架构师提供的文本描述。和安德烈主厨的合作是什么样子的？

Text description provided by the architects. What was the collaboration with Chef Andre like?

2013年底，WEIJENBERG与安德烈主厨(Chef Andre)就设计一家新餐厅展开了对话。2013年年底，魏延伯格(WEIJENBERG)为杰森·阿瑟顿(Jason Atherton)的“书房”(The Study and the Library很快就可以清楚地看到，安德烈的美食生动的想象力，再加上维珍·贝格的艺术眼光，将使他的饮食风格既能反映出其同名“生”的本质，又能反映出它的原始本性。

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’.

 © mwphotoinc

© mwphotoinc

这种合作将两个人结合在一起，共同努力创造出非凡的东西。安德烈对食物的艺术见解使我们能够在更深层次上讨论这一设计，安德烈虽然对室内设计有具体的想法，但他也提供了创造性的自由，以实现一种正在迅速成为台北特色的餐厅的新实体-美食与设计的融合，即食物与艺术的融合。没有一个灵感来源于RAW，这是两个创意人员在平等的条件下会面，互相挑战，形成一个想法的真实案例。在此过程中，有许多机会来简化设计，使其更小，甚至去掉大的部分。但我们坚定地坚信，我们正在创造一些真正独特的东西，并按照我们的设想成功地指导了这个项目。承包商和业主之间的艺术张力导致了现在可以在餐厅看到的结果。

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. Along the way there were many opportunities to simplify the design, make it smaller or even take out large sections. But we persevered with the courage of conviction that we were creating something truly unique and managed to steer the project exactly as we had envisioned. The artistic tension between contractor and the client led to the result that can be seen in the restaurant now.

 © mwphotoinc

© mwphotoinc

似乎你不仅仅是把这个项目作为一个用餐的空间，而是一个表演的舞台，食物是主要的表演者。这个想法是如何影响你的设计的？

It seems like you were not merely approaching the project as a space for dining, but a stage for a performance where food is the main performer. How did this idea influence your design?

安德烈的食物总是带有艺术性，为WEIJENBERG选择颜色和色调提供了一个灵感来源，以使主要的就餐区域最小化。人们所希望的美学是在顾客与餐桌和椅子之间创造一种非常接近的环境，灯光几乎只会在盘子上发光。安德烈的食物的经验是亲密的。这种亲密关系使我们能够以木材为主要媒介，在餐厅内以纯净的状态将顾客以一种温和的方式封装在木雕中。

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 sculpture in a gentle manner.

为什么餐馆里没有独特的分店很重要？

Why was it important to not have distinctive divisions in the restaurant? 

对我们来说，重要的是不要有不同的分区，因为我们认为这种‘四方’的方法将限制一个高度创造性的厨师。我们故意制造未经加工的内部边界，但我们仍然需要将餐厅的运作和功能与设计结合在一起。这造成了一个复杂的挑战，因为我们已经阐明了一个几何学，需要有一个强有力的实际因素。大部分雕塑是有目的储存，葡萄酒岛和一个大柜台在入口处，而不损害设计的美丽。

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 sculpture is purposeful with storage, a wine island and a large counter by the entrance without compromising the beauty of the design.

 © mwphotoinc

© mwphotoinc

中央木制划伤的形式从何而来？你的很多作品都有流畅的形式-为什么会这样呢？

Where does the form of the central wooden scuplture come from? A lot of your works have fluid forms – why is this the case? 

在WEIJENBERG，我们非常喜欢探索在“制作传统”的领域中可能发生的事情。我以前受过木匠的训练，我的许多工作都涉及木材。我总是被这种材料所吸引，并且对它有很强的亲和力。这也是一种材料，是优秀的雕刻和成型。有了这一点，新技术使之成为一种非常令人兴奋的工作媒介。

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 my work involves wood. I am always drawn to this material and have 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.

 Floor Plan

中央木雕的规格是什么？是什么支撑着它？

What are the specifications of the central wooden sculpture? What holds it up?

这座木雕长约65米，内部每个节点都有双锚点，并有对角线支撑，以防地震(台北地区经常发生的地震)发生横向摆动。中央木雕展示了工艺和技术-两者之间的关系是什么，中央木雕如何说明这一点？

The wooden sculpture 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). The central wooden sculpture exhibits both craftsmanship and technology – what is the relationship between the two and how does the central wooden sculpture illustrate this?

大型木制划痕是由各种计算机软件程序，3D犀牛和蝗虫设计的，以创造一个机器切割模式。采用有限元法(FiniteElementMethod)计算了吊顶雕塑在地震作用下的荷载。木材本身后来是手工制作的木匠谁组装的雕塑一片片。这是可见的，因为每个部分的雕塑有几个关节；大块已组装成块，有时一个关节仍然是值得注意的。雕塑上的纹理线条是故意的，在切割之前是经过数字规划的，所以它们是朝着正确的方向排列的，并且总是匹配的。

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

 © mwphotoinc

© mwphotoinc

你能详细说明一下在这个项目中展现出的台湾人的性格吗？

Could you elaborate a bit on the kind of Taiwanese-ness exhibited through the project? 

整个项目是在台湾制造的，由台湾当地的软木制成，木块是从传统的造船技术中提炼出来的。所有细节都在现场和工厂与当地木匠进行了详细的讨论。这座长方形的酒墙，有着将近4.5米高和近18米长的储藏室，完全是用典型的台湾百叶窗制成的。

The entire project is made in Taiwan, from the local Taiwanese Soft 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 long wine wall, containing storage units is almost 4.5m high and almost 18m long, made entirely with typical Taiwan louvers.

 © mwphotoinc

© mwphotoinc

中央木雕和座位长方形/圆桌之间有什么关系？为什么座位的桌子形状不同？

What is the relationship between the central wooden sculpture and the seater rectangular / round tables? Why are the seater tables in different shapes?

每个桌子都有一个不同形状的桌面，以打破空间和单调的进一步，防止聚集的感觉。它也创造了一种多样性的感觉，因为你可以吃很多次生，从来没有相同的座位或观点。

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.

Architects Weijenberg Architects

Location Lequn 3rd Road, Zhongshan District, Taipei City, Taiwan 104

Category Restaurant

Area 4500.0 ft2

Project Year 2014

Photographs mwphotoinc