这是一个面积近6 000平方米的混凝土建筑，一进入大厅，就看到左右对称的8.4米宽的白色背景上，有一个放大的圆形木格窗，透着背后的景致。挑空处原来有一条混凝土楼梯径直通向二层，最终这条楼梯被拆除，在挑空的左右两侧新加建了两处楼梯。

Entering into the lobby of this nearly 6,000 m ² building, what we can see is a magnifed rounded wooden window on the white setting of symmetric 8.4 m piercing the back view. An original stairway on the vertical space which accessed to the second foor was taken down fnally, and two new stairways were built up on the both sides of the vertical space.

圆形的木窗在二层的空间中有序的出现，站在一端望向另一端，层层叠叠，步移景异，时而消失于白墙，时而隐没于虚空，变幻莫测，给人无限的遐想。或许尽头会出现一棵随手在田野摘来的芦苇，抑或是一两朵干枯的野荷，“夫趣得之自然者深，得之学问者浅”。其间味道，自知语言无法尽全其味。暂不论什么是造型，什么是美学，只需懂得生活，便深浅自知，禅意尽显。

The rounded wooden windows which has sequentially appeared in the second foor, are various tier upon tier, and sometimes disappear on the white wall, sometimes conceal in the void. Perhaps a bulrush picked in the feld, a sere wild lotus or two will occur in the end, expressing "the pleasure gained from the nature is just deeper than the one gained from learning". Its meaning cannot be fully expressed through the words. No matter what we know about modeling and aesthetics, what we only need to know is life, of which the extents are held by ourselves, and the meaning of Zen will be clear.

整个展厅采取流线分布的方式，每个小空间既自成一景，又融为一体。禅的精髓在于“不说破”，留给他人思考的余地。透过白墙上深色的格栅看背后的光景虚虚实实，影影绰绰，一件件细细打磨的温润木器站在那里，互相遥望，似有低语，似有婉唱。

Each of the small spaces used in the streamline placement of the whole pavilion forms the scenery of its own, but has been combined with others. The quintessence of Zen is "not to reveal", so as to leave the room for others to think about. You can make a glance for the back view through the deep-colored grille on the white wall to enjoy the delicacy of carpentry. The mildly-polished carpentries there seem to look at each other, talk with each other, and even sing gracefully.

建筑选材力求质朴平和，用物质上的“少”去寻求精神上的“多”。混凝土的顶和暴露的管道喷成了白色，使空间更加浑然一体。大厅中的《富春山居图》背景，在深色木格栅的掩映下静静的散发着柔和的光晕，黑灰色的地面，隐隐反射着光、影、景。《无用师卷》的布局、笔墨、意象与我们所追寻的禅意相得益彰。

竹藤骨架的圆形吊灯错落悬垂其间，光线温和柔软，楼梯下方两汪清潭静静的倒影着山水，清潭里时而游过几尾红鲤，搅动水波，让光影四散开去。“空山鸟语兮，人与白云栖，潺潺清泉濯我心，潭深鱼儿戏”，含蓄、单纯、自然，才是设计所要表达的美。坐在大厅的山水高墙下，品一壶茶，手中木器的触感、品相仿佛带上了时光的味道，大有脱迹尘纷之感。

The building materials look plain and mild in the use of them, while we have used the material "less" to seek the spiritual "more". The top of concrete coiling and exposed pipeline have been sprayed to the white color to make the space become one harmonious whole. The Dwelling in the Fuchun Mountains in the lobby is exuding the soft halo quietly at the back of deep-colored wooden grille. The layout, skills and image of Painting for Wuyongshi (the second part of Dwelling in the Fuchun Mountains) just suit the Zen's real meaning we are seeking. The black grey foor is faintly refecting the light, shadow and scene.

The round pendant lamps with bamboo and rattan framework are overhanging in picturesque disorder. With the mild and soft light, landscape is refected quietly on the two pools under the stairway. Several red carps swimming in the pools are stirring the water to scatter the light and shadow away. "The birds are singing in the valley, as we are having a rest with the clouds. The gurgling spring is cleaning my soul, while the fsh are playing in the deep pond". Connotation, purity, nature, is just the beauty which the design is expressing. While sitting below the high wall with landscape, and sipping a cup of tea, the tactility and condition of carpentry on the hands seem to have brought the favor of time, and the sense of detaching from the world.

一层平面图First Floor Plan

二层平面图Second Floor Plan MYru9QbIDoV5Nwe6Z/jQ5RzEngkSWjD0vZDW/yItSyNVow0+ZEIYxNcL5dtfZlgE