架构师提供的文本描述。在过去的几年里，我在不同的场合看过梵高的“星夜”和“向日葵”。那时候，我没有那么感动-也许我的心情不是很好。去年，当我在一个改造项目上工作时，我重新审视了我对这些画的印象，并有了一些新的启示。

Text description provided by the architects. In the past few years, I have seen van Gogh’s Starry Night and Sunflowers on separate occasions. At that time, I was not so touched – perhaps my mood wasn’t set up quite right. Last year, when working on a renovation project, I revisited my impression of those paintings and had some new revelations.

 © Haiting Sun

(孙海亭)

这个项目位于北京CBD中心的一个隐蔽的地方。我们被要求翻修一座三层高，80年代的轻工业厂房，跨度4-6米。整个工业综合体由Kengo Kuma重新设计其外观系统，我们在外部没有太多的表达空间。从功能上讲，它最初被设计为一所瑜伽学校；然而，在建筑过程的中途，客户决定它将成为一个教育机构的家，不久，项目简介就从一个幼儿园变成了一个共享的工作空间。到最后，人们不再知道这个项目是关于什么的。

The project site sits in a hidden spot in the heart of Beijing’s CBD area. We were asked to renovate a three-story tall 80’s light industry factory building with a 4-6m span. The entire industrial complex had had its façade system redesigned by Kengo Kuma, and we were not allowed much room for expression on the exterior. Function-wise, it was initially purposed as a yoga school; half-way through construction, however, the client decided it would become home to an educational organization, and before long, the project brief went from a kindergarten to a shared working space. Towards the end, one no longer knew what the project was about.

 © Haiting Sun

(孙海亭)

这些变化在一段缓慢而突然的时间内瓦解了。这场斗争与其说是关于技术上的困难，不如说是关于心理上的冲突和不安，这不可避免地反映在设计中。我喜欢的是这个项目变成了一个空间日记：它记录了我的设计思想之旅，在混乱的时刻提供了一个和平的避难所。

The changes unraveled in a slow yet sudden stretch of time. The struggle was much less about technical difficulties than it was about the psychological conflict and unease, which was inevitably reflected in the design. What I enjoyed about the process is that the project was turned into a spatial diary: it documented the journey of my design thinking, and provided a peaceful sanctuary in moments of confusion.

 © Haiting Sun

(孙海亭)

 © Haiting Sun

(孙海亭)

由于不断变化的空间布局和建设进度，设计不得不逐渐妥协项目的整体，重点是创造奇异的空间而不是。由于缺乏内容，我们试图把每个房间设计成一个像走廊一样的非特定空间。我认为正是这种空间才能以意想不到的方式刺激我们的感官。例如，当我们想到一个功能特定的空间-比如一个教室-时，我们的感官常常被预先设想好的教育体验概念所占据。然而，一个“无用”的空间，鼓励我们在外表和内心都要好奇和敏感。

Due to constant changes in spatial layout and construction progress, gradually the design had to compromise the project's totality and focus on creating singular spaces instead. Because of the absence of content, we tried to design each room as a hallway-like non-specific space. I think it is precisely this kind of space that could stimulate our senses in unexpected ways. When thinking of a functionally-specific space – a classroom for example, we oftentimes have our senses occupied by pre-conceived notions of an educational experience. A ‘useless’ space, however, encourages us to be curious and sensitive both outwardly and inwardly.

 © Haiting Sun

(孙海亭)

 © Haiting Sun

(孙海亭)

有了一系列的“无用”空间，根据照明条件，我们分配了两个相互冲突的空间氛围：一个是激情和激情，另一个是平静和超然。这种二元关系的表述似乎是为了增强戏剧性。更重要的是，随着空间的并置和对立，我们希望建筑内的人们能随时随地感受到这两种气氛的共存。

With a series of ‘useless’ spaces at our disposal, and depending on the lighting condition, we assigned two somewhat conflicting spatial atmospheres: one passionate and fiery, the other calm and detached. The binary was articulated almost as if to enhance a sense of theatricality. More importantly, with the spatial juxtaposition and opposition, we hope that people inside the building would feel the co-existence of these two atmospherics any time and anywhere.

 © Yang Liu

（二）杨柳

其结果与梵高绘画中的情感并无不同。在冲突和混乱中，有醉酒的幻想世界的疯狂。

The outcome was not dissimilar to the sentiments in van Gogh’s paintings. Amidst conflicts and chaoses, there lingers drunken illusions of the craziness of the world.

除了向日葵的孤寂和夜空的无限之外，梵高的流浪心灵还有其他的避难所吗？我也许永远不知道，但我仍然问自己：什么占据了向日葵的思想，当夜幕降临，星星层层落下。

Beyond the solitude of sunflowers and the infinity of the night sky, was there another sanctuary for van Gogh's wandering mind? I may never know, but still I ask myself: what occupied the minds of the sunflowers, as the night fell and stars cascaded.

 © Haiting Sun

(孙海亭)