食境展演
從真實到虛擬，吃出一齣戲
Food exhibition and show
From real to virtual, it all an eating show.
普普藝術家Andy Warhol曾說：「在未來，每個人都有成名15分鐘的機會。」當今盛行的網紅文化下，飲食不再只滿足口腹之慾，人們更藉由食與環境成就自我表演。
Andy Warhol, a pop artist, once said, "in the future, everyone has a chance to be famous for 15 minutes. "Under the popular culture of online red, food no longer only satisfies the desire of the stomach and mouth, but also achieves self performance through food and environment.
而位於深圳南山區海岸城的「客從何處來」便是極具代表性的網紅甜品店，水相設計從15分鐘理論出發，把飲食過程定義為展演行為，入門接待入座、製作甜品、上菜以致於品嘗皆是環環相扣的戲劇章節，店內所有人物都成舞臺一份子，空間是鋪陳食境的實驗劇場。
"Where are the guests coming from" in the coastal city of Nanshan District, Shenzhen is a representative online Red dessert store. Based on the 15 minute theory, the water phase design defines the catering process as the performance behavior. The entrance reception, dessert production, serving and even tasting are all closely linked drama chapters. All the characters in the store are part of the stage, and the space is the experimental theater to lay out the food environment.
360°的沈浸式劇場體驗，觀看與被看
360o-immersion theater experience of observing and being observed
爬梳社群媒體的使用習性，人們欲在現實擷取素材化為虛擬平臺上受人矚目的成就感，於數位世界獲得的迴響再反饋成真實生活的自信，「展演」行為模糊了網絡活動的邊界，真實和虛擬互為倒影。
By combing the usage habits of social media, people want to get a remarkable sense of achievement on the virtual platform, and the feedback from the digital world will be fed back to the confidence of real life. The "performance" behavior blurs the boundary of network activities, and the real and virtual are mutually reflected.
因此我們以Broadway《極限震撼》沈浸式劇場為靈感，進一步解構傳統用餐儀式的主客性質，當舞臺環繞在身邊使戲劇360°上演，觀者下一秒可能變為戲劇一部分繼而享受被觀看的樂趣，顛覆傳統舞臺上下單向觀看之別。
Therefore, inspired by Broadway's "extreme shock" immersion theater, we further deconstruct the subjective and objective nature of the traditional dining ceremony. When the stage is around to make the play 360 ° staged, the audience may become a part of the play in the next second and then enjoy the fun of being watched, subverting the traditional one-way viewing on the stage.
有別於多數餐廳臨窗座位最具吸引力的慣性，我們反將窗的功能拉進室內建築，開出尺度不一如社群媒體的一幕幕框景，形成格放行為表演的聚光燈，藉此突破商場店鋪臨街的缺點，也創造座位四周皆留走道的靈活空間，從主廚擺盤、服務生上菜、打扮入時的用餐者入座用餐，每道框內的景皆成戲，卻是立體而寫實，實現了社群媒體熟悉的語言，也強化人們取景和預期被觀看的雙向樂趣。
Different from the most attractive inertia of the window seats in most restaurants, we instead pull the function of the windows into the interior architecture, making scenes and scenes with different scales as the social media, forming the spotlight of the grid performance, so as to break through the shortcomings of the shopping malls and shops on the street, and create a flexible space with walkways around the seats, from the chef's plate, the waiter's serving, and the dressing time When the diner sits and eats, the scenes in each frame become a play, but it is three-dimensional and realistic, which realizes the language familiar to the community media, and also strengthens the two-way fun of people's setting and expectation of being watched.
用餐儀式化的劇場走位，開幕與謝幕
Ceremonized dining in a theater, the curtain opening and closing
長型基地裡，一樓以主廚吧檯為核心向外環繞出回字廊道，形成多面向劇場舞臺，沒入二樓利落階梯及臨窗的透明空中廊道，再將舞臺範圍拉展成立體結構，這些廊道就象是走秀伸展臺，一連串慣常入座用餐儀式化作劇場走位，替空間內一切舉止賦予表演意涵。
In the long base, the first floor is surrounded by the chef's bar as the core, forming a multi-faceted theater stage, which is a transparent air corridor with clear stairs and windows on the second floor, and then the stage range is expanded into a three-dimensional structure. These corridors are like a walk show extension platform, a series of habitual dining rituals turn into theater seats, giving performance meaning to all behaviors in the space.
層層廊道與框景簇擁中，狀似漂浮在空間中央的巨型硃砂紅盒體最是醒目，有別於其他半透明介質，這座極富存在感的VIP室嵌於視覺軸心如一座舞臺，也像古典歌劇院主張隱密性的2樓包廂，是高高在上且堂皇神秘，觀看與被看的雙重意涵在此具象化，呼應網紅文化熟悉的一則則動態宣告。
Surrounded by galleries and framed scenes, the giant cinnabar red box floating in the center of the space is the most eye-catching, which is different from other translucent media. This VIP room with a strong sense of existence is embedded in the visual axis like a stage, as well as the second floor box advocated by the classical opera house, which is high and grand and mysterious. The double meanings of watching and being seen are embodied here, echoing the red culture of Internet A familiar dynamic announcement.
社群媒體的表象，真實與虛擬
Social media appearances, real and virtual
室內建築的皮層在此如舞臺帷幕，我們選擇玻璃、衝孔網、鍍鋅鐵板、尼龍線、不鏽鋼等，建構透明與半透、朦朧與厚實對比介質。其中尼龍線排布出隱晦質地的帷幕最具張力，嘗試過不同韌性張力如魚線、透明PVC管等材質後，我們應用尼龍線在空間系出疏密效果自然的線牆，不僅突破人們對牆體重量的印象，亦隨角度、觀看距離改變屏蔽濃淡而使樹影、人影撲朔。
The skin of interior architecture is like stage curtain here. We choose glass, punching net, galvanized iron plate, nylon wire, stainless steel, etc. to construct transparent and semi transparent, hazy and thick contrast media. Among them, the curtain with obscure texture is the most tension. After trying different tenacity tension such as fishwire and transparent PVC pipe, we use nylon wire to tie the natural thread wall with dense effect in space, which not only breaks people's impression of the weight of the wall, but also changes the shielding density with the angle and viewing distance to make the shadow of trees and people.
加上入口廊道溢洩迴蕩的裊裊煙霧如夢似幻，與上萬條尼龍線聚合成半透明的朦朧屏障，或固定或游離，象徵著人際網絡的錯綜複雜，呼應數位時代媒體所呈現的自我與人際面貌：既透明又隱晦，既貼近也疏離，建立連結的同時也形塑一面牆，如此矛盾卻又相互強化的存在，再在訴說當代社群關係真實與虛擬版圖難以界定的文化情境，一靜一動，在任一時間點皆共構獨樹一幟的畫面。
In addition, the smoke flowing from the entrance corridor is dreamlike, converging with tens of thousands of nylon lines to form a translucent hazy barrier, or fixed or free, which symbolizes the complexity of the interpersonal network, echoing the self and interpersonal features presented by the media in the digital era: both transparent and obscure, both close and alienated, establishing a connection and shaping a wall at the same time, so contradictory and mutually reinforcing At any time, the existence of "transformation" will tell us about the cultural situation that is hard to define between the real and virtual community relations, and construct a unique picture together.
食境創作的表述視角，或靜與或動
Angels of expression for dish creation--still or moving
除了演繹網絡時代真實與虛構的關係，我們也期望這座食境劇場在不同時間軸能傳遞情緒變化：白晝單純感受天光下的純淨清麗，尤以入門中心軸線末端的漢白玉石蔣家班佛像，和周遭上演的餐飲儀式形成微妙的相伴平衡，一種不變應萬變的淡然，入夜後隨著Buddha bar的音樂響起，佛像依舊淡定，其中或靜或動，或真實或虛擬，隨個人心底醞釀。
In addition to the interpretation of the relationship between reality and fiction in the Internet age, we also hope that this food theater can transmit emotional changes in different time axes: pure and beautiful feeling under the sky light in the daytime, especially the marble stone jiangjiaban Buddha statue at the end of the central axis of the entrance, which forms a delicate accompanying balance with the food and drink ceremony staged around, a constant and ever-changing indifference, with Buddha at night When bar's music starts, the Buddha is still calm, in which it is either static or dynamic, or real or virtual, brewing with the bottom of one's heart.
在此空間我們藉由老榆木牆的沉、尼龍線熒幕的透，棗紅的豔、水泥的雅，框景畫面的靜與廊道人影婆娑的動，種種對比創造衝突也成就平衡，使展演行為讓整座劇場機制運作不歇，食境秀裡，每個人都有機會找到出色的創作視角。
In this space, we create a balance through the sinking of old elm walls, the penetration of nylon screens, the color of jujube, the elegance of cement, the stillness of frame scenes and the whirling of human figures in the corridor, and all kinds of contrast and creation conflicts, so that the performance behavior keeps the mechanism of the whole theater running. In the food scene show, everyone has the opportunity to find an excellent creative perspective.
精緻甜品上桌時絕美一瞬是真實，生活飲食這齣川流不息的劇也是真實，身在劇場的人們正透過自我飲食演繹，將劇場推向虛擬朦朧的世界。
When delicate desserts are put on the table, the beauty is real for a moment, and the endless drama of life and diet is also real. People in the theater are pushing the theater into a virtual and hazy world through self catering interpretation.
▲說明圖
▲一層平面圖
▲二層平面圖
項目名稱：深圳客從何處來
空間設計：水相設計
設計師：李智翔、葛祝緯、林其緯、戴佐穎
業主：客從何處來/安柯道森餐飲管理有限公司
空間性質：餐廳
座落位置：深圳市南山區粵海街道海珠社區文心五路33號-海岸城廣場101/中國
室內面積：390 m²
空間格局：接待區、主廚桌、調酒吧檯、用餐區、vip區、DJ臺、暗廚
設計時間：2018.08-2018.10
施工時間：2018.10-2019.01
主要材料：尼龍繩、鍍鋅鋼板、手工漆、硬化水泥、黑檀木紋石、毛絲面不鏽鋼、老榆木、壓克力
攝影：李國民
李智翔
水相設計總監
『設計過程與結果是難以預知的，所以必須嘗試所有的可能，唯有持續的繪製，從多種的版本中找到最後的答案。『約略性質』的美感是我們保持的信念，所有的畫作線條都不是用尺畫出來的，我喜歡的設計不是刻意的工整，如果可以稍微有一點的『自然現條』會更接近我們想表達的空間。』－李智翔
水相設計總監李智翔從事設計迄今十餘年，作品揉和極簡與幽默，畢業自紐約普瑞特藝術學院室內設計碩士與丹麥哥本哈根大學建築研究。帶著藝術、人文、哲學的思考，李智翔的學習養成到執業，有著建築設計般的理性思維，亦有藝術家的叛逆本質，他喜歡在規則的例外對既有秩序重新定義，在不可預知的不準確性下發現驚奇。曾連續兩年榮獲『國家金點獎』與『2007-2010臺灣十大設計師』，擅長將空間裝置藝術化，喜愛由生活探索靈感的他，藉由大量藝術作品、展覽與閱讀吸取養分，將深刻感受轉化為設計靈光。
水相設計
『水的形狀來自承載的容器，以無垠想像適應環境變化。』-水相設計。
成立於2008年的水相設計跨足室內與建築領域，秉持設計應如『水』的初衷，純淨、有機又多變，本質上保持其原有的簡潔性，意念上展現無框架的可能性。我們致力關注於空間的故事脈絡及時間光線，創造一個具有情感沉澱及訊息想像的空間。近年來，水相設計陸續榮獲國家金點獎、Asia Pacific Interior Design Award、Taiwan Interior Design Award等獎項殊榮，作品也深受義、荷、法、韓等國際媒體報導。
予人『沉澱』的空間
我們不希望以『開宗明義』的設計手法，我們希望的作品是，生活在此空間中一段時間、一個月、一年，甚至十年後，讓時間沉澱過後對於空間有不同的解釋與感情。
予人『想像』的空間
我們不做『一目了然』的設計，我們希望空間使用者自己尋找答案，找到屬於自己的劇本，就像藝術評論家用不同的角度闡述畫作。我們試著傳達一種意想不到的訊息，有時使用者比我們更早找到答案。
聚設彙編輯丨葉詩敏
聚設匯由深圳市聚設匯文化傳媒有限公司投資運營，是一家面向中高端裝修客戶的網絡平臺，現已在深圳、佛山、東莞、武漢、南昌開設公司。聚設匯從2014年逐步建立了廣泛的建材廠家資源，快速搭建廠家到設計師（含設計公司、裝飾公司、項目經理）、終端客戶的銷售方式。現已入駐平臺的品牌有：海爾集團、蘇寧電器、居然之家、東鵬瓷磚、美陶瓷磚、斯米克陶瓷、科勒衛浴、高儀衛浴、美標衛浴、金枝玉葉燈飾、金牌廚櫃、西克曼全屋定製、柏森家具等940多家合作廠家、賣場及總經銷。聚設匯通過線上整合資源，線下促進交易的方式穩步推進裝修行業的網絡化。