Bowed panels of cedar form a chaotic vortex-like structure in Embers, a restaurant in Taipei’s Da’an district designed by local practice Curvink Architects.

The structure, which Curvink Architects says could also be likened to a bird’s nest or whirlpool, sits over the bar of Embers. It’s shortlisted in the restaurant interior of the year category in the 2020 Dezeen Awards.

雪松木的弓形面板在台北大安區的餐廳Embers中形成了一個混亂的漩渦狀結構,該餐廳由當地律師Curvink Architects設計。

Curvink建築師說,這種結構也可以比作燕窩或漩渦,位於餘燼酒吧上方。 在2020年Dezeen大獎的年度餐廳內部類別中,它入圍。

To build the structure, Curvink Architects called on the help of designer and maker En-Kai Kuo. He sourced three 25-metre-high cedar trees from the forested mountainsides of Hsinchu, a city in northern Taiwan.

The trees were being felled as part of thinning – a process where a select number of trees are purposefully removed in order to improve the health and growth rate of those remaining.

為了建造該結構,Curvink Architects呼籲設計師和製造商En-Kai Kuo的幫助。 他從台灣北部城市新竹的山坡上採摘了三棵25米高的雪松。

樹木被砍伐是間伐的一部分,在這一過程中,有意地清除了一些樹木,以改善剩餘樹木的健康狀況和生長速度。

After being transported to a nearby timber factory, the three cedar trunks were sliced into thin layers and steam-bent. This formed arched panels which each span three metres in diameter.

The panels were then set aside for several weeks to allow their curved form to stabilise.

When the panels were brought on-site to Embers, Kuo haphazardly arranged them in a clockwise direction to create the final vortex-like structure. One cedar beam has been partially embedded into one of the restaurant’s structural columns to act as a counter where guests can rest their drinks.

It’s illuminated by a striplight which has been fitted in the grooves of another beam hanging directly above.

將三個雪松樹幹運輸到附近的木材工廠後,切成薄片,然後彎成蒸汽。 這樣就形成了拱形的面板,每個面板的直徑為三米。

然後將這些板放置數週以使其彎曲的形狀穩定。

當面板被現場帶到Embers時,Kuo隨意地將它們按順時針方向排列以形成最終的漩渦狀結構。 一根雪松光束已部分地嵌入到餐廳的結構柱之一中,用作櫃檯,客人可以在此休息喝酒。

它被安裝在另一根正上方懸掛的光束的凹槽中的帶狀燈照亮。

Beneath the structure sits a chunky serving island crafted from a further 64 cedar beams, which are stacked in an eight-by-eight formation.

One end of the island has undergone shou sugi ban or yakisugi – a traditional Japanese method of wood preservation, where the surface is lightly charred to become waterproof and overall more durable.

Inside, the island accommodates a small fridge, freezer and storage for tableware.

To keep diners’ attention on the sculpture, the restaurant’s fit-out is otherwise kept simple.

Walls are loosely rendered with sandy-beige plaster, while the floor is finished with concrete. Pendant lamps made out of recycled glass have also been suspended from the ceiling.

在結構下方是由另外的64個雪松木樑製成的矮矮的服務島,這些木樑以八乘八的形式堆疊在一起。

島的一端已經進行了shou sugi ban或yakisugi禁令-日本傳統的木材防腐方法,表面輕微燒焦即可變得防水,並且整體上更加耐用。

在島上,該島可容納小冰箱,冰櫃和餐具儲藏室。

為了使食客對雕塑保持注意力,否則餐廳的裝修將保持簡單。

牆壁用米黃色的灰泥鬆散地渲染,而地板則用混凝土完成。 由回收玻璃製成的吊燈也懸掛在天花板上。

Embers will go head-to-head against four other projects in this year’s Dezeen Awards. Among them is DooSooGoBang in South Korea, which is designed to reflect the humble practices of Buddhist monks.

There’s also Voisin Organique in China, which features soaring ceilings and shadowy dining areas to make guests feel as if they’re “wandering in a valley”.

Photography is courtesy of En-Kai Kuo.

餘燼在今年的Dezeen大獎中將與其他四個項目抗衡。 其中之一是韓國的DooSooGoBang,旨在反映出佛教僧侶的卑鄙行為。

在中國還有Voisin Organique,其高高的天花板和陰暗的用餐區使客人感到彷彿自己在“山谷中徘徊”。

攝影由郭恩凱(En-Kai Kuo)提供。

FROM:https://www.dezeen.com/2020/11/11/embers-restaurant-taipei-interiors-cedar/

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