空间情绪，

构成主义与构成关系。

设计师手记

通过固体变得不饱和和

虚无被安排在空间

中无意义的线条

碎片化的表面和随机的秩序

更加生动一个充满

理解力的空间

只为被理解而存在

给无聊的设计带来无声的虚无主义

沉默的现代首尔

Silent Modern Seoul

它是关于黑色的构成关系。在这一点上，没有必要讨论黑色的计算结果和细微差别。

It is about the compositional relation of the black. There is no need to discuss the calculated outcome and the nuance of the black at this point.

讨论应该是关于黑色墙壁与光线隔离的边缘的特征。

The discourse should be about the character of the edges where the black wall isolates itself from the light.

The light, as it gets paler, evokes the fierce emotion to resist against it.

This is neither about the philosophy of Anish Kapoor nor the transcendent world of void and creation.

By the solidness getting desaturated and the nothingness being arranged in the space, the meaningless lines, fragmented surfaces and random orders make the blackness even more vivid.

The metaphor, a space full of comprehension that only exists to be comprehended brings silent nihilism to the boredom design.

门槛和宝藏

Threshold and Treasure

Threshold and Treasure是一个位于意大利Arzignano的最小空间，由AMAA设计。阈限与宝藏 的目的是为了纪念Mats Bergquist的创作成果。整个项目的意义恰恰出现在门槛的区域，使入口具有城市系统和艺术作品的双重功能。

Threshold and Treasure is a minimal space located in Arzignano, Italy, designed by AMAA. The purpose of “Threshold and Treasure” is to honor Mats Bergquist’s creative output. The entire project’s significance emerges precisely in the area of the threshold, making the entrance a dual function of an urban system and a work of art.

这是一个体积的问题：从里面创造的座位上，人们可以感受到它的凹形，体验它，并判断它的厚度，就像在一个框架中让人想起爱德华-霍珀的表现。

It is a matter of volume: from the seat created inside, one can feel its concave shape, experience it, and judge its thickness, as in a frame reminiscent of Edward Hopper’s representations.

同样，它的目的是为了进入第一个 秘密 花园和一个完全不同的领域，把眼前的城市环境造成的混乱抛在脑后：一个基本的、独创的和平，一直在寻求一个目的--容纳艺术。

Again, it is in

tended to be crossed in order to enter the first “secret” garden and a completely different realm by leaving behind the chaos caused by the immediate urban environment: an essential, oneiric peace that has been sought for just one purpose—to house art.

Similarly, concrete establishes itself as a scenographic constant in space, serving as a background for reflected pictures. The components that complete space are not only created for their aesthetic appeal or plastic expression; each one is specifically intended for its location.

现在路线经过 黑色门槛，这个位置由一个20世纪的扩展部分标记，包括一个钢筋混凝土框架，其存在在这里被一个 绝对黑色 的覆盖物所强调。

The route now passes the “black threshold,” a location marked by a 20th-century extension consisting of a reinforced concrete frame, whose presence is here highlighted by a “absolute black” covering.

由于背景有利于在与现有建筑不可避免的对话中体验艺术作品，这种方法侧重于观众的视觉感知，在吸引注意力的同时让眼睛平静下来。

Du

e to a background that is conducive to experiencing art pieces in an inevitable dialogue with the existing building, this method focuses on the viewer’s visual perception by drawing attention to the layers while simultaneously calming the eye.

第三道门槛的存在恰恰可以通过可见的原墙感受到：对曾经的排版以及之前的谷仓的记忆，导致了对一个完全不同的空间性的发现，这种空间性是真实的，因为它已经免于被时间添加了。背景中的木板和环绕洗手间的钢筋混凝土的离散体积之间的对比吸引了光线。

The presence of a third threshold can be felt precisely by the visible original wall: the memory of what was once a typography and, before that, a barn, leads to the discovery of an entirely different spatiality, which is authentic because it has been spared from time additions. The contrast between the wooden slab and the discrete volume of reinforced concrete that surrounds the restrooms in the background attracts light.