面向“自然”的視野和現(xiàn)代的結(jié)合共同織補(bǔ)起完整的空間，內(nèi)外的邊界早已消隱，封閉和開放相互滲透，都市與自然疊映的端頭，是不可見卻恢弘無限的想象空間。

在辯證的設(shè)計(jì)眼光下，動(dòng)即是靜，內(nèi)也是外，天涯即比鄰，瞬間可恒久。屬于東方美學(xué)的生動(dòng)和松弛讓一切都處于綿延生長中。

Facing nature while embracing modernity, the space weaves a seamless whole, where the boundary between inside and outside has long vanished. Openness and enclosure permeate each other, as urban and natural landscapes intertwine. At the horizon, where these worlds meet, lies an invisible yet infinite realm of imagination.

In this dialectic design, movement is stillness, the inside is the outside, and the farthest distance is right next door. The dynamic calm of Eastern aesthetics allows everything to be in constant, organic growth.

萬象在側(cè)·疊加的幻術(shù)

All Things Present: Layered Illusions

空間是在一個(gè)現(xiàn)代性的簡潔構(gòu)成下層層豐富遞進(jìn)的，條形灰磚與簡素的肌理漆在立面鋪陳延展，在垂直方向的天花盡頭彎折隱入天光，高度設(shè)計(jì)和弧面控制減少了對封閉邊界的感知，而它的意向既是安徽的也是北京的，作為空間敘事的大背景恒定而有力。

The space, while rooted in a minimalist modern framework, progressively builds in richness. Gray bricks and simple textures extend across the facades, with ceiling heights bending and vanishing into the sky above. This subtle manipulation of height and curvature minimizes the perception of boundaries, grounding the space in both Anhui and Beijing, giving it a stable, compelling backdrop.