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。

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.

Our distinctive targets are homogeneity and stereotypes.

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.

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.

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.

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.

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.