不管愿不愿意，当代设计从思想、原则到技法，都是由西方定义的。从古登堡的印刷机到包豪斯学派，西方设计师在平面、建筑、室内、工业等多个领域，站在神坛上俯视其他文明。

虽然好的设计是世界的。但作为当代的中国设计师，共和都市团队认为，古东方审美体系原本就十分完善，只是未曾有机会与工业革命产生化学反应。而从古东方审美中接续出现代设计，最关键的不在于像素级复刻出所谓“古镇”“古建筑”“古典东方风格”，而在于用经典元素镜像出一个时代的气质。

Whether it is willing or not, contemporary design from ideas, principles, to techniques are defined by the west .From Gutenberg’s printing press to the Bauhaus , Western designers stand on the altar and overlook other civilizations in the fields of plane, architecture, interior, and industry.

Although good design belongs to the world. But as a contemporary Chinese designer,The Republican Metropolis Architecture team believes that the ancient Oriental aesthetic system was originally perfect, but there was no opportunity to have a chemical reaction with the industrial revolution. From the ancient and oriental aesthetics, the most important thing is not to write the so-called “ancient town”, “ancient architecture” and “classical oriental style” at the pixel level, but to mirror the temperament of an era with classic elements.

▼室内空间一览，overall view of the interior

唐宋元明清，都深深影响了现代中国。但在相对客观的西方学者旁观看来，现代意义上的中国文化，成型于宋。

The Tang, Song, Yuan, Ming and Qing Dynasties have deeply influenced modern China. But in the view of relatively objective Western scholars, the Chinese culture in the modern sense is shaped in Song Dynasty.

Columbia University ‘s Weatherhead published such a passage on the official website of the East Asian Research Program, mainly saying that before the Song Dynasty, some cultural habits and phenomena that modern China took for granted did not exist. For example, large-scale consumption of rice, tea drinking, population explosion, Confucianism in the system, flying cockroaches in the architectural form, and so on. Therefore, although there are called “Han people” and “Tang people”, in fact, today we are more called”Song people.” The Song Dynasty was also the highest peak recognized by the ancient Eastern aesthetics. Therefore, it is most appropriate to continue the modern design from the aesthetic image of the Song Dynasty.

▼餐厅logo，restaurant logo

《瑞鹤图》记载：北宋政和二年上元之次夕，都城汴京上空忽然云气飘浮，低映端门，群鹤飞鸣于宫殿上空，久久盘旋，不肯离去，两只仙鹤竟落在宫殿左右两个高大的鸱吻之上。引皇城宫人仰头惊诧，行路百姓驻足观看。空中仙禽竟似解人意，长鸣如诉，经时不散，后迤逦向西北方向飞去。

史上艺术造诣最高的皇帝宋徽宗目睹此景，落笔画下瑞鹤图。这幅《瑞鹤图》堪称有宋一代文化艺术的巅峰。设计师从中受到启发，撷取了 “鹤羽” 这一微妙的元素，从中建立起新感官的全貌。

The ancient books”lucky crane map”had recorded: on the second ninght of Lantern Festival in the second year of Northern Song Dynasty , suddenly the sky above the capital, the clouds floated, and the cranes flew over the palace. They hovered for a long time and refused to leave. The two cranes fell on the two tall kisses on the left and right sides of the palace.The people who attracted theimperial palace were astonished and the people on the road stopped to watch.The aerial crane looks like an understanding of the meaning of the person. It seems to be screaming for something, and it does not scatter over time. Later it flies northwest.

In the history of the art, the emperor of the highest emperor, Emperor Huizong Song, witnessed this scene and dropped the paintings “Ruihe”. This “Ruihe” is the pinnacle of the Song Dynasty’s culture and art. The designer was inspired by this, taking the subtle elements of “crane feather”and establishing a new look of the senses.

▼受《瑞鹤图》启发，就餐区设置巨大的羽翼装置，inspired by the “Ruihe” paintings, huge wings were installed in the dining space

宋·川菜用现代的材料与设计手法来演绎的中式餐厅，十万块异形的不锈钢砖与四十万块琉璃羽毛构成宋餐厅的基本形态。曲面的形态打破了一贯的中式餐厅的想象，形成独特的空间体验。

Song’s Chinese Cuisine uses modern materials and design techniques to interpret Chinese restaurants. 100,000 pieces of heterosexual stainless steel bricks and 400,000 pieces of colored feathers constitute the basic form of the Song’s Restaurant.The curving shape of the surface breaks the imagination of the Chinese restaurant and creates a unique spatial experience.

▼前厅，不锈钢砖组成的弯曲墙面分割空间，curved walls composed of stainless steel bricks at the entrance hall

“山有小口，仿佛若有光，复行数十步，豁然开朗。”初步入餐厅，曲折蜿蜒，砖墙贴面，采用 10800 块不锈钢砖复刻中国古典青砖墙，神秘，引人遐想。砖墙上的书柜，陈列着书简古籍，似乎让人能立马抛去外面的都市浮躁，内心变得清净起来。前厅中央的花艺，随着二十四个节气更换；恰逢“秋分”：秋分者，阴阳相半也，故昼夜均而寒暑平。

The ancient poem said: “There is a small mouth in the mountains, as if there is light, and dozens of steps are repeated, and suddenly it is clear.” Initially entering the restaurant, the road is winding and winding. The veneer of the brick wall is engraved with 10,800 pieces of stainless steel bricks, which is mysterious and fascinating.The bookcase on the brick wall, showing the manuscripts and ancient books, seems to make people immediately throw away the urban impetuous outside, and the heart becomes clean.The flower in the center of the front hall is replaced with twenty-four solar terms; it coincides with the “autumn minute”: the autumnal, the yin and yang are also half, so the day and night ,winter and summer bouth are half.

▼前厅中央设有花艺，随时节变化，flower in the center of the front hall changes according to the seasons

沿着小径缓步前行，便会遇见硕大的球体。时间是流动的生命，以国漆 12 道复杂的工艺沉淀岁月留下的痕迹，即便剥去华美的外衣，留下的也是最质朴的本真的美！

Walking slowly along the path, you will encounter a huge sphere.Time is a flowing life. With the 12 complicated techniques of the national paint, the traces left by the years are precipitated. Even if the gorgeous coat is stripped, what is left is the most pristine truth and the beauty that shocks the world!

▼小径中设有巨大的红色球体装置，red colored huge sphere in the path

穿过前厅迎面而来的是以“鹤翼”为题的大型琉璃羽毛艺术装置，设计用现代的材料与设计手法来演绎，通过灯光的照射，透出华美梦幻的光泽，399860片的琉璃羽毛与细长的铜柱巧妙的分隔空间，与开放的厨房相对，或开敞，或围闭。鹤作为我们中国人独特的一种文化的凝聚与积淀，在中国传统文化中是君子、高贵、尊荣的象征，又是幸运与成功的标志。

A large glass feather art installation with the theme of ” Crane Wing” is on the way through the front hall. The design uses modern materials and design techniques to interpret, through the illumination of the light, reveals a gorgeous dreamy luster, 399,860 pieces of glazed feathers and slender copper columns subtly separate the space, which is opposite to the open kitchen, either open or enclosed. As a unique culture and accumulation of Chinese culture, crane is a symbol of gentleman, noble and honor in Chinese traditional culture, and a symbol of luck and success.

▼就餐区，设有以玻璃羽毛制成的巨大羽翼，与铜柱一起分割空间，

铜柱承载着琉璃羽毛，掘地而起直冲天际；在天花镜面的倒影下，仿佛穿越时光的对话。墙面的镜面又在横向维度上把空间扩大了一倍，如此让整个空间像羽翼般的梦境一样无界。我们希望客人能够感受到置身在梦境之中，扑朔迷离，形成独特的空间体验。

The copper pillar carries the glass feathers and digs into the sky; under the reflection of the ceiling mirror, it seems to cross the dialogue of time. The mirror on the wall doubles the space in the horizontal dimension, which makes the space unbound like a winged dream.We hope that guests will feel that they are surrounded by dreams, confusing and creating a unique sense of space.

▼镜面扩大空间，mirror doubled the space

当体验者在餐厅中穿行时，空间逐渐由开阔变得狭隘、辗转曲折；能够近距离接触羽毛，其经过高温浇注而成的羽毛在指尖上滑过，留下余温，其触感带我们体验所经历的一切；琉璃羽毛，一柔一刚，灵动，闪耀。不锈钢的砖墙，无缝，坚硬，光滑；拼贴的砖块地面，岁月的痕迹，体块的穿插让内部富有活力。

宋·川菜所选择的现代材料及细节推敲，秉承对气氛营造、极致品位的追求。人身在其中，能够感受到古代情景的再现似乎让人能立马抛去外面的都市浮躁，内心变得清净起来，沉浸领略古代文化底蕴。

The modern materials and details selected by Song’s Restaurant reveal the pursuit of atmosphere and ultimate taste.The people can feel the reappearance of the ancient scene, and it seems that people can immediately throw away the urban impetuous outside, and the heart becomes clean and immersed to appreciate the ancient cultural heritage.

▼铜柱和羽毛细部，details of the copper columns and feathers

一道不锈钢砖墙的缝隙；一颗螺丝；一片羽毛的角度；在设计师无数次同业主交流中得到启发。这间极具戏剧性的餐厅，每一次细节打磨，都应经得起体验者近距离的把玩。每一处独立的空间，都是惊艳，就像一道色香味俱全的川菜。让食客流连其中，精神上的味蕾在大脑绽放，回味无穷。

A gap in a stainless steel brick wall,a screw and the angle of a feather, Inspired by countless exchanges between designers and owners, Song’s Restaurant is perfect under the constraints of design. This highly dramatic restaurant, with every detail polished, should stand up to the diners at close range.Every independent space is amazing, like a Sichuan cuisine with a full flavor. It let the diners linger in it, the spiritual taste buds bloom in the brain, and the aftertaste is endless.

▼施工精细的空间，well constructed space

这是一个场所，体验者身处于建筑的庇护；建筑变成一种形式，它创造了一片不同于室内，又不同于自然的场所；人们感受得到阳光，感受得到微风，但又在建筑之中。

This is a place where experiencer are sheltered in the building.Building becomes a form that creates a place that is different from indoors and different from nature. People feel the sun and the breeze, but we are in the building again,this is my favorite feeling.

▼精致的羽毛和连接件，delicate feathers and the joints

空间不再仅仅是事件发生秩序的副产品。有活力的，迅速流动的空间理想中应该能够在穿过它的时候可以感受到材料的状态。

The Space is no longer just a by-product of the order of events.A dynamic and fast-moving space ideally should be able to feel the state of the material as it passes through it.

▼独具韵味的包间，private room in dark tone

▼洗手间，washroom

电影的流动性给人带来了叙事性，而人在建筑空间中的流动，也给大家带来了动态空间体验的连续性，一定程度上也是叙事性，形成独特的空间感受。

The fluidity of the film brings people a narrative, and the flow of people in the architectural space also brings continuity to the dynamic space experience. To a certain extent, it is also narrative and forms a unique spatial experience.

▼空间生成图，generation diagram of the whole space

▼入口墙面生成图，generation diagram of the front hall walls

▼平面图, plan

Project: Song’s Chinese Cuisine Location: Guangzhou ,China Design Time: December 2015 Completion Time: July 2018 Interior Design: Ray Wong | RMA Interior Design Team: Jet Wong, Jay Wong, Eunice Wong, Bell We, Jam Chan, Jack Qin, Tango Yang Main Supplier: Weicheng Zhang Author: San YU Photography: Jack Qin | RMA, Kaijian Lee Video Shooting: Paul Li |