不似深圳其他新兴区域蓬勃林立新大楼，罗湖区是相对年长的旧街廓，即便当代新颖建筑拔地而起，也少不了在地悠远日常环绕。在快速代谢、新旧杂陈的城市情境中，负责此案的水相设计循博物馆策展精神为主干，企图在熙来攘往中酝酿一处场域，让人踏入即不自觉静下、慢下，抽离紊乱急切的日常，在空间中获得纯淨的感官经验，编织与自身有所共鸣的文化脉络。

Unlike other emerging areas in Shenzhen with new buildings springing up like mushrooms, Luohu District is a relatively old area. Despite modern and innovative buildings rise from the ground, its history and culture pervade daily life. In the context of rapid changes and the new and the old mixing together in the city, the design of aqueous phase centers on the spirit of exhibition of a museum. It aims to create a space in the bustle and hustle where passers-by can slow down and calm down in spite of themselves and temporarily forget all kinds of troubles. In this space, one can obtain pure sensory experience and savor a touch of culture that resonates with himself/herself.

 留白，积蕴静默的张力 
-Blank Space Accumulates the Strength of Silence-

作为艺文载体的场域，需创造空间尺度和张力，使人踏入便直观感受到异于尘嚣的气息。馆内仅留黑白相衬；引入大量日光的玻璃帷幕内错落白色雾面压克力、白色牆面的杉木纹、石材断面的粗犷凿面，在这场景裡，连光线都不自觉缓了下来。

As a field carrying art and literature, its spatial arrangement shall enable visitors to intuitively feel an atmosphere different from the madding crowd. The museum only has black and white colors. It introduces many glass curtains welcoming much sunlight. Matt acrylic structures, white walls with patterns of fir, and rough stone surface are utilized to generate an effect that it seems even the sunlight slows down.

然而，即便作为一座静默场域，博物馆不只提供空白与空间给艺术品，仍需替展品陈列出戏剧感，为观者累积屏息观看的环境力度，我们思索以当代雕塑及室内建筑手法来佈局，藉著剖开制式立面的门框、窗体、阶梯结构，不著痕迹却带节奏地牵引观者驻足、凝视，甚至成为框裡艺术的一部分。

However, even as a silent field, the museum not only provides blank space to artistic works, but also displays exhibits in a well-planned manner to allow viewers to concentrate. We employ contemporary sculpture and techniques of interior architecture as well as door frames, windows, and stairs to make viewers stay and gaze. Even, they become a part of the art in the frame.

徘徊往复，捏塑漫与慢的节奏 
-Linger on in an Unfettered and Slow Manner-

第一段戏剧衝击来自于入口的「绕」。前院一片倒映天色的波光粼粼，和玻璃帷幕外牆呈现整体的透与轻，因此我们在入口创造了一个「实」与「重」的角隅量体来平衡。带著厚硬质地的铜、铁光泽，弯曲交掩的弧牆宛如一座立体雕塑，打破传统内与外一门之隔的二元关系，观者需观察、尝试、找到开口并亲身穿过雕塑，才能进入另一方空间，这段徘徊找寻并发掘豁然之境的过程，宛如漫游同时串起观者/艺术/空间三端。

The first dramatic impact comes from "Lingering" at the entrance. From the sparkling pond in the front, you can see the reflection of the sky as transparent and light as the glass curtains on the outer walls. Here, we've created a corner balancing "real" and "heavy" at the entrance. The curved and winding walls made of copper and iron are like a 3D sculpture, breaking the binary relationship between the inside and the outside traditionally separated by a door. Viewers need to observe and try to find the entrance. Only by walking through the sculpture can they enter another space. This process of searching and discovering the piece of open land is like roaming. It connects viewers, art, and space. 

二楼动线首先穿过纯黑黝暗的视听室，于回字动线末端迎向白淨挑高的场景，再藉空间／明暗缩放的直观反差来塑造张力，不必夸张建材来铺陈，逐步累积观者行走过程的空间体验，揉杂出对抽象氛围的连结。

On the 2nd floor, you first pass through the black audio-visual room and then come to a white scene. Spatial arrangement and the contrast of light and shade shape tension. No exaggerated building materials are needed. Gradually, viewers enjoy the spatial experience while walking through the abstract atmosphere.

 阶梯形构的扭、转、串、结 
-Twisting, turning, stringing, and knotting based on the stair-

串连，是艺术载体另一重要的空间体验，阶梯在这垂直移动的空间结构裡，就不是作为单一形式上串连上下楼面的功能，我们更希望赋予它的意义，是一座可以观赏、行走、穿越的巨型雕塑，就像Tony Cragg的作品。为了凸显这一本体在空间裡的漂浮、横亘关系，我们于建筑内部两堵主要实牆上凿出幅宽不一、高低位置错落的开口，在开阔的白之间，让无视重力般的漆黑块面垂直堆叠、扭转再延伸出轴线，串连可通行或窥望的开口，在空中推移出不见边界的路径，宛如意犹未尽的一段引言。

Connection is another important spatial experience in an art carrier. In this space structure for vertical movement, the stair not only serves to connect upper and lower floors. We want to give it a meaning. It becomes a huge sculpture that can be appreciated, walked, and passed through, like works of Tony Cragg. In order to highlight the floating and transcurrent relationship, we cut openings with different widths and heights on the two main walls inside the building. Among wide white space, black blocks are stacked vertically as if they are not confined by gravity. They twist and extend to form axes. They connect to be openings for passing through or peeping. They create paths without boundaries, just like a preface luring you to long for more.

从旁环顾观察这座巨型雕塑的脉络，彷彿怎麽看、怎麽走都有其路径，就像Maurits Cornelis Escher画中的几何迷宫，来回之间的空间诠释变得很个人化。拾级而上，步伐会移转观看角度，转角踏阶、天桥和刻意探出的平台，形成飘浮空中的观看顿点。

Observing this giant sculpture, it seems you can find paths everywhere. It's like the geometric maze in Maurits Cornelis Escher's painting. A thousand people can have a thousand way of interpretation of the space. While passing corners, walking through overpasses, and stepping on terraces deliberately protruding out, viewers may have the fantasy of floating in the air.

串连，是艺术载体另一重要的空间体验，阶梯在这垂直移动的空间结构裡，就不是作为单一形式上串连上下楼面的功能，我们更希望赋予它的意义，是一座可以观赏、行走、穿越的巨型雕塑，就像Tony Cragg的作品。为了凸显这一本体在空间裡的漂浮、横亘关系，我们于建筑内部两堵主要实牆上凿出幅宽不一、高低位置错落的开口，在开阔的白之间，让无视重力般的漆黑块面垂直堆叠、扭转再延伸出轴线，串连可通行或窥望的开口，在空中推移出不见边界的路径，宛如意犹未尽的一段引言。

Connection is another important spatial experience in an art carrier. In this space structure for vertical movement, the stair not only serves to connect upper and lower floors. We want to give it a meaning. It becomes a huge sculpture that can be appreciated, walked, and passed through, like works of Tony Cragg. In order to highlight the floating and transcurrent relationship, we cut openings with different widths and heights on the two main walls inside the building. Among wide white space, black blocks are stacked vertically as if they are not confined by gravity. They twist and extend to form axes. They connect to be openings for passing through or peeping. They create paths without boundaries, just like a preface luring you to long for more.

从旁环顾观察这座巨型雕塑的脉络，彷彿怎麽看、怎麽走都有其路径，就像Maurits Cornelis Escher画中的几何迷宫，来回之间的空间诠释变得很个人化。拾级而上，步伐会移转观看角度，转角踏阶、天桥和刻意探出的平台，形成飘浮空中的观看顿点。

Observing this giant sculpture, it seems you can find paths everywhere. It's like the geometric maze in Maurits Cornelis Escher's painting. A thousand people can have a thousand way of interpretation of the space. While passing corners, walking through overpasses, and stepping on terraces deliberately protruding out, viewers may have the fantasy of floating in the air.

设计总监 / 李智翔（Nic Lee）

『水的形状来自承载的容器，以无垠想像适应环境变化。』--水相设计。

"The form of the water comes from the container it is in. It adapts to the changes in the environment with boundless imagination." - Waterfrom Design.

成立于2008年的水相设计跨足室内与建筑领域，秉持设计应如『水』的初衷，纯淨、有机又多变，本质上保持其原有的简洁性，意念上展现无框架的可能性。我们致力关注于空间的故事脉络及时间光线，创造一个具有情感沉淀及讯息想像的空间。近年来，水相设计陆续荣获国家金点奖、Asia Pacific Interior Design Award、Taiwan Interior Design Award等奖项殊荣，作品也深受义、荷、法、韩等国际媒体报导。

Established in 2008, Waterfrom Design straddles both the interior design and the architecture field, believing that design should be like water, simple and pure, organic and ever-changing, retaining the simple, neatness of water’s essence, and displaying possibilities without framework in concept. We strive to give attention to the story and context of the space and time, to create spaces that can convey messages, and let emotions settle and mature. In recent years, Waterfrom Design has received the Golden Pin Award, Asia Pacific Interior Design Award, Taiwan Interior Design Award, and their work has been reported by the Italian, Dutch, French, Korean and other international media. 

予人『沉淀』的空间--

Giving people the space where time can settle and mature

我们不希望以『开宗明义』的设计手法，我们希望的作品是，生活在此空间中一段时间、一个月、一年，甚至十年后，让时间沉淀过后对于空间有不同的解释与感情。

We do not want to create designs where the ideas are clear from the outset. We wish to create works that, after having lived in the spaces for a period of time, whether a month, a year, or a decade, the effects of time will lead to the spaces having different expressions and emotions. 

予人『想像』的空间--

Giving people the space to imagine

我们不做『一目了然』的设计，我们希望空间使用者自己寻找答案，找到属于自己的剧本，就像艺术评论家用不同的角度阐述画作。我们试著传达一种意想不到的讯息，有时使用者比我们更早找到答案。

We do not create designs that are obvious at first glance. We wish for the people utilizing the space to find the answers for themselves. Like art critics describing an artwork from different points of views, we want the people find their own version of the story. We try to convey unexpected messages, and sometimes the people using the space will find the answers even before we do.