Shanghai-based inter-disciplinary design office EVD have unveiled their own studio space which appears plucked out from another time and place. The interior was conceived with two design threads derived from site restrictions – one extends from the entrance to the main workspace, while the other is folded out vertically in the 5-meter-tall volume.

总部位于上海的跨学科设计办公室EVD推出了自己的工作室空间，该工作室空间似乎是从另一个时间和地点撤出的。内部设计采用了两个受场地限制的设计线–一个从入口延伸到主要工作空间，而另一个则以5米高的体积垂直折叠。

Due to existing site limitations, the position of the foyer determines the location of the entrance. In addition, the structural framework and the five orderly window openings define the placement of the wall.

由于现有场地的限制，门厅的位置决定了入口的位置。此外，结构框架和五个有序的窗口开口定义了墙的位置。

Within the rectangular plane, the designers created a U-shaped area that integrates with the long side of the volume and five large windows that allow filtered natural light. Designed to accommodate fire control regulations, the entrance protrudes towards the foyer. Its position and evacuation-friendly width bring new opportunities for the organization of spatial pattern and form.

在矩形平面内，设计人员创建了一个U形区域，该区域与体积的长边融为一体，并具有五个允许过滤自然光的大窗户。设计符合消防法规，入口朝着门厅突出。它的位置和疏散友好的宽度为空间格局和形式的组织带来了新的机会。

Derived from the classical design language, the layout echoes arched elements from Antonello da Messina’s masterpiece “St. Jerome in His Study”. In the painting, Messina depicted an “eternal” space that combines openness and privacy as well as fluidity and serenity through the use of arches.

布局源自古典设计语言，呼应了Antonello da Messina的杰作“ St. 杰罗姆在他的书房中”。在这幅画中，墨西拿描绘了一个“永恒”的空间，该空间通过使用拱门将开放性和私密性以及流畅性和宁静结合在一起。

In a similar vein, Pythagoras taught that sphere and circle were respectively the most beautiful among all solid and plane figures.

毕达哥拉斯以类似的方式教导说，在所有实体和平面图形中，球形和圆形分别是最美丽的。

In his drawing “Architecture Comes from the Making of a Room”, Louis Kahn depicted a scene where people chat under a dome and light freely filters in, emphasizing the importance of natural light and geometric shapes.

路易斯·卡恩（Louis Kahn）在他的绘画“建筑来自房间的建造”中描绘了一个场景，人们在圆顶下聊天，光线自由过滤，强调自然光和几何形状的重要性。

Inspired by Messina, Pythagoras and Kahn, EVD utilize classical architectural elements with a modern twist, capturing a sense of infinity and timelessness.

EVD受墨西拿（Messina），毕达哥拉斯（Pythagoras）和卡恩（Kahn）的启发，利用古典建筑元素和现代元素，捕捉无限和永恒的感觉。

Visitors are guided on a spatial journey throughout the space, designed to deliver unique spatial memory.

引导游客进行整个空间的空间旅行，旨在提供独特的空间记忆。

Scenes, views and experiences shift via varying heights and details introduced along the main circulation path, the designers taking the concept of “the garden” as their main inspiration. Floor treatments like carpets and spatial adornments become the metaphor for pathways, stones and plants.

通过沿主要流通路径引入的不同高度和细节，场景，视图和体验发生了变化，设计师以“花园”的概念为主要灵感。地毯和空间装饰等地板处理成为路径，石头和植物的隐喻。

Playing on the notions of the “boundary” and “in-between” – the two words that indicate infinite possibilities of space – the designers introduce the walls as boundaries, combined with in-between areas that sometimes accommodate objects, other times forming passages.

发挥“边界”和“中间”（这两个词表示空间的无限可能性）的概念，设计师将墙作为边界，结合有时容纳物体的中间区域，有时形成通道。

The border between “boundaries” and “in-between” spaces becomes blurred, with some areas becoming “infinite”, while others feel “confined”.

“边界”和“中间”空间之间的边界变得模糊，某些区域变为“无限”，而另一些区域则感到“受限”。