浪漫的本质是不确定性。

当给卑贱物以崇高的涵义、给寻常物以神秘的样貌、给已知物以未知的庄重、给有限物以一种无限的表象，我就将它们浪漫化了。——诺瓦利斯

都市在理性的牢笼下井然有序

浪漫只在那些出逃的异托邦里成为可能

在那里蓄谋已久的力

开始搅动那映照繁华都市的海水

旧秩序开始卡顿，混乱，眩晕，被卷入旋涡

感性与直觉乘上通灵诗人兰波的醉舟

溢出那无聊且确定的墙。

—— 美奈·广州·太古汇

01

异质与符号

Heterogeneity and symbols.

RMA与美奈不想在广州太古汇这里只是继续叙说那陈旧的没有想象力的异域风情的故事。我们构想一个异质的物体来冲击原有的秩序，破坏原来固有的稳定统一的单一叙事，使得它形成互相牵扯的力，让陈旧的经验有了陌生一面，稳定的旧系统开始坍塌，从而触发重新诠释系统的可能。

RMA and MUINE do not want to continue with the stale and unimaginative story of exoticism here in TaiKoo Hui, Guangzhou. We conceive of a heterogeneous object to impact on the original order, disrupting the inherent stability and unity of a single narrative, causing it to form interlocking forces, giving an unfamiliar aspect to an old experience, and the old stable system begins to collapse, thus triggering the possibility of reinterpreting the system.

异质是一股引发争论的力，它使得固化的意义再次打开，进入流动，形成反思。RMA的设计不乏引入异质来攻击原有的约定俗成的规则，使得熟悉的事物获得陌生感。

Heterogeneity is a force that provokes debate, opening up solidified meanings into flow and reflection again, and RMA's design is not without its introduction of heterogeneity to attack the rules of convention, making the familiar feel strange.

我们拥有炸毁陈规的热情及信条，这些的能量在宋·川菜“琉璃羽毛和金属扭曲的墙”攻击川菜固有印象时展露无遗；与此相同还有CICADA宋·湘那犹如安尼斯.卡普尔的连续“云门”雕塑，它疯狂地搅动外部世界同时形成微妙的区分内外的中间地带及识别性极强的符号——ICON。

We have a passion and a credo for blowing up stereotypes, and this energy is evident in SONG'S CHINESE CUISINE's "wall of glazed feathers and twisted metal" attack on the stereotypes of Sichuan cuisine, as well as in CICADA's continuous "Cloud Gate" sculpture like Annis Kapoor's. The same is true of the continuous 'Cloud Gate' sculpture by Annis Kapoor, which frantically stirs up the outside world while forming a subtle middle ground between inside and outside and a highly recognisable symbol, the ICON.

我们鲜明的攻击对象就是同质及陈旧。

Our distinctive targets are homogeneity and stereotypes.

02牵扯的力

The force of the pull.

空间是力的场。

整体空间被整合成服务空间及被服务空间两个系统：

一个趋向静止，一个趋向运动。

一个趋向几何，一个趋向自由曲线。

一个理性秩序，一个感性野蛮。

一个包含文化的象征及图腾，一个抽象为内在的涌动的力。

Space is a field of forces.

The overall space is integrated into two systems: the service space and the space being served:One tends towards rest, one tends towards motion.One tends towards geometry, the other towards free curves.A rational order, a sensual savagery.One contains cultural symbols and totems, the other is abstracted as an inner surge of force.

当尼采说世界就是强力意志时，“他使我们的注意力离开物质、主体、事物而将这种注意力转向这些物质间的关系”。

力因而是多元的，是复数的，是诸力之关系以及这种关系的嬉戏。能动的、原初的、征服的、支配的力和反动的、次要的、适应的和调节的力相互缠绕和争斗。这两种力在质和量上都存在着根本和绝对的差异，因而，可以断定，强力意志并非铁板一块，它也不是稳定的和呆滞的，相反，它是一个变易、流动、生成、竞赛的戏剧。

——汪民安《身体，空间与后现代性》

服务空间由酒吧台，厨房，备餐间等功能组成，服务空间由扭曲的形式呈现，并放置于整体空间的中间，形成一个整体的视觉中心和形象。同时区分出两个大小不一的公共用餐区，及一个独立的包房。

The service space consists of a bar counter, kitchen and preparation room. The service space is presented in a distorted form and is placed in the middle of the overall space, forming an overall visual centre and image. Two public dining areas of varying sizes and a separate private room are also distinguished.

这个扭曲的功能体藉由动态的力向各个部分渗透。这些动态溢出天花及墙体的边界，宛如海浪及船只迎面而来。

This twisted functional body has dynamic forces permeating all parts of it. These dynamics spill over the boundaries of the ceiling and the walls, like waves and boats coming up to the surface.

手工锻造及艺术的造型让其区别于机械复制的没有灵韵的作品。这些手工感让被遮蔽的身体回归，灵光再现。

The hand-forged and artistic forms distinguish them from mechanically reproduced pieces without spirituality. These handmade sensations allow the return of the obscured body and the reappearance of the spiritual light.

镜面天花让这个异质的力以加倍的效果显现，力的纠缠与渗入不断向上延伸。与此金属的两种差异的特征彼此牵扯，平滑的镜面金属与充满手工痕迹的扭曲造型的金属相得益彰。

The mirrored ceiling makes this heterogeneous force visible with a doubled effect, the entanglement and penetration of forces extending upwards. The two differing characteristics of the metal are involved with each other, the smooth mirrored metal is complemented by the twisted shapes of the metal full of hand traces.

区分空间内外的墙体被这个力的溢出突破，形成窥视内部的洞口。

The wall that separates the inside from the outside of the space is breached by the overflow of this force, creating a hole to peer inside.

这些戏剧性及强烈的视觉形象形成独特的被识别的符号。与墙上的完美的圆形相比，充满内在力的扭曲是挣脱柏拉图完美理念的逃逸。

These dramatic and powerful visual images form distinctive and recognisable symbols. In contrast to the perfect circles on the walls, the distortions, full of inner force, are an escape from Plato's idea of perfection.

被服务空间即两个公共区域及包房，立面由拱形窗有秩序地展开，拱形窗上下翻转与镜面形成圆或者两个半圆。

The served space, i.e. the two public areas and the private room, has a façade that unfolds in an orderly manner from the arched windows, which are reversed up and down to form a circle or two semicircles with the mirror.

窗上有关于餐厅地域主题的插画叙事，能具象直接地读到餐厅的主题，拉回到具体的故事——食材，风情等，这些材料本身就具备与本土不同的异域风情。

There are illustrated narratives on the windows about the regional theme of the restaurant, which can be read figuratively and directly, pulling back to the specific story - the ingredients, the flavour, etc. The materials themselves possess an exotic flavour different from the local one.

墙面的艺术涂料及家具都以不同的面料回应了美奈品牌色，让品牌的印记仍然有所延续。

The art paint on the walls and the furniture all respond to the Menai brand colours in different fabrics so that the brand imprint remains.

理性，几何，有序及具体的言说让人安静下来，进入用餐的状态，与更紧密的椅子的质料和金属玻璃不一样，提供了更温暖的触感及包裹。

Rational, geometric, orderly and concrete speech calms one into a state of dining, unlike the textures and metallic glass of the tighter chairs, which offer a warmer touch and wrap.

图案与花艺提供更具象与亲近的表达。

Patterns and floral arrangements provide a more tangible and intimate expression.

空间虽小，各种力的角逐此起彼伏，形成了区别于日常的隔离空间，成为城市里的差异存在。

Although the space is small, various forces are at play, creating an isolated space that distinguishes itself from the everyday and becomes a differentiated presence in the city.

后记

Postscript.

罗兰巴特在《神话学》的一篇小文里比较了两部文学杰作《鹦鹉螺号》与《醉舟》，支解出了两部文学杰作潜意识深入的相对态度，其一是对完美掌控的追求，另一则是渴望自由的企求，这两者也指向我们朝向世界和面对自我时的两种可能。

十六岁天才超现实诗人兰波，阅读了《海底两万里后》，创作了他的第一首诗作《醉舟》，兰波的醉舟把人移出，成为空船，成为漂流之眼，触及无限。

In a small essay in Mythology, Roland Barthes compares two literary masterpieces, The Nautilus and The Drunken Boat, branching out into the relative attitudes of the subconscious depths of the two literary masterpieces, one a quest for perfect mastery, the other a yearning for freedom, both of which also point to the two possibilities we have when we turn towards the world and face ourselves.

Sixteen-year-old genius surreal poet Rimbaud, reading 20,000 Leagues Under the Sea After, composed his first poem, 'The Drunken Boat', in which Rimbaud's drunken boat removes people and becomes an empty boat, a drifting eye that reaches into infinity.

对于确定，我更信赖我的直觉。

项目信息：

项目名称 | 美奈小馆

Name | MUINE

项目地点 | 中国 · 广州 · 太古汇

Location | Guangzhou，China

设计面积 | 280㎡

Design area | 280 sq.m.

设计时间 | 二零二二年二月

Design Time | February 2022

竣工时间 | 二零二二年十二月

Completion Time | December 2022

主案设计 | 黄永才 & 黄永杰 & RMA 共和都市

Interior Design | Ray Wong & Jet Wong & RMA

项目摄影 | 李开建 & 凯剑视觉

Photography | Kaijian Lee & K&J VISION

共和都市创办至今，致力于以革新的精神为社会提供多样性的设计产品，以创意，富有想象的创造力设计驱动更多的品牌价值，作品涵盖建筑、酒店、顶级 CLUB、餐饮、办公、私宅等，创新大胆的设计为空间注入新的活力，期间作品获得多项顶级全球赛事奖项。
Republic Metropolis Architecture (RMA) has been committed to the spirit of innovation for the community to provide a variety of design products, creative, imaginative creativity design to drive more brand value, works cover architecture, top club, hotel, restaurant, office, private homes,innovative bold design for the space into the new vitality, during the works won a number of top global event awards.

创始人 / 创意总监 / 黄永才Founder / Ray Wong

设计腕儿官方微信

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