架构师提供的文本描述。范曾艺术馆是范曾大师和范氏家族在南通市为书法、绘画和诗歌创作的展览、交流、研究和收藏而建的。

Text description provided by the architects. Fan Zeng art gallery is built for exhibition, communication, research and collection of the calligraphy, paintings and poetries, which is created by master Fan Zeng and the Fan Family in Nantong city.

 © Yao li-Su Shengliang

姚立良

范曾艺术画廊的概念起源于传统空间中的一个元素-“庭院”。为了营造一种“古代规则下的现代创作”的氛围，设计师们将庭院与物理环境分开，将参观行为与思维结合起来。

The concept of Fan Zeng art gallery started from “courtyard”, an element of traditional space. In order to create an atmosphere of “making modern creations under ancient rules”, the designers separate the courtyard from the physical circumstance, and then combine the visiting behavior together with thinking.

“关系院”是范曾美术馆的主题。它首先体现在三种不同形式的庭院：一楼的“井院”，南北的“水院”和“石院”，三楼的“围院”。有了这些庭院，就建立了一个三维庭院框架，这些庭院在其中扮演着重要的角色.最初，“三维庭院”的理念是为了减少建筑的体积。因此，将一个大的积分卷转换为三个较小的卷。这样，庭院的规模就变得更加接近人体的规模，从而变得更加合理和易懂。设计者将自己从网格控制系统中解脱出来，使局部关系成为一个新的起点。看似不相关的三个院落，因各自的原因而聚在一起，却因彼此之间的不同联系而变得变化莫测。

The “courtyards of relationships” is a theme of Fan Zeng art gallery. It is first reflected in the presentation of three different forms of courtyards: “well courtyard” on the ground floor, “water courtyard” and “stone courtyard” across from north to south, “encircled courtyard” on the third floor. With those courtyards, a three-dimensional courtyard framework is established, in which those courtyards play major roles. Initially, the idea of “three-dimensional courtyard” aims to decrease the volume of the building. Therefore, a big and integral volume is transferred into three smaller volumes. So, the scale of the courtyards become more approach to the scale of human body, and then can be more sensible and understandable. The designers get themselves out of the gridding control system and make the partial relationships become a new start. The seemingly unrelated three courtyards, get assembled for their own reasons, and become unexpectedly changeable for the diverse connections between each other.

 © Yao li-Su Shengliang

姚立良

“可视化庭院”是另一个主题。部分关系是并列的，因此它们可以按顺序呈现，从而使人们能够访问和可视化。在场景的片段中，人际关系层出不穷。虽然它们是并列的，但我们仍然可以认识到它们之间的秩序和联系。它们在我们的脑海中相互联系，使看似复杂的整体变得形象化。艺术馆提倡“漫射边界”，以分散的展示方式打破展览中的常规分隔。这有助于建立一个神奇的空间和广泛的可能道路。它的叙事模式从来不是由中央展览形成的，而是以路径和经验为先导的。它以一种有趣的方式改变了原有的阻碍和沟通的对立概念，它温和而顺利地为游客带来了探索的方式，但仍然拒绝乏味或直截了当。这就是所谓东方扭曲的美。

The “courtyard of visualization” is another theme. The partial relationships are juxtaposed, so that they can be presented in sequence, and therefore make it possible for people to visit and visualize. In the fragment of the scenes, relationships come to emerge one after another. Although they are juxtaposed, we can still realize the order and contact of them. They connect each other in our mind, making the seemingly mixed entirety get visualized. Art gallery advocates the “diffuse boundary” in order to break the usual separation in exhibition by a dispersed display mode. This helps build a miraculous space with widespread possible path. Its narrative mode is never formed by the central exhibition, but is leaded by the route and experience. It changes the original opposite concept of obstruction and communication in an interesting way, which gently and smoothly brings about exploratory way for visitors but still refuses to be boring or blunt. This is the beauty of so-called orient tortuousness.

 © Yao li-Su Shengliang

姚立良

“意境庭院”也被强调。范曾艺术画廊秉承“少即多”的理念，对存在的精心控制，以及丰富的视觉和形象在一种温和的外表中体现出来。而不是一个强有力的整体框架，以一个明确的规则领导整个故事，它产生了一个相对灵活和自发的局部关系，从三个不同的院子。“进化关系”的主题意味着关系本身的演变比每一个单元的演化起着更重要的作用。因此，设计重建了三码的关系，但在任何一码都没有很大的变化。简单原型中的三码距离传统的形式并不遥远，但在相互沟通和相互中介之后，它们却表现出了非凡的可能性。如今，我们通常在传统的掩护下呼唤现代精神，所谓的现代和传统不仅依赖于形式，还需要一种思维精神。

“Courtyards of artistic conception” is emphasized, too. Fan Zeng Art Gallery performs the conception of “less is more”, the elaborate control of the existence, and the abounding vision and image within a gentle appearance. Instead of a strong overall framework leading the whole story with a clear rule, it produces a relatively flexible and spontaneous partial relation from the three different yards. The theme of “evolutionary relationship” means that the evolution of relationship itself plays a more important role than the evolution of every single unit. Thus the design reconstructs the relation of three yards, but does no great change in any one yard. Three yards in simple prototype are not far away from the traditional form, but they actually express extraordinary possibility after the communication and intermediation with each other. Nowadays, we usually call for modern spirit under traditional cover, so-called modern and tradition does not only rely on formality, but also requires a thinking spirit.

 © Yao li-Su Shengliang

姚立良

范曾美术馆是一个让水和墨水混合在一起，给光环留出空间的虚幻的空间，这使它有可能使光线从强光中散发出来。它代表了一种向中国画坛致敬的一种态度，那就是让宇宙在一寸之内，用每一个简单的部分来实现整个世界的复杂性，用一种纯粹的精神展现出充分的魅力。

Fan Zeng Art Gallery is an ethereal chamber that let the water and ink blend and leaves room for halo, which makes it possible of making the light out of the strong. It represents an attitude that pays tribute to Chinese brush painting of having the universe within an inch, realizing the whole complexity with every simple part, and showing full charm with a pure spirit.

 © Yao li-Su Shengliang

姚立良