位于中山捷运站附近的一条安静的小巷里，占据了一栋老式4层复式公寓的第一层，该场地捕捉到了怀旧的台北的典型景观。就在场地的对面，有一座名为 “有求必应 “的传统寺庙，进一步丰富了台湾的当地场景和风格。在过去的四十年里，这所房子一直作为一个普通的办公室。我们把小厨房打开，变成了画廊空间的一部分，而原来的红色压花地砖仍然显示出老房子的痕迹。后院曾经是一个扩展的仓库，被改造成一个户外花园。此外，入口处的墙被推后，形成了一个进出 “之间 “的内部庭院，引入了前院的景色，模糊了旧有的空间界限，带来了一种阴谋的感觉。
Located in a quiet alley near the Zhongshan MRT station, occupying the first floor of an old 4-story duplex apartment building, the site captures a typical view of nostalgic Taipei. Right opposite the site, a traditional temple called “You-chou”, meaning “in need”, further enriches the local scene and style of Taiwan. For the past 4 decades, the house served as a general office. We opened up the kitchenette and turned it into part of the gallery space, while the original red embossed floor tiles still show traces of the old house. The backyard, once an extended warehouse, is transformed into an outdoor garden. In addition, the entrance wall was pushed back for an interior courtyard “between” in and out, introducing the view from the front yard to blur the old boundaries of space and bring in a sense of intrigue.
设计、功能和灵感的精神。我们希望打破展览馆的陈旧观念，以更接近画廊和展览空间的方式呈现。我们想改变参观者对照明的想法。
Spirit for design, features, and inspirations. We want to disrupt the stereotypes of an exhibition hall by presenting it in a way that is closer to a gallery and an exhibition space. We want to change the idea of lighting for the visitors.
沉浸在大自然中。谈到人们欣赏照明之美的时刻或空间，我认为是在大自然中，在山上，在空灵的某个地方。它们来自于我小时候在树丛中度过的时光，甚至作为一个成年人在森林中度过的时光。当在荒野或森林中时，人们会用灯或化妆火来包围自己的温暖。这种自然而温暖的意象是我想为这个画廊创造的氛围。当我接触到BTC照明设备这个项目时，我想到的关键是山和森林的自然景观。 我想通过山的隐喻来呈现照明的美丽画面，用山木的有机排列来暗示 “背光 “的森林，创造一个似曾相识的自然环境。 环形路线也会让游客想起在山中的蜿蜒曲折，使他们的感官和潜意识回到自然中。 这将为观众带来更多 “身临其境 “的体验和想象力，因为他们在周围移动并观看展出的照明设备。
Immersion in nature. Speaking of the moments or spaces for people to appreciate the beauty of lighting, I think it’s in nature, in the mountains, somewhere in the ethereal. They come from the time I spent as a child among the trees and even as an adult in the forest. When in the wilderness or forest, people would use a lamp or make-up fire to surround themselves with warmth. Such natural but warm imagery is the atmosphere I want to create for this gallery. When I approach the project BTC lighting device, the natural view of the mountain and the forest comes into mind as the key. I want to present a beautiful picture of the lighting through the metaphor of the mountains, using the organic arrangement of yakisugi as a hint for the “backlit” forest, creating a déjà vu of natural surroundings. The circular routes also would remind the visitors of meandering in the mountains, anchoring their senses and subconsciousness back into nature. It would bring up a more “immersive” experience and imagination for the viewers as they move around and look at the lighting devices on display.
自由和环形的路线也使观看展品更加有趣，因为景色不断变化，为空间创造了更多的印象。人们可能就会忘记他们实际上是在室内。前院和后院的 “借景 “不仅模糊了室内和室外的界限，也为空间增加了自然和模糊的感觉。画廊的设计有的有灯光，有的没有灯光，无论哪种方式，都以美丽的景色为特色。我们希望观众能发现照明设备具有美学用途，而不仅仅是功能。这种身临其境的方式鼓励观众感受空间和照明设备，揭示出更深层次的思考和沉思。
The free and circular routes also make it more fun to look at the exhibits, as the views continue to change and create a greater variety of impressions for the space. People might just forget they are actually indoors. The “borrowed scenery” of the front and back yard not only blurs the boundary between the interior and exterior but also adds a sense of nature and ambiguity to the space. The gallery is designed with and without the light, either way, featuring a beautiful view. It is our hope that viewers would discover lighting devices to be of aesthetic use, not just functional. The immersive approach encourages viewers to feel the space and the lighting devices, shedding light on deeper reflection and contemplation.
东方意象。除了自然，附近丰富的台湾本土意象也激发了我们的灵感，在设计初期就将东方的印象和纹理与西方的照明工艺结合起来，用于新的展览空间。经过深思熟虑，我们决定借助东方的绘画技巧来呈现自然的感觉。东方绘画中常见的 “散点透视 “是主要的设计方法。所有的景物都堆积在一个空间里： 画面中的森林和台湾的传统砖房；前院和后院新种植的树木和花盆也是风景的一部分，这样人们可以在空间中感受到自然和季节；从外面延伸到屋内的植物和石头与周期性材料相对应； 夜幕降临时，小巷对面的宫殿里亮起的红灯笼（东方灯）和展厅里的西方灯光通过玻璃反射出连续的视觉感，所有这些都是利用散点透视的概念在空间里重叠设计的。
Eastern Imagery. Aside from nature, the rich local imagery of Taiwan in the neighborhood also inspires us to combine oriental impressions and textures with western lighting craftsmanship for the new exhibition space early in the design process. After careful thought, we decide to leverage eastern painting skills to present a sense of nature. The “scattered perspective”, a common technique in eastern paintings, is the main design approach. All the scenery is stacked in one space: the picture of the forest and the traditional brick house in Taiwan; the newly planted trees and pots in the front and back yards are also part of the scenery so that people can feel nature and the seasons in the space; the plants and rocks extending from the outside into the house correspond to the periodic materials; the red lanterns (oriental lights) lit up in the palace across the alley at nightfall and the western lights in the exhibition hall are reflected through the glass in a continuous visual sense, all of which are designed to overlap in the space using the concept of scattered perspective.
同时，考虑到整个项目中的自然印象，我们希望呈现出自然的 “气 “的氛围，并再次将东方绘画的技法（山水画和浮世绘）转化到空间中：以自然界中水的三种形态（固体、液体和气体）为主题，天花板和墙壁上的白点暗指雪（固态），而在浮世绘中。在浮世绘中，雪或瀑布经常被用点画法描绘出来。光之森林中的白色花朵和台面是云（气体状态），目的是将观众带入东方绘画的具象世界。主要目的是在森林中引入云雾感，在动态构图中呈现空间的流动感。云也被用作吊灯锁，而雾一般被用来分隔产品类别和画线。在一定条件下，雾气台面可以变成一个展台或桌面。
At the same time, thinking about the impression of nature in the whole project, we hope to present the natural “chi” atmosphere and again transform the techniques of eastern painting (landscape painting and ukiyo-e/ floating world) into the space: the theme of the three forms of water in nature (solid, liquid, and gas), the white spots on the ceiling and walls allude to snow (solid state), and in ukiyo-e painting. In Ukiyo-e paintings, snow or waterfalls are often depicted in pointillism. The white flowers in the forest of lights and the countertop are clouds (gas state), which are intended to bring the viewer into the figurative world of eastern paintings. The main purpose is to introduce a sense of cloud and fog in the forest and to present a sense of flow in the space in a dynamic composition. The clouds are also used as chandelier locks, while the fog is generally used to separate product categories and painting lines. Under certain conditions, the fog countertop may be transformed into a booth or tabletop.
最后，我们用透明的波浪板，一种当地常见的材料，来表达雨的质感，探索其本质。这是一个介于物体之间的透明元素，正如在东方绘画中，具象的对角线经常被用来表达雨（见著名的浮世绘：Ohashi Atake Yutachi）。我们也希望通过这种实验性的方法为空间增添一丝气氛，并通过使用台湾普通家庭所拥有的普通材料来创造一种特殊的本地感觉。这些通过东方绘画的理念和技法在抽象与具象之间转换的自然元素叠加在一起，诉说着设计师对于自然的各种体验和设想，以及与英国手工照明展示的物我融合的想象力。
Finally, we use a transparent wave board, a common material in local communities, to express the texture of rain and explore its essence. It is a transparent element that mediates between objects, as in eastern paintings, figurative diagonal lines are often used to express rain (see the famous Ukiyo-e painting: Ohashi Atake Yutachi). We also hope to add a touch of atmosphere to the space with this experimental approach and to create a special local feeling by using common materials available to ordinary households in Taiwan. These natural elements, transformed between abstract and figurative through the concept and technique of eastern painting, are stacked on top of each other, telling the various experiences and visions of the designer for nature and the imagination of the fusion of things with the British handmade lighting display.
我们希望参观者能沉浸在这个自然的、中西合璧的空间里，在流动中一步步看到整个画面，在移动中看不同的风景。最后，通过在大厅的尽头回望，他们将看到森林的全貌，仿佛他们被捕捉到了自然和山的意象。为了创造斑驳，带有孔隙的自然涂层和牡蛎壳的局部感觉也可以与整个房间的自然元素相匹配。
We hope that visitors will immerse themselves in this natural and East-meets-West space, step by step seeing the whole picture in the flow, looking at different landscapes as they move. Finally, by looking back at the end of the hall, they will see the whole picture of a forest, as if they were captured in the imagery of nature and the mountains. To create mottled, the natural coating with pores and the local feeling of the oyster shell can also be matched with the natural elements in the whole room.
Architects: Soar Design Studio
Area : 119 m²
Year : 2022
Photographs :Hey! cheese
Lead Architect : Ray Chang
Designer : Joyce Wu
City : Taipei
Country : China