架构师提供的文本描述。京凯新媒体中心位于北京通州。在6米高，​​面积约500平方米的情况下，它从现有的员工食堂转变为2016年北京设计周的场地。只有一个月的施工期，建筑师决定保留原来的结构和波纹钢板的外观，使低冲击措施在一个综合的角度。通过将外墙涂上鲜艳的橙色，并附加新的穿孔板，使新建筑表皮的渐变色彩效果的形式、质地和渗透性，为周围的建筑环境营造出生动的氛围。

Text description provided by the architects. Jing Kai New Media Center is located in Tongzhou, Beijing. In a height of 6 meters and an area of ​​about 500 square meters, it is transformed from the existing staff canteen into venue of the Beijing Design Week 2016. With only one-month construction period, the architect decided to preserve the original structure and corrugated steel sheet façade, to enable low impact measures within an integrative perspective. By painting the façade with bright orange color and attaching a new perforated plate, the form, texture, as well as permeability of the gradient color effect of the new building skin, compose a vivid atmosphere to the surrounding built environment.

展厅入口是内部二层展示空间构筑物的延伸

展厅入口是内部二层展示空间构筑物的延伸

飘窗与穿越穿孔板的橙色形成呼应

飘窗与穿越穿孔板的橙色形成呼应

展览厅强调对现有建筑进行全面更新，为展示不同组合的展品提供了灵活性。4米高的悬挑窗在大厅的东面表演第二层展区。通过窗口结构与室内垂直交通的相互作用，以及现有的两根梁的相互作用，设计了一个多功能的展览平台，最终演变为一种特殊的艺术设施。

Emphasizing on a full-scale renewal of the existing building, the exhibition hall provides flexibility to present different combinations of displayed items. 4-meter high cantilevered window in the east of hall space performs a second story exhibition area. A multi-funtional exhibition platform was designed through the interactions of the window structure and interior vertical transportation, as well as the existing two beams, ultimately evolved into a special art installation.

总体设计意味着一个复杂而紧张的任务，即对空间进行优化和更新，使其具有更动态、更清晰的现代展示功能，并与虚拟现实感、3D打印技术和交互媒体的艺术表达相呼应，保证了视觉的对应性和空间的一致性。然而，身体本身就像工业零件的类比，希望能从蒸汽时代回忆起手工和机械美学的记忆和创造力。通过追溯设计的起源和历史，这个空间隐喻展开了与建筑师、艺术家和观众的亲密对话。

The overall design implies a complex and intense task to optimize and update the space towards more dynamic and articulated set of contemporary exhibited functions.  Echoed with artistic expression of the sense of virtual reality, 3d print technique and interactive media, the platform design assures the visual correspondence and spatial coherency. However, the body itself is like an analogy of the industrial parts, which is hoped to recall the memory and creativity of manual and mechanical aesthetic from the Age of Steam. By tracing the origin and history of design, this spatial metaphor unfolds an intimate dialogue with architects, artists and audiences.