.”

A last fact to stand out about the logo is the election of hiragana: “We commissioned calligraphy in different Japanese writing styles: hiragana, kanji and katakana. The hiragana was the best choice for being best fitting graphically, although kanji can be recognized by some typical Japanese decorative elements in the restaurant like the entry lantern.”

Through this project Masquespacio illustrates its ability to work on projects from different cultures, showing their interest to study each project meticulously with the aim to create a unique history for clients and their consumers.

01 清水模牆板與日式木造結構，不同 脈絡下的兩種「和風」象徵被巧妙 結合，恰可與「壽司」的當代意義 相互參照。

02 實木、水泥風格迥異，兩種建材共 構「線」與「面」，在室內撐出街 道般的空間感。

感官城市裡的建築饗宴

若以建築為線索，對城市風景加以閱讀，往往驚覺「欲望引力」是以多麼和諧雅致的韻律調節著 在地文化的流動與變貌。在西班牙第三大城瓦倫西亞（ Valencia ），人們每年有超過 300 個日子得 以仰望藍天；地中海白色沙灘上，燦爛陽光如上帝恩寵般照耀不絕；帆船賽、 F1 賽車、球賽、室 內田徑，以及全世界規模最大的玩火儀式――西班牙火節（ Las Fallas ），再再引動著訪客的感官 神經，儼然一片喧囂不夜的體感領地。

這座創建於西元 138 年的海濱小鎮，目前已搖身一變成為舉世知名的藝術科學城，不僅紀念碑、 博物館、大教堂、天文館、歌劇院、水族館等指標性建築林立，更坐擁著堪稱現代建築精粹的「未 來主義建築群」。

此外，精於美食文化的瓦倫西亞，彷如地中海畔一座動人廚房，不僅保存有 20 年代最美的現代主 義建築――中央市場（歐洲最大的室內菜市場之一），亦傳承了由羅馬人、摩爾人、法國人和義 大利人所帶入的珍貴飲食遺產，諸如燉肉、燉海鮮、燉蔬菜、燒烤蔬菜、炸小魚等皆馳名遠近。 這座西班牙傳統料理的故鄉，經歷了長期的飲食文化演繹，如今在 Masquespacio 的規劃下悄然 開啟了另一塊性格別具的東方風味場域―― Nozomi Sushi Bar 。

南歐鄉間，靜謐和風吹拂

創意顧問公司 Masquespacio ，長期研探日本文化與壽司傳統，於 2014 年 1 月正式啟動 Nozomi Sushi Bar 設計案，設計團隊精巧運用日式傳統木質結構，以通透疏雅的組織線條勾勒歲月之張望， 使觀者彷彿流連於日本傳統村莊小道間，悠然凝望其樸實雋永。

由鍾情壽司料理文化的 Miguel Herrera 與 Nuria Morell 擔綱籌劃， Nozomi Sushi Bar 大量取法日 式房舍結構，別樹一幟地透過傳統建材表述當代理念，在瓦倫西亞和日本文化之間構築共通的空 間氛圍。跳脫一般商店的格局陳規，該店創辦人亟欲將代表日本「高速列車」的效率及「使命必達」 精神落實於其設計概念中。因而，在 Nozomi Sushi Bar 設計案裡，不難嗅出設計者沿循「古典感 性」與「現代理性」交互鋪陳思路，進而予以顛覆、延異的大膽企圖。 本案件裡，設計團隊戮力於「抽象時間感」與「實用取向」兩個向度之間耙梳取捨，展現出不凡

許來自東洋的清靈節律。

Ana Milena Hernández Palacios 感性說道：「為了重新詮釋日本的歷史街道，

創作基調。 Masquespacio

The traditional character logo, the dumpling and dinner set shape decoration on the display wall are unique design point in this project. Along with the rattan counter door panels and hand-made rattan baskets, to indicate a traditional home-made concept.

PROJECT INTRODUCTION

RIGI DESIGN was commissioned by the client to design the first flagship restaurant of Xi Ding Dumpling, a high-end chain restaurant brand. In order to change the cheap fast-food impression of the existing brand, the design tasks are creating a distinctive space and improving the custom’s dining experience.

The comparatively wide entrance offers an ideal condition for front door design. RIGI uses concrete-like Stucco along with gray embossed GRC panels which based on 1:1 rattan patterns to create a fossil-like texture. As a metaphor, the design and materials of front door echo with the tradition and history of dumpling.

In the entrance area, compare with the modern gazing open kitchen and white marble counter, RIGI uses CNC-Cutting metal panel with traditional geometric patterns to reflect the essence “Fresh, Hand-made and Simplicity” of Xi Ding.

The dining zone is a flowing space that continues the simple, integral and grand style of the entrance. In the center is booths area. RIGI applies a ceiling grille which is made of CNC-Cutting MDF with traditional geometric pattern to define the space. With well-distributed

lamps and smooth chamfered ceiling, creating an interesting and narrative atmosphere.

The traditional character logo, the dumpling and dinner set shape decoration on the display wall are unique design point in this project. Along with the rattan counter door panels and hand-made rattan baskets, to indicate a traditional home-made concept.

The concept “comfort” drives the overall layout of the restaurant. In order to meet the demands of small gatherings, the lighting design creates a private cozy spatial feeling by using accent lighting strategy. And in order to emphasize the star product of Xi Ding, “the seafood dumpling”, RIGI plans a marine subject zone by using wave pattern and blue led wall wash lighting on the side background wall, which also increases the comprehensive spatial experience.

By using traditional rustic rattan elements, matching materials and modern techniques, RIGI creates a new definition of the traditional oriental spirit of Xi Ding, simple but delicate. This project is not only an innovation of the store style, but also an exploration and breakthrough for the total branding design.

有別於傳統餐飲空間慣用紅黃等刺激食慾的色彩，「喜鼎」使用籐材與水泥的自然色澤，更顯得 整體空間低調而安靜，水泥質感的灰色浮雕牆面，花紋是根據藤編圖案 1:1 開模製作而成，接近化 石感的藤編圖案，呼應餃子這種古老的食物，更增加了視覺趣味。

LIU KAI

Liu Kai, graduated from Donghua University and founded RIGI DESIGN in 2007.

Over the years, with his keen and predictive insight to commercial behaviors, business models and lifestyles, Liu Kai has developed his unique design language and way of presenting the space through logical analysis of needs and functions combining with artistic illustration elements. His works are not limited by existing styles and forms. By using his very own understanding and language, Kai delivers the most efficient design solution to each project.

For the past 8 years, Kai and RIGI DESIGN have received many honors, including "Golden Bund" Award Best Design of 2015, Top 10 Creative Person of 2015 of The 10th China International Architectural Decoration & Design Art Fair, The Best Design Practice of IAI Design Award hosted by Asia Pacific Designers Federation and so on. Kai’s works are well respected by the clients and have been widely published by INTERIOR DESIGNERS , I HOME , TRENDS and so on. Some of his works have even been One of the Most Commented Works on "gooood" (a famous online design platform in China).

Kai has gained achievements in many fields, such as space design, branding strategy, industrial design and visual design.

His own fashion brand — L-HOUSE is particularly popular among young generations and its products have been invited to participate many International design exhibitions. In 2015, his project Xi Ding Restaurant has been widely reported by both domestic and international media, and Kai was interviewed by famous media “Q Daily” and “Yi Tiao” TV.

Hueso

Completion Year 2014 Architects Cadena + Asociados

Project Architect Ignacio Cadena

Culinary Concept Alfonso Cadena

The design approach begins with creating a double skin, in the exterior, a clean artisanal handmade ceramic tile covering with a graphic approach protects the inside skin layer which becomes more organic and full of texture.

DESIGN CONCEPT

Luis Barragan’s Foundation as well as Diaz Morales’s House-Studio in beautiful Lafayette Design District located in Guadalajara, Jalisco, Mexico serve as the perfect backdrop for a re- covered 1940’s modern architecture 240 sq. ft. building that would become Alfonso Cadena’s new concept restaurant “Hueso” (Bone).

The design approach begins with creating a double skin, in the exterior, a clean artisanal handmade ceramic tile covering with a graphic approach protects the inside skin layer which becomes more organic and full of texture. Inspired in a Darwinian vision, the inside skin covers almost every vertical square inch of the interior with over 10,000 collected bones from animals and plants mounted on wooden layers, mixed with objects and cooking tools and intervened by urban visual artists.

外牆以手製陶瓷磁磚舖飾，堊白色調上 的縫線圖紋經日照而顯得神秘疏離。

庭間採半開放式設計，陳設簡單巧妙， 為室內帶進非預期性之光影效果。

包覆。透過轉喻手法，規劃者對建物既有的簡明肌理細細雕琢，將所謂「骸骨」鋪設成其「第二層皮膚」， 相當巧妙地在繁重與清簡之間取得平衡――既不過度鋪張地搭建超真實性造景；亦不在概念的陳述上顯得單 調。「骸骨」所寓指者，並非「血肉生靈」之對立面，而是生命演化過程中被反覆挖掘探索，並賴以對話、 轉譯之核心。

規劃者巧妙運用富有宗教、神秘意象的線縫與骸骨元素為裝設象徵，在突顯主題之餘，也緊貼著建物本身的 現代主義架構，利用其平整方正的空間格局加以發揮。外觀上，規劃者利用手工製作，帶有不規則線縫紋路 的陶瓷磁磚，既為建物原有的理性化輪廓點綴在地紋理，也藉著陶瓷低度反光之性質，為其外觀添上一層疏 離氛圍。而室內高聳寬敞的牆面上，如浮雕壁畫般拼排展示起上千件漆塗骸骨與各式餐廚物件，襯搭大面玻 璃窗所提供的充足光源下，這片清冷色調、深邃而絕對的堊白空間，在建物周遭林蔭所形成的遮蔽調節下顯 得蘊含暖意。

C+A ® CADENA + ASOC.

The work of C+A ® and its strategic partners has been studied by different global firms, and has been exhibited and published in numerous magazines, books and electronic media around the world: Frame, Monocle, Surface, Dezeen, Yatzer, Fast Company, Arquine, Domus, Coolhunter, Spot, Architectural Digest, Fahrenheit, Gatopardo, Travesías, Delicate Design, 192, Conde Nast, La Tempestad, Folio, A Diseño, Fuzed Magazine–Egipto, Design, CasaViva, Space Magazine–China, Entrepeneur, Boxed & labeled, Grupo Expansión, Maison Decoration, Summa+, Glocal, Weheart, Notcut, La Repubblica–Italia, Case da Abitare, Vogue Living, Entremuros, Wohnrevue-Alemania, Grupo Televisa, Maison & Object, Elle Decoration, Living & Design, Wallpaper, Design Boom, Air France Madame, Images PublishingShanghai, SendPoints, Travel + Leisure, Big Issue–Taiwan, Acquired Taste, Interni–Rusia, Hi-Design International Publishing, Dolce Vita-República Checa, CW Interiors–India, CENTRAS–Lituania, Artravel Magazine–Francia, Wood Planet, Gestalten, AIT–Alemania, Hightone Books, Chois Gallery, Fast Co. Design, CNN, Forbes life, Archdaily, Código, Dwell, Fibula, Conde, Sandu, WGSN, Taschen, Phaidon and Interior Design among others.

quickly became clear that Andre’s

vivid imagination combined with WEIJENBERG’s artistic vision would set both on a trajectory to create a restaurant that would reflect the visceral and primitive nature of its namesake ‘RAW’.

DESIGN CONCEPT

The conversation between WEIJENBERG and Chef Andre to design a new restaurant started late 2013 after WEIJENBERG’s architectural designs for Jason Atherton’s The Study and The Library in Singapore caught Andre’s eye. It quickly became clear that Andre’s gastronomic vivid imagination combined with WEIJENBERG’s artistic vision would set both on a trajectory to create a restaurant that would reflect the visceral and primitive nature of its namesake ‘RAW’.

The collaboration brought two minds together with a mutual ambition to create something extraordinary. Andre’s artistic vision for food allowed WEIJENBERG to discuss the design on a much deeper level, and while Andre had specific ideas about the interior design, he also provided the creative freedom to actualize a new entity of restaurant that is fast becoming a hallmark of Taipei – that of gastronomy fused with design, where food meets art. There was no one inspiration for RAW, it was a true case of two creatives meeting on equal terms, challenging one another and evolving an idea.

André’s food is always presented with artistry providing a muse for WEIJENBERG to select colours and tones accordingly to keep the main dining area minimal. The desired aesthetic was to create a close proximity between customer and food – table and chairs with lighting that would almost shine on the dishes only. The experience of Andre’s food is intended to be intimate. This intimacy allowed us to use wood as our main medium in the restaurant in its pure state to encapsulate the customers within a wooden structure in a gentle manner. The tables each have a different shaped table top, to break the space and monotony further, preventing a clustered feel. It also creates a sense of variety as you can dine at RAW many times and never have the same seat or view.

Camiel Weijenberg 共同策劃，以甚富 戲劇感的空間語言構築環境，使之與料理思維有 機融合，令用餐者浸淫其中，悉心咀嚼。

以 Craft & Nature （技藝和自然）為思想核心，

RAW 不論在食材揀選、料理風格，空間陳設等方 面均一以貫之，在「物」與「我」之間的動態張 力裡，平衡緩和地拉設其延展面。就空間論，店 內最具標誌性的大型木作「流雲」，以工作檯為 功能基礎，不規則狀地向四方延伸，跨越單一向 度而與室內各部構造融合，成為多元風格之間賴 以相互對話的平滑介質。

「流雲」採未經漆飾的南方松材，經手工雕鑿、 拼接而成，在渾厚而平整的團塊狀輪廓中蘊含無 數細節，猶如神話中象徵內在生命的原初土壤， 大巧若拙地展現前衛工藝思維。綿延而形體不定， 「流雲」不僅將室內各個角落的風格表現匯聚為 一整體，亦在其中流轉循環，交通生氣。

For us it was important not to have distinct partitions as we felt this ‘boxy’ approach would be restrictive for a highly creative chef. We made RAW intentionally interior borderless, yet we still needed to intertwine restaurant operations and functionality with design. This created a complex challenge as we had articulated a geometry that needed to have a strong practical element to it. Most of the structure is purposeful with storage, a wine island and a large counter by the entrance without compromising the beauty of the design.

The wooden structure is about 65m long and is held up with double anchor points on each node reinforced with steel on the inside as well as diagonal bracing to prevent lateral swing in the event of an earthquake (which are frequent in Taipei). At WEIJENBERG, we very much like to explore what is possible within the realms of ‘crafting the traditional’. Having been previously trained as a carpenter, a lot of Camiel's work involves wood. He is always drawn to this material and has a strong affinity to it. It is also a material that is excellent for carving and shaping. With that, new technologies are a making this a very exciting medium to work with. The entire project is made in Taiwan, from the local Taiwanese Ash Wood cut out of wooden blocks from techniques traditionally used in ship making. All details were precisely drawn out and discussed with local carpenters on site and in the factories.

The wood itself was subsequently handcrafted by carpenters who assembled the structure piece by piece which is visible as each section of the structure has several joints; large pieces have been assembled in blocks where sometimes a joint is still noticeable. The textured lines on the structure were left on purpose and planned digitally before they were cut so they aligned in the right direction and always matched.

The long wine wall, containing storage units is almost 4.5m high and almost 18m long, made entirely with typical Taiwan louvers. The large wooden structure was designed by various computer software programs, 3D Rhinoceros and Grasshopper to create a machine cutting pattern. FEM (Finite Element Method) was used to calculate the load on the ceiling structure in the event of earthquakes.

ABOUT CAMIEL WEIJENBERG

Founder and Director of WEIJENBERG, Dutch architect, Camiel Weijenberg is a scholar of the Architecture Association (AA) London with a distinction in technical studies and a foundation in Wood & Carpentry from College Amsterdam. He is a past student of the renowned Zaha Hadid Architects and has worked at Wilkinson Eyre Architects in London. Camiel is currently conducting a research program 2016 Capstone at the Singapore University of Technology and Design affiliated with MIT and is Visiting Professor at the University teaching Sustainable Design. He has taught Architectural Studies part time at the National University of Singapore (NUS).

ABOUT WEIJENBERG

WEIJENBERG dares to see the world differently, envisioning ideas that create living art through design. The firm's signature aesthetic ‘Crafting the Traditional’ is an approach that fuses cutting edge technology with traditional materials. As contemporary life evolves, architecture plays an essential role in solving modern day challenges, improving the world we live in. But pragmatism does not mean conforming to monotonous, overly prescribed form.

WEIJENBERG is currently involved in a number of collaborations from resorts, hotels, private homes, the regeneration of city spaces and humanitarian projects. The firm’s client reach spans across Taiwan, Malaysia, Sri Lanka, Australia and Singapore and includes projects with New World Development, Lexus, Creative Quest and Chef Andre Chiang.

The whole interior was designed black and bathed in light. All the equipment and furniture are custom designed by us to create the whole unique identity of the club. A quality that makes it one of our consecutive successful projects.

PM: CLUB

Pm is a night club for music lovers situated on 500 sq.m.

Everybody that is interested in music remembers the ”sunday 8pm” album that the british group faithless released in 1998. in the lead single maxi jazz sung: “god is a dj” which makes us want to add pm is a “music temple”. That inevitably led to our concept for the interior design.

At the entrance you are greeted by a composition of domes. Domes are distinctive elements in public and religious buildings throughout the world going back in time to ancient persia. The dome has structural independence and also provides additional space for the interior. In our project domes are used with some additional purposes namely to conceal the concrete beams on the ceiling and to create “invisible ventilation”. The fact that we made the domes “transparent”, allowed us to use them as white “canvas” for a 1500 pixels state of the art “light mural” above the guests.

In every temple there is an altar. In this case the altar is the dj booth. We intentionally strengthened the architectural perspective to put an accent on the dj. The main bar is situated in the middle which helped us to further develop zones in the club and create the so called “forced movement” around it. Near the entrance we looked for constriction of space that is immediately “released” towards the scene evoking the laws of fluid dynamics in physics. This solution directs people inside towards the scene and eliminates crowding in the most neuralgic point – the entrance.

The whole interior was designed black and bathed in light. All the equipment and furniture are custom designed by us to create the whole unique identity of the club. A quality that makes it one of our consecutive successful projects.

共振呼應。

的

動，進而圍塑出圓形幾何的凹凸面，延伸良好音響空間所需的基本需 求、並擴大它的效益，隱藏混凝土橫梁與樓版，提供額外的通透感，

STUDIO MODE

Established in 2003, mode is a small and flexible studio specialized in interior and furniture design. Mode has already completed numerous high-profile and largescale projects for both private and commercial clients. The studio works in cooperation with architects, artists, graphic and 3d designers to deliver a full range of services to meet the most daring and unconventional tasks. Study of each project in great detail, use of innovative ideas and technology, careful

Choice of materials, all these activities are principal aspects of our work, allowing us to deliver the best possible results for each client.

Expendio Tradicion reinterprets traditional concepts in order to blend into the contemporary lifestyle of the center of Oaxaca and offer visitors a new experience that brings together mezcal, regional food, design and architecture.

02 酒桶木料與格紋磁磚，以鮮明沈穩的

03 室內擺設呈現濃厚的交混風格，在古 典格局上巧設環節，融匯在地風情。

DESCRIPTION

This project occupies an old house in Oaxaca that was transformed into a special site for visitors to enjoy the traditional local spirit, mezcal.

The Expendio Tradición takes its name from the stores that sold this drink in the past, a concept that the Chagoya family, with its 140 years of tradition producing mezcal, has shared with EZEQUIELFARCA arquitectura y diseño for it to convert the interior into a space where everything is designed around the brand.

The design concept was to merge the interior spaces to create a single open space, while respecting the original structure of the house and the façade, which was left intact. The bar was treated as the principal focal point of the whole space, which was harmonized with the use of materials such as recycled mezcal barrels, traditional black clay tiles, and handmade cement floor tiles, which generated local work and economic sustainability.

The original metalwork was created by the renowned local artist Francisco Toledo, whose design, as well as providing a regional touch, successfully integrated with all the other materials to make sense of the overall proposal, which was further perfectly complemented by the graphic design by Savvy.

The interior architecture provides space to accommodate a range of activities including presentations of guest mezcals from the region, tastings and sale of local products that are carefully selected to complete the regional essence, such as those made by Vila de Patos, which are organically produced using wholly sustainable processes.

Expendio Tradicion reinterprets traditional concepts in order to blend into the contemporary lifestyle of the center of Oaxaca and offer visitors a new experience that brings together mezcal, regional food, design and architecture.

理條件得天獨厚，亦匯聚了高度成熟的民間工藝資源，尤以梅斯卡爾（ Mezcal ）酒 之生產最負盛名。

由 Ezequiel Farca 設計團隊所策劃的 Expendio Tradición 酒吧，嘗試透過營建規劃與 商業經營，接連地域傳統與觀光論述，進而活絡、翻新在地文化界域之一例。以殖民 時期的「酒品專賣所」為原型，設計者 Ezequiel Farca 利用當地老屋空間重新鋪陳當 地歷史悠久的釀酒工藝形象。

由外而內，本案延續了當地傳統建築方正華美、古典氣息濃厚的基本格局，卻在眾多 細節裡依循情境理路，以在地釀造業裡習見的自然素材為象徵，對既有巴洛克架構中 的典雅深邃加以填充、置換。顯而可見者，在於整體外壁之柔和化――褪去傳統建式 之古樸雄偉，以簡潔風格突顯當代感。建物頂部標誌性的雕柱，被設計者以龍舌蘭草 代之，其幽默巧思甚可玩味。

折衷風格與空間永續性

沿著折衷取徑，酒吧內部呈現出結構規律、配色鮮明之特點。設計者將建物內部的人 為間隔撤除，將之整合成一開放式空間，透過陳設布置，以對各區塊的情境功能加以 劃分。室內整體空間以酒桶木質鋪排，其溫暖穩重之基調，隱約勾連著古典建式透過 磚泥砌造以呈顯的質樸調性；內部陳設多取材當地可回收性的自然質料，其中亦不乏 在地工藝、藝術創作者之創作成果，進而與在地社群搭起交流管道。

走進 Expendio Tradición ，在手工鐵欄與黑白幾何地磚所佈設的迷離風情裡，隨處可 見設計者精巧規劃的懷舊氛圍，自然光影與人文陳設間動靜均衡，酒類展品及龍舌蘭 草擺設在吧台及飲宴空間裡隨處可見。浸淫於此，在地藝品吸醞了空間傳統中的深邃 神髓，勾連起更具當代文化動能的傳布軌跡。

Expendio Tradición

翻造案例，該酒吧在文化展示與商品流通兩種取徑之間的均衡性，成功地將舊殖民地 人文景觀與當代生活風尚予以揉合，進而突顯其高度觀光價值。

DOZO is located in the central commercial hub in Shanghai metropolitan area surrounded by a number of well-known international brands and international companies.

ARCHINEXUS

archinexus, founded in 2004 by Mr. Tai-Lai Kan, a leading-edge design practice based in Taipei City, is a creative and collaborative design firm with extensive practical experience, especially renowned for strong design across a variety of high-profile projects. Dedicated to innovative problem solving and design excellence, archinexus is a team of highly qualified design professionals daring to dream as well as those who are capable of making dreams come true.

DESIGN CONCEPT

DOZO is located in the central commercial hub in Shanghai metropolitan area surrounded by a number of well-known international brands and international companies. On the first floor, the entrance of the restaurant faces the city plaza. Because of the dense crowds, the path which leads clients to DONZO is designed from the ideas of “inward” and “outward”. It is the idea that the customers must pass an intentionally zigzagging path till they hit the grand reception area in the restaurant. The second floor is not directly open as customers have to wind their way up behind a screen to enter a completely open dining hall. The sharp contrast is caused by views from the mysterious space to the open dining hall on the second floor.

Most customers come here for business occasion so that privacy control is of serious concern. The main hall is divided into an open zone, filled with bar tables, and a VIP lounge space. In a six-meter tall space, the staircase build up the lively scene, and the higher walkway and lower VIP lounge entertain customers when they can see each other on both sides. The VIP lounge space, separated by four layers of grille screens, secures the privacy while light can be penetrated in the meantime.

This project uses the idea of “engawa”, commonly seen in traditional Japanese architecture. It is the idea that reverses the relationship between inner and outer space by connecting the transitional space and environment. The garden labyrinth dominates the VIP lounge space, where the small walkway is built by surrounding the private space. Meanwhile, the “engawa”, which is connected to the outer space, the sliding grilles in the VIP lounge, and the curtain-style segments, make people interact freely in neighboring area and feel the joyful atmosphere.

This " KOU-AN Glass Tea House " is not just a modernized teahouse that was evolved from traditional style teahouse but a project that traces origin of the culture which is peculiar to Japan.

日本，一個現代中雜揉傳統東方文明的國度，提起日本，我們想起繁華都會中現代化 的高樓新廈、專業新穎的高科技產品、靜謐中帶有一絲古樸風雅的文化景致，這些由 文化底蘊內裡所外顯的生活狀態，反映當地以某種特有的能量或氛圍表現，解讀對生 活周遭的知覺領會，是一種對大自然本質與美學感官鑑賞的實踐。

自 2002 年開始，一項日本透明房舍的建築計畫開始進行，經過多年發展，此一概念 逐漸衍生為包含象徵日本文化印象的計畫，並形成一座透明茶室 KOU-AN ， 2011 年， 這座透明茶室於第 54 屆威尼斯雙年展的附屬展覽 Glasstress 中首次被公開展示。在 公開五年後，實體的 KOU-AN 茶室歷經仔細的挑選，才正式於京都天台宗青龍殿的大 舞台上被搭建起來。 茶室通常被認為應該安置在傳統日本園林或具有別緻山水之處，但對吉岡德仁而言， 場所本身具備的元素是更重要的條件。 794 年，自桓武天皇走訪天台宗後，便決定定 都京都，至此為日本的發展開啟了嶄新的一頁，故天台宗可謂象徵日本文化起源之地， 在這個同時感受能量與自然結合的場所，作為 KOU-AN 茶室的地點，亦可象徵日本文 化走向世界的決心。

折射光中映照流淌的時間

日本文化的精髓，就濃縮在其精緻的茶文化中。吉岡德仁思考日本特有的文化、哲學， 以及根植於其潛意識內的感知與情緒，他試圖創造機會，使觀者能透過設計作品對日 本文化獨有的感知追本溯源，從中體現大自然的奧秘與日本文化所產生的內蘊情感。 最終，他以 KOU-AN 茶室的設計呈現他對此一概念的理解，從茶藝、茶道到茶文化， 當中獨有的儀式，皆產生於空間促狹的封閉斗室內，這座以玻璃打造通透視覺量感的 茶屋，並非僅是從傳統茶屋演變而來的現代茶室，而是一座追溯日本文化起源的空間。

KOU-AN 內沒有傳統茶室中具備的書畫捲軸與花藝擺飾等外顯的裝飾性物件，吉岡德 仁以「自然」與「時間」為概念，在設計時間時，觀者的感知必須藉由表層的設計被 釋放，這些感受與自然結合，感受光的存在。茶室的地板由大量的玻璃組成，透過細

DESIGN CONCEPT

“Tracing the origin of cultures peculiar to Japanese by reinterpreting the culture of tea ceremony.”

Japanese conception of nature is often characterized by its distinctive spacial perception involves the sensory realization of the surrounding atmosphere through what may be described as signs of energies or aura. Such way of sensual appreciation of nature’s intrinsic and beauties can be recognized in Japanese tea ceremony practice.

This project originates in the architecture plan of the Transparent Japanese House, first presented in 2002. The idea has been developed into a transparent teahouse, an architectural project incorporating a symbolic Japanese cultural image. The design of the project was presented at Glasstress 2011, the collateral event of the 54th La Biennale di Vennezia.

In the spring 2015, after 5years from the presentation of the design, “KOU-AN Glass Teahouse” is finally unveiled at the stage of Seiryu-den which is in a precinct of Tendai Sect Shoren-in Temple designated as one of National treasures in Japan. This will be the first time that the completed fullscale work of “KOU-AN” is exhibited in the world.

Originally, the culture of Tea Ceremony was generated in the closed microcosmic space. This “KOU-AN Glass Tea House ” is not just a modernized teahouse that was evolved from traditional style teahouse but a project that traces origin of the culture which is peculiar to Japan.

“KOU - AN” does not have a scroll nor flowers that all the traditional tea houses have. However, glitters that reminds of ripples on surface of water spreads out on the floor. Also, at some point in the afternoon, there will be a rainbow light that is sunlight coming through a prism glass on the roof and it seems like a flower of light.

Tokujin came up with the idea of tracing the origin of Japanese culture that exists in our unconscious sensation by perceiving the time that is created along with nature from the teahouse which is microcosmic space and by being released by superficial designs integrating with nature.

In A.D.794, A Japanese emperor at the time visited Shogunzuka and he was convinced that Kyoto would be a right place to be a capital of Japan and started constructing the capital. Thus, Shogunzuka in a precinct of Shoren-in temple in Kyoto is a place where the city of Kyoto which symbolizes Japanese cultures.

From Kyoto to all over the world, Tokujin is hoping to provide people new experiences through the project and by producing works that make us think of the origin of Japanese culture.

日本兵庫縣篠山市素有古蹟名城之稱，在得天獨厚的秀麗山水中保存了大量的日式傳統街屋，是以 人文景致著稱的觀光勝地。座落於此的新工藝設計館篠山藝廊（ Sasayama Gallery Kita's ），為知 名國際設計師喜多俊之，與法人機構 NPO 所共同創立。以溫暖、新穎為創作基調，一貫透過細膩 心思關切日常生活的喜多俊之，在瞬息萬變的當代潮流裡，堅持其直面現實的設計立場，不為閃爍 紛擾的商業藝術辭令所惑，認為所有作品終需接受「生活」之本質檢驗。 「再造人文傳統，並將之以融入自然」之理念，成就了「喜多風格」的深刻內斂與獨特前衛性。在 此案裡，設計者透過日式傳統空間的翻新，再次展現其對於日本工藝技術的深度傳承，並細緻探討 了人群與環境自然、文化空間、生活物件之間的交互對話關係。設計能量充沛的他，選擇以基礎元 素為架構，以回歸本質的姿態對大眾發出宣言：「關於做設計的『心』，必須是實在的，設計靈魂 與設計形體的結合、科技與自然之間的平衡，不應囿限於特定形體，而在於深刻的思考。」以此深 刻而務實的設計理念為基礎，身為「再造建築」的篠山藝廊生氣別具，充滿彈性與創新性，並不侷 限於「傳統工藝」的制式格局。

傳統與創意搓揉，孕育活絡的工藝產房

「真實的設計行為不可能脫離社會生活而存在」，完整的設計作品須透過細緻的社會分工，而得以 在市場平台上與普羅大眾進行交流。在這樣的理論前提下，篠山藝廊的創設與經營，正是希望透過 舊空間的翻新再造，藉由空間的「物質性」為日本傳統工藝家與年輕的文化新創者，提供一處激盪 彼此創作能量的設計產房；同時，透過協力再造，也為這處逐漸為人所遺忘的兩層樓日式傳統長條 街屋，引入嶄新的人文能量。在此案裡，所有的燈具、傢私、擺設，均為創作者在集體合作下的原 創產物，傳統建築空間中，處處展現可見其用心。 由素直基調著手，喜多俊之在篠山藝廊的修復過程中以簡為務，旨在尋找傳統建築原有的特徵，目 的是讓參觀者和創作者能靜心沈澱，順著純粹的思路以回返初衷。藝廊內部以原木為主要建材，配 合個別空間功能的開展，透過細緻的質材轉換呈現出俐落大方，甚具生命力的色調變化。造型結構 上，以木造素材之線條、質地為介面，在不同空間裡利用情境陳設以架設對話性，進而於充滿風土 人情的歷史時代感中，展現當代藝術的簡約新穎。

以「優雅生活」為設計概念，喜多俊之在此建案裡充分闡述其企求與環境進行有機對話的理念願景， 在建材揀選與陳設規劃上，採用篠山特有的栗木，以及傳統日式家具如榻榻米、和紙燈，充分呼應 當地風土人文，藉以形成高度的物質循環性。設計者亦透過開放式的空間規劃，引導人們走出窠臼， 以面向他者的開放姿態進行其創作活動。在簡約卻多元的環境裡，身處篠山藝廊的創作者們，能透 過身體勞動充分感受自我與他者彼此纏繞下的本真經驗，進而在「自然／人文」、「傳統／現代」 反覆交疊而漸次模糊的概念界線中，省思「工藝精神」的本質意涵。

喜多俊之

1969年よりイタリアと日本でデザインの制作活動を始める。 イタリアやドイツ、日本のメーカーから家具、家電、ロボ ット、家庭日用品に至るまでのデザインで、多くのヒッ ト製品を生む。作品の多くがニューヨーク近代美術館、 パリのポンピドーセンターなど世界のミュージアムにコ レクションされている。シンガポール、タイ、中国など、 デザイン活性化の政府顧問をつとめた。また、日本各地 の伝統工芸・地場産業の活性化、およびクリエイティブ ・プロデユーサーとして多方面で活躍する。国際見本市 「Living & Design」ディレクター。暮らしのリノベーショ ン「RENOVETTA プロジェクト」を提唱。近年は、日本だ けでなく、ヨーロッパ、アジアなどで、セミナーやワーク ショップを開く等、教育活動にも力を入れている。大阪芸 術大学教授。1990年、スペイン「デルタ・デ・オロ賞（金 賞）」受賞。2011年、イタリア「ADI黄金コンパッソ賞（国 際功労賞）」受賞。2016年に、イタリア「第24回ADI黄 金コンパッソ賞」の国際審査員を務める。著書：「デザイ ンの力」、「地場産業＋デザイン」、「デザインの探険」 などがある。

06 屋頂樑柱，隱約可見未加打磨的原木 稜角，覆於黝黑漆面下，蘊含意趣。

07 傳統的和式紙燈罩，在此成為現代化 的室內配件，機制轉折仍不顯突兀。

Traditionally in Indian houses, the verandah serves as an outdoor living room. Guests are often received in the verandah. It's a place where families and friends get together, and the lifestyle on an Indian verandah are often associated with the country’s colonial era. The light and airiness of our space evokes a reminiscence of such an atmosphere.

Kristoffer Nyrop Varming 所設計，它象徵當時代在國際機能主義浪潮下，斯堪地那維亞地區以 新藝術風格呈現的空間作品。最初，該建築物被做為海關使用，爾後隨時間更迭，它不斷被賦 予新的使用方式，包括售票辦公室、渡輪旅客等候大廳……等。 在幾個丹麥本地知名的食品相關企業，包括 Noma 、 Claus Meyer 及知名的爵士樂鋼琴家 Niels

Lan Doky 跨界合作下，共同合資入主這棟建築物極具歷史與意涵的空間，在強調保有建築物 固有的歷史性、標誌性與視覺觀感原則下，打造出嶄新的五感體驗。 GamFratesi 透過細緻的構 件選擇與傢飾搭配，創造出雜揉了柔和線條、自然光線、獨特材料與經典設計的空間氛圍，打 造出內含三間世界級餐館與一間爵士樂俱樂部的複合式公共場域，而 Verandah 餐廳即是當中 提供當代印度料理的餐飲空間。

傳統與驚豔的平衡，北歐風內躁動的熱帶因子

GamFratesi 負責本案中爵士樂俱樂部與印度餐廳 Verandah 的設計，他們希望在設計中表現出 「傳統」與「驚艷」兩者之間的巧妙平衡。 Verandah 是一間以季節性與地域性食材提供當代 印度料理的精緻餐館，餐廳內包含 80 個座位，分布於用餐空間、酒吧與休憩空間中。針對本 案的餐廳與俱樂部， GamFratesi 特別設計了一款新型態的座椅―― Beetle Chair ，這款座椅 的設計，能讓使用者在酒吧內舒適用餐，同時也能在俱樂部內放鬆的欣賞爵士樂表演。 Beetle Chair 被廣泛運用在餐廳內，搭配空間中精緻的印度元素、經典的引用，混合現代北歐的低調 設計，同時在空間中充分引入自然光，並以綠色植栽強化空間中的自然元素。 簡約的壁面與天花板、素雅的灰白色系牆面、藍灰色系錯落擺置的 Beetle Chair ，混搭少量的 細緻木格柵牆、棕櫚紋路地磚、銅製印度燈具與綠樹植栽，在強調簡單、質樸的北歐風格中， 透過充分的光線與精挑細選的物件，畫龍點睛的點綴出空間主體、餐廳的本質－熱情洋溢的印 度風格呈現，讓截然不同的兩種風格，精妙的在室內空間中達到互為主體的和諧。

DESIGN CONCEPT

Housed in an iconic and historical building that dates back to 1937, The Standard is located in central Copenhagen. Right next to Nyhavn, straight across from Noma and overlooking the Royal Opera and Christianshavn. It is a 65m long and 10m wide rounded rectangular construction. It was created by architect and royal buildings inspector, Kristoffer Nyrop Varming (1865-1936), who was also behind a large number of other famous buildings in Copenhagen such as the Niels Bohr Institute.

After an intense process, the space has now been re-born as “The Standard” - a name that pays tribute to the history of the building and also signifies the vision and ambition of it’s new owners. Today, this art deco building, stands as a perfect example of International functionalism for its time. It was originally used as customs chamber, later as tickets office and waiting hall for passengers boarding the ferries to Sweden.

The interior of The Standard has been completely transformed and stands completed as a mix of modern, understated Nordic with subtle details and International touches that all together provides a unique ambience. It is an eclectic mix of soft lines, natural light, exclusive materials, classic designs and brand new icons. Gamfratesi has carefully chosen everything to underline the building’s history, iconic look and vision. The architects great grandson, Søren Varming has even designed the graphic identity.

In the same way as the interior The Standard is no short of ambitious gastronomic ventures. It boast no less than three world-class restaurants; from Verandah - a contemporary gastronomic Indian restaurant and Almanak - a modern Danish restaurant serving informal breakfast, lunch and dinner to Studio - the ex-noma chef, Torsten Vildgaard’s New Nordic gourmet restaurant.

To top it all off, the jazz club, bearing the name of the entire project - the Standard, is a bold addition to the famous jazz scene in Copenhagen. The space will be run with a new format of two or more shows daily, only resembled in the larger jazz capitals of the world such as New York or Tokyo.

“Jazz is a language with many dialects and accents and being a great jazz artist means being a great storyteller and a being possessed of a passion to share those stories with others, eloquently and through mastering the language of jazz. At The Standard, we will be looking to bring in dynamic, vibrant and engaged jazz artists who best fit this description.” - Niels Lan Doky, Music Director & Co-founder

The interior of the jazz club along with the Indian restaurant Verandah was also designed by GamFratesi. This unique project also marks the exciting launch and initial statement of one of GamFratesi latest designs for Gubi - the Beetle chair which is used in the project - along with many other designs from the award-winning design duo. In particular for this space, GamFratesi designed an extension to the new Beetle series - a bar chair that allows for comfortable dining at the bar or relaxed seated performances on stage in the club.

“Our work is balancing between the traditional and surprising. Often it takes just a small detail to achieve or break an expression, and we are very curious about that. We work strictly with the Scandinavian approach to crafts, simplicity and functionalism, but there always happens to be a strong emotion to concept and story behind each work. Contrasts are often the center of our inspiration.” - Enrico Fratesi

The Indian restaurant, Verandah, sister restaurant to the famous Michelin star restaurant ‘Trishna’ and ‘Bubbledogs’ in London, is a perfect example of GamFratesi’s design vision. The restaurant serves Contemporary PanIndian cuisine, using seasonal and regional ingredients. It has a total of 80 seats, primarily the new Beetle chair, in the restaurant, bar and lounge. It mixes modern understated Nordic/European designs with subtle Indian elements and classic references. The space has plenty of natural light and green plants has been used throughout to emphasize the natural element.

At Gubi, we like to define ourselves as collectors and believe that a successful interior isn’t complete unless it reaches a particular level of eclecticism and character. Just like our designs it should feel personal, be innovative of it’s time, have iconic status and preferably also challenge the ordinary in some way. The Standard possesses all of these qualitiesIt is a space that offers contemporary cutting-edge cuisine with respect for tradition, houses top jazz musicians that courageously mixes the known with the unknown, the old with the new.

Vivarium, a

designed by a young Thai design agency, Hypothesis, won this year’s INSIDE award in the bars and restaurants category. Announced at the INSIDE World Festival of Interiors in Singapore, the converted industrial warehouse in Bangkok demonstrates the firm’s novel technique of adaptive reuse as a strategy to preserve the project’s contextual history.

VIVARIUM AS A CONCEPT

With the aim to inject life and energy into the warehouse for the new restaurant program, the design team thought of a terrarium as a concept for the interior. A lush green-scape of hanging plants populates the upper volume of the double height space. Placed around the restaurant are ceramic follies designed by Yarnnakarn Art and Craft Studio, adding to the intricacy and lushness of the interior landscape ––counterbalancing the rustic industrial setting. The design theme was then reflected in the name of the restaurant, Vivarium – a container of life.

CROSS SECTION

LONGITUDINAL SECTION

OLD VS. NEW

In order to highlight the former industrial characteristics of the warehouse, the majority of the existing structure was kept unchanged but delineated from the new addition through the differentiation of finishing colors –– the old parts were kept in their original white color whereas the new additions were painted with red rust protection primer –– accentuating the contrast between the old and the new. To minimize the renovation budget, Hypothesis employed found objects from around the site –– iron doors, steel pipes, dead branches, and tree roots –– as decorative interior elements, as well as using scaffolding structures, inspired by the ones previously existed on the site, as decorative shelves within the restaurant space.

理鐵人》中的兩位名廚―― Chumpol Jangprai 與 Boontham Parkpho 聯 手打造的餐廳。 Vivarium 以製作傳統泰國與日式美食的創意料理混搭為賣 點，餐廳前身為工業拖拉機倉庫， Hypothesis 以嶄新的技術操作具歷史性 的建築空間，並以延續建築物本身具備的歷史性作為再利用策略，一方面 創造出空間中新與舊的交互辯證，另一方面也盡可能降低改建裝修時所需 的預算。在 Hypothesis 的操刀下，舊倉庫徹底改頭換面，成為一間兼具 視覺、嗅覺與味覺的時尚餐飲空間。

為了凸顯 Vivarium 前工業時期倉庫的空間特色，現有的建築構築大多維 持原樣，未做更動，但 Hypothesis 巧妙透過色彩的運用為空間進行區分， 先前存在的部分保持最初的白色調，新增的部分則以鐵紅色防鏽底漆做處 理，以此強調新與舊之間的對比。為了減低預算，設計師也善用基地周遭 可用的物件，包括鍛造的鐵門、鋼管、遺落的枯枝與樹根，將他們收集、 處理，進行後製後作為室內裝飾的元素，另外過去拖拉機倉庫內的鷹架結 構，亦被設計師轉化為餐廳空間內的裝飾性貨架，藉此讓新的餐廳空間與 過去曾經的工業倉儲建構了新的情感連結。

綠意滿庭，創造人性化生態體驗

「 Vivarium 」意指一種模擬自然生態環境的動植物飼養箱， Hypothesis 延 續以生態箱的命名作為室內設計的概念，將新生與能量注入舊時倉庫， 藉此轉化空間作為新餐廳使用。廠房般挑空兩層樓高的空間中，鬱鬱蔥 蔥的綠色盆景，藤本植物從天花板垂墜而下，搭配地板上的灌木植栽與 牆面的枯藤裝飾，營造出仿若置身熱帶叢林用餐的新奇感受。室內大量以 Yarnnakarn 工作室所設計的各類陶瓷容器環繞空間四周，配合倉庫空間的

GROUND FLOOR PLAN

FCC Arquitectura and Paulo Lobo are two studios situated in Oporto Portugal. This work in particular is the result of a partnership and fusion of the ideas of both studios. FCC architecture developed the reconstruction and the new physical space, while Paulo Lobo took care of the interior design.

）城鎮的 酒吧餐廳，前身是一棟廢棄許久的舊穀倉。島上的葡萄種植始於 15 世紀晚期，受到火山自然地景 的影響，讓營養豐富的土壤及海上風和日麗的陽光，孕育出葡萄成熟時極佳的自然環境。是而代代 相傳的葡萄釀酒技術延續至今，讓遍地的小農莊園成為地景中最為突出的人工景觀。 從皮庫（ Pico ）火山島上噴發所形成的岩石，直到土壤逐漸轉換成營養價值高的土地，歷經幾世 紀以來島上居民的努力，讓佔地 987 公頃的「皮庫島文化景觀」（ Landscape of the Pico Island Vineyard Culture ）成為 2004 年聯合國教科文組織評定且列入保護的世界遺產。 FCC Arquitectura 的設計團隊注意到基地上本身富有的地景魅力，讓廢棄的穀倉得以再利用，賦予作為提供地方資源 舞台，並能永續經營的酒吧餐廳，嘗試讓舊有的建築量體及材料儘可能地維持原貌，更換或修繕原 有的建材。

另一方面，增建部分的新建築量體本身，就像是經過藝術家特別量身細琢的雕塑品，充分地把海島、 岩石、鯨魚、葡萄酒和木桶等幾個特徵元素，融入於整體建築物的結構及內部裝修之中。雖然新建 築的形式做法上與飽經滄桑的石牆屋形成鮮明的對比，但設計團隊在新舊建築的設計態度與形式做 法上，亦相當程度體現了其所在區域文化景觀價值的重要意涵。

重獲新生的廢棄穀倉

改造及擴建後的 Cella 酒吧餐廳，是兩棟新舊建築物的結合體，窗戶多為圓形或帶有弧狀的形式， 新木質量體的擴建，銜接到以火山玄武岩為石牆基底的舊穀倉，保留舊建築原有的牆面，屋頂和門 框則進行重新修繕或部分汰換，其中屋頂是以黏土瓦覆蓋，維持了地方建築的傳統樣貌。 在空間規劃上，原生穀倉的第一層作為主餐廳，次低的擴建部分則提供比較私人的用餐區域；另一 方面，新建築物的外觀上，利用彎曲的流線型木質結構塑造出鯨魚的意象，又似從舊建築漫溢出的 海浪，這些靈感來自於當地且狀似波濤的動態擬象，獨具風格。走進頂層，穀倉的部分設有休閒座 椅和酒吧房，穿過玻璃門後來到新建物的露臺，開放式的空間及無遮蔽的廣闊視野，讓來到此地用 餐和享用晚間雞尾酒的旅人，可以一邊聆聽現場音樂會的演出，並一覽晝夜轉換的海島風情。

DESIGN CONCEPT

The building is the result of a regenerative transformation and expansion of a small pre-existing structure that had been abandoned for many years.

The walls, roof and door frames have been restored, preserving the essential features of the original construction. The interiors were redesigned, shaped to their new roles (e.g. restaurant), and made compatible with current legal requirements.

The new volume is a contemporary creation, exposed to a completely different language. It is an organic, dynamic construction that contrasts with the orthogonal, classical language of the building where it is embedded. The design is defined by great plasticity, both in terms of forms and materials, and is markedly inspired by the natural environment around the site.

Several features of that environment are present in the architecture of the building, including the outline of the island, rocks, whales and wine casks. The new volume acts like a giant sculpture, tailored for its location.

The whole interior was designed black and bathed in light. All the equipment and furniture are custom designed by us to create the whole unique identity of the restaurant. A quality that makes it one of our consecutive successful projects.

Modern Cantonese restaurant, representing distinguished style

Opened in May 2015, The Ritz-Carlton, Macau located within the top floors of one of the world’s most spectacular entertainment and leisure destinations – Galaxy Macau™, was evaluated as Luxury Hotel in the “Michelin Guide Hong Kong Macau 2016”. Authentic Cantonese restaurant, Lai Heen located on the 51st floor, with the geographical advantage of panoramic views over Cotai Macau.

All within the sight, full of gorgeous scenery

Galaxy Macau™ located in Cotai, Coloane-Taipa, the reclaimed area. It is the sole integrated resort owning six world-class hotels in Macau, meeting different needs of all travelers. Using “Lai Heen” as an example, it is not only the highest Chinese restaurant in geographical location of Macau, but also famous in the spatial arrangement of different antiques. According to the local media, entered into Lai Heen, customers feel like entering a palace, a magnificent place without reservation.

The overall space and design style of “Lai Heen” continues the luxurious spirit of The Ritz-Carlton, escapes the stereotype of traditional Chinese restaurant, and creates combinations of interesting classics and fashion senses. As a high-class Cantonese restaurant, it follows the experience indicated from high-class Cantonese cuisine, from the decorations to design of menu. Especially within the western design philosophy, added the Chinese classical style, it resembles Macau where full of pluralistic colors from different races. There are all gorgeous scenery from the ceiling, the floor, decorative elements on the walls, and wherever ones’ vision approached !

At the first glance of Lai Heen’s spatial arrangement, people tend to produce a magnificent illusion. Taking a closer look, people will find that the whole space is constituted with honorable gold, noble red, and steady black for the main colors. There is a waterfall at the entrance to welcome guests, accompanied by the sound of gurgling water and sparkling reflections. The space throughout both sides of the aisle exhibits the Chinese and Portuguese production of blue-andwhite porcelain, leading the Macau exclusive navy blue, and becomes the main color of dining area. In particular, the elements extracted from Chinese temples and Portuguese churches convey the rich history of Macau.

「麗軒」整體空間與設計風格，延續麗思卡爾頓酒店的豪華精神，跳脫中菜廳的刻板印象，融合古典逸趣 又兼具時尚感。作為高級粵菜食府，從裝修到菜單設計，均以高級粵菜為體驗指標，尤其在西式設計理念 融入中式典雅風格，就如同澳門一般，充滿多元民族色彩，從天花板、地板、牆壁的裝飾元素，視覺所到 之處，盡是華麗風景！

乍看「麗軒」的空間陳設，往往會產生金碧輝煌的錯覺，仔細端詳，則會發現整體空間是以尊榮金、高貴紅、 穩重黑為主色調。入口處以水瀑迎賓，伴隨潺潺水聲與粼粼波光，貫穿空間的走道兩旁，展示由中國與葡 萄牙人製作的青花瓷瓶，從而引領出澳門專屬的海軍藍，成為用餐區配搭的主體色，從中國廟宇與葡萄牙 教堂萃取元素，藉以傳達豐富的澳門歷史。

多元文化特色，深化設計主體

細數澳門過往，即可知其特殊的歷史淵源及人文景觀，形成少見的文化特色。四百多年來，歐洲各地族群 聚居於此，無論在飲食、建築、語言都大量結合西方文化特色，葡萄牙菜、葡語更是東西文明融合的見證。 藍色和白色的主調，配以中文和葡萄牙文的街道名稱，更成為了澳門的地方特色之一，街道名牌，更以葡 萄牙瓷磚畫藝術作為藍本。

而以獨特的地理優勢，精緻手工佳餚，被《米其林指南香港澳門 2016 》評定為星級餐廳，「麗軒」不僅是

“comfortable living”,world’s

Multicultural characteristics, deepening of the design body

Looking at the past of Macau, people would know the special historical origins and cultural landscape, which formed a rare culture. Different European ethnics lived here in the past 400 years. Food, architecture, language are combined with a large number of Western culture, especially the civilized oriental-western integration which is shown in the Portuguese cuisines and Portuguese language. The blue and white, Chinese and Portuguese street names, became one of the local characteristics in Macau. The Portuguese porcelain painting art was even used as a blueprint source in the signs of street names.

The unique geographical advantage and exquisite handmade cuisines, recommended restaurant in “Michelin Guide Hong Kong Macau 2016”, “Lai Heen” is not only the highest Chinese restaurant in Macau, but also the quality of services provided is at the highest standard. Particularly, the spatial arrangement is always elegant. In addition to the refined atmosphere provided by the main dining area, there are five private and elegant dining rooms ideal for intimate and celebratory occasions.

Chef Bill Fu takes the role of head chef at Lai Heen. Bill played a very

important role in achieving two-star Michelin Restaurant recognition in his previous role at The Ritz-Carlton, Hong Kong’s Tin Lung Heen, and with this being his first individual venture.

The main dining area in “Lai Heen” is 4 meter tall, with traditional Chinese and Portuguese style grid tracery. The blue carpet is extended from the blue cloth on chairs, and the main wall is in mosaic-liked blue and white porcelain pieces, echoing the elements of Portuguese porcelain painting art. The ceiling is decorated with blue glass charms. All vision in the whole space is designed with senses of beauty elements. The five private dining rooms are in three colors, blue, red and beige, to show three distinct themes. The VIP room is separated using sliding walls as a compartment, providing a more diversified use of space and increased flexibility. Intimate ingenuity, such as the height of tables by the windows is lower than the tables in central area, in order to allow customers to enjoy the scenery in Macau in a sitting position. As stated by the designers, reconciling all the design features, it presents a series of the most unique dining experience.

全球餐飲空間設計趨勢

Global New Trends in Dining Space

發行人 孫 因

發行單位 台北市室內設計裝修商業同業公會

地址 106 台北市大安區復興南路二段 286 號 8 樓

電話 02-2735-6603

傳真 02-2735-5704

網址 www.taid.org.tw

編輯單位 台北市室內設計裝修商業同業公會

執行長 謝坤學

副執行長 林仁德 林 玲 宮恩培 陳鶴元 顏德松 黃珮瑄 王本楷 游秀林

編輯主委 林 玲

編輯副主委 陳鵬旭 林彥宇

編輯委員 趙志元 戴源昌 黃璟達 顏德松 林仁德 宮恩培

出版人 / 社長 林淑華 副社長 蘭星輝

國際事業部