设计工作室为一个电视节目创造了一个零废弃的临时餐厅空间，研究设计如何能够并且应该作为一种工具，引起人们对设计和建筑业的足迹的关注。

Design studio creates a zero-waste temporary restaurant space for a TV show, looking into how design can and should be used as a tool to draw attention to the footprint of the design and building industry.

去年夏天，慢科技空间设计工作室kuidas.works*(爱沙尼亚语中的kuidas? – how? )被邀请参加爱沙尼亚电视剧《餐厅0》，旨在完成一项颇具挑战性的任务–在7天内以零成本、利用智能回收的方式建造一家餐厅。这家餐厅是在南爱沙尼亚小镇维尔扬迪老城的一个19世纪的香肠店废墟上设计和建造的。上周，该项目在年度爱沙尼亚建筑奖晚会上被宣布为2021年爱沙尼亚室内建筑师联盟年度奖得主。

Last summer, the slow-tech spatial design studio kuidas.works* (kuidas? – how? in Estonian) was invited to participate in an Estonian TV series Restaurant 0 that aimed to complete a rather challenging task – to build a restaurant in 7 days at zero cost, using smart recycling. The restaurant was designed and built into the ruins of a 19th-century sausage shop in the Old Town of Viljandi, a small town in South Estonia. Last week, the project was announced as the Estonian Interior Architects Union Annual Award laureate 2021 at the annual Estonian Architectural Awards gala.

假设一个设计工作室被慷慨地交给了一个机会，去探索从零开始创造一个餐厅体验的全部设计可能性，而且不留下显著的足迹。在这种情况下，自然会出现 “如何做？”的问题。通过回收废物，我们可以减少快速消费的足迹。然而，即使材料被重新利用，其结果仍可能是被填埋或焚烧。回收过程本身也可能变成相当昂贵或没有资源的。在阐述这一观点时，设计团队决定扩展电视节目中的零费用模式，为餐厅提出一个概念性的中心部件–15吨的夯土桌。

Suppose a design studio is generously handed the opportunity to explore the full range of design possibilities of creating a restaurant experience from scratch with zero budget and without leaving a remarkable footprint. In that case, naturally, the question “how?” arises. By recycling the waste, we can reduce the footprint of fast consumption. However, even when materials are reused, the result can still end up in landfills or incineration. The recycling process itself can also turn out quite costly or unresourceful. Elaborating that point of view, the design team decided to extend the zero-expense paradigm in the TV show by proposing a conceptual centerpiece for the restaurant – a 15-ton rammed-earth table.

这张桌子是对最简单、最古老的方法的探索–使用夯土技术创造，只使用手工工具和天然材料。成吨的粘土首先在阳光下晒干，然后通过一个旧的弹簧床垫框架进行筛分，一桶一桶地运进框架，最后夯实成一个站立高度的餐桌。泥土主要来自当地，来自附近的一个粘土采石场。典型的德文时代，爱沙尼亚南部的土在黄色和赭色的底色中波动。较深的红色粘土也是来自该地区。立陶宛。项目中使用的其他主要材料是沙子–用来平整地面–和石灰漆，用来中和被涂鸦覆盖的墙壁。

The table was an exploration into the simplest, ancient methods – created using the rammed earth technique, using only hand tools and natural materials. Tons and tons of clay were first dried in the sun, then sieved through an old spring mattress frame, carried bucket by bucket into the framework, and finally rammed into a standing height dining table. The earth was mainly of local origin and sourced from a nearby clay quarry. Typical of the Devon era, Southern Estonian earth fluctuates in yellow and ochre undertones. The darker red clay was also from the region: Lithuania. Other main materials used in the project were sand – to level the floor – and lime paint to neutralize the walls covered in graffiti.

所使用的粘土和沙子的数量很容易被重新利用，但即使夯土台被留在废墟中，所使用的材料也不会对环境造成负担，而且夯土台会慢慢地但肯定地散开并消失。总的来说，不到1%的材料–仅仅是餐具–以后需要回收。餐具所用的材料是用现场的旧地板制作的木质托盘，用3升的玻璃瓶切成的碗，钢盘，以及用作饮水杯架的铜管套筒。

The used volumes of clay and sand could easily be reused, but even if the rammed earth table were left in ruins, the materials used would not burden the environment, and the table will slowly but surely fall apart and disappear. In total, less than 1% of the materials – just the tableware – require recycling later on. Materials used for the tableware were wooden trays made from old floorboards from the site, bowls cut from 3-liter glass jars, steel plates, and sleeves of copper tubes used as drinking glass stands.

这个弹出式餐厅是为接待12位客人而建造的，只提供一晚的4道菜的晚餐。站立的桌子旨在支持存在感和意识，为就餐体验增加关注度，因为它不会让你忘记你在哪里以及为什么。走出舒适区是理解生态问题的先决条件，这也是整个展览的基调。设计不一定是关于舒适性的。它可以而且应该作为一种工具来引起人们的注意，因为设计和建筑业是足迹最重的行业之一。因此，转向简单的技术是方便还是不方便，或者是否有其他解决方案，是这项工作概念的核心问题。

The pop-up restaurant was built to host 12 guests for a one-night-only 4-course dinner. The standing table aimed to support presence and awareness, adding attentiveness to the dining experience as it won’t let you forget where you are and why. Coming out of the comfort zone is the prerequisite for understanding ecological problems, which was the undertone of the whole show. The design does not have to be about comfortability. It can and should be used as a tool to draw attention, as the design and building industry has one of the heaviest footprints. So whether turning to simple technology is convenient or inconvenient, or whether there are other solutions, is the central question of the concept of this work.

截至目前，kuidas.works的团队正在寻找将低技术设计和建筑方法带入公共空间的挑战，同时将其视为一种升级而非降级。工作室的目标是转变范式–将自然的建筑方法和材料从边缘化带入常态化。

As of now, the team of kuidas.works is looking for challenges in bringing the low-tech design and building methods into the public space while thinking of it as an upgrade rather than a downgrade. The studio aims to shift the paradigm – to bring natural building methods and materials from marginality to normality.

Architects : studio Kuidas.works
Year : 2021
Photographs :Tõnu Tunnel
Lead Architects : Maria Helena Luiga, Andrea Tamm, Henri Papson, Hannes Praks
Project Team : Malvo Tominga, Kaisa Sööt, Ann-Katriin Kelder, Kaarel Kuusk
Collaborator : UKU – Pure earth
City : Viljandi
Country : Estonia