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关于体验世界的方式，在“这里有另一种时间”的叙述中，Charlie Lee- Potter把它等同于“感知”的再现，并提出品味认知的差异性，主张一种“表达自我的个性而不是默许某种已被认定的常规”的重要行为准则。所处环境与人的关系，潜移默化之中相互侵染、塑造，从而建立新的审美观念和场所体验。因为，这个世界吸引我们的东西，或许，正在改变世界的外在表现。

With regard to the way of experiencing the world, Charlie Lee-Potter equates it with the reproduction of perception in the narrative "Here is another time" and proposes the difference of taste perception, asserting an important code of conduct that "expresses the individuality of the self rather than acquiescing to an identified routine. The relationship between the environment in which we live and the people in which we live, subliminally infiltrate and shape each other, thus establishing new aesthetic concepts and experiences of place. For, what attracts us to this world is, perhaps, changing the outer expression of the world.

精神高地

Spiritual Highland

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位于艺树家工场的“之外”是一个独特的存在，在商用区域里创造了一种全新的工作与生活并重的日常空间。借助原始建筑的高差，临近室内空间的出入口，围合出下沉式的休憩、社交场所。周遭的水蔓延开来，清风拂处，水光潋滟，映射出建筑和景观的即时表情。屋顶花园作为内部空间的延伸，扩展了自我精神的领地，也为身处其中的我们提供了城市的意料之外。

Outside" in Yishu Home Workshop is a unique presence, creating a new kind of work-life everyday space in the commercial area. With the height difference of the original building, the entrance and exit near the interior space encloses a sunken resting and social place. The surrounding water spreads out, and the breeze makes the water glisten, mapping the immediate expression of the building and landscape. As an extension of the interior space, the rooftop garden extends the territory of the spirit of the self and provides us in it with the unexpected of the city.

“高柳鸣蝉”是一种境界的追求，讲究声动与生动的兼具。但高树对于平面布局来说，起着稳定的、有效的平衡作用，于一角立一杨梅，树荫遮阳、树影斑驳、树态成簇，与人构成仰视的看与被看的关系，如此才见树的挺立、巍然。自电梯而出，屋顶花园成为了不同情绪的转换场所，由动到静、由身后的城市喧闹到眼前的自在风景。

The "tall willow singing cicada" is a realm of pursuit, focusing on both sound and vividness. But the tall trees play a stable and effective balancing role for the layout of the plan. A plum tree stands in one corner, shading the sun, dappled shadows and clusters of trees, forming a relationship with people looking up to see and be seen, so that the trees can be seen standing up and lofty. From the elevator, the rooftop garden becomes a place for different emotions to change, from movement to stillness, from the noise of the city behind us to the comfortable landscape in front of us.

情绪场所

Emotional Place

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就着场地的高差，桥以一定角度的方式出现，承担着“起承转合”的重要角色，成为室内外空间过渡的媒介。顺桥而行，路过敞开的酒吧区，推门进去，到达内部连接着各个功能空间的走廊。为了界定空间的不同，在原有的建筑框架上置入两个新的不规则的盒子，令客厅区的面积突出建筑外墙面；而酒吧区则由屋檐、外走廊和半开敞的围合所组成，构成软性的视觉入口。

With the height difference of the site, the bridge appears at a certain angle, assuming the important role of "rising and falling" and acting as a medium of transition between indoor and outdoor spaces. Walking along the bridge, we pass the open bar area and push the door inside to reach the corridor that connects the various functional spaces inside. In order to define the difference in space, two new irregular boxes are placed on the original building frame, so that the living room area protrudes from the building's exterior wall; while the bar area is composed of eaves, exterior corridors and semi-open enclosures, forming a soft visual entrance.

酒吧区衔接着内外，以功能补充的形式，满足工作之余的小憩和日常好友的聚餐、派对，恰当的立面开口朝向露台，视线由近及远，使得城市天际线的轮廓逐渐变得清晰可辨，而杯中清酒或咖啡，则够赏一天的阴晴变化，不论雨色空濛，或是平淡阴天，尤其日落余晖。至于夜晚，更是体现出其特殊的地位，与下沉式屋顶花园形成联动，参与性和体验感的建立显然变成了空间的重要部分。

The bar area connects the inside and outside, in the form of a functional complement, satisfying after-work breaks and daily gatherings of friends and parties. With the appropriate façade opening towards the terrace, the view from near to far makes the outline of the city skyline gradually become clearly discernible, while the cup of sake or coffee is enough to appreciate the changes of the day, whether it is rainy and misty, or plain and cloudy, especially the sunset afterglow. As for the night, it reflects its special status, linking with the sunken rooftop garden, the establishment of participation and experience obviously becomes an important part of the space.

自洽方式

Self-Consistent Approach

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客厅面窗的设计，除了一览城市的景观，也最大程度的引入了室外水的动态光影，同时消解实体存在的必要性。对于外立面而言，突出的客厅部分，因实际的高差创造了悬挑的结构形体，从而呈现出一种内外亲近的关系。室外水池的波光粼粼，反射进室内，随着时间的迁徙、阳光的强弱，活泼的光影变幻出不同的隐约姿态。

The design of the living room facade window not only provides a glimpse of the city landscape, but also introduces the dynamic light and shadow of the outdoor water to the maximum extent, while dissolving the necessity of physical presence. For the façade, the prominent living room part creates an overhanging structural form due to the actual height difference, thus presenting an intimate relationship between inside and outside. The sparkling light of the outdoor pool is reflected into the interior, and with the migration of time and the strength of the sunlight, the lively light and shadow change into different vague postures.

而西南处的斜切角，破局于方正的固有空间，与入口处的桥，有着形体的巧妙呼应。圆形开窗，形成如圆柱的光，巨大的光影游走于地面、墙面，令空间的线条变得立体，此时的室内自然而然成为了“光的容器”。作为空间的枢纽中心，家具的随机摆放、器物的自由陈设，客厅体现了使用者的审美情趣以及与世界相处的自洽方式。

The beveled corner in the southwest breaks the square inherent space, and echoes the bridge at the entrance with a clever shape. The circular window opening forms the light like a column, and the huge light and shadow wanders on the ground and wall, making the lines of the space three-dimensional, at this time the interior naturally becomes a "container of light". As the pivotal center of the space, the random placement of furniture and the free arrangement of objects, the living room reflects the aesthetic interest of the users and the way to get along with the world.

肌肤之色

Skin Color

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空间与人一样，虽然情绪不可捉摸，但存在着可见的、可触摸的、可感受的肌肤。舒适、愉悦、可亲一直是朋友之间最好的相处之道，倘若把空间比作活泼的生命，那么浩如烟海的色彩之中，肌肤之色便成为了整体基调的不二之选。在微水泥的调色过程中，基于Amani的粉底色反复调试，类似肌肤的颜色、肌理、触感的材料最终被装扮、晕染于空间。

Space is like people, although the emotions are unpredictable, but there is a visible, can touch, can feel the skin. Comfort, pleasure, amiable is the best way to get along between friends all the time, if the space is compared to lively life, so in the vast sea of colors, the color of the skin became the choice of the overall tone. In the mixing process of micro cement, based on Amani's foundation color repeatedly tuned, the skin-like color, texture and touch of the material is finally dressed and haloed in the space.

在“之外”，三分之二的面积被“浪漫的消费”掉，单纯从商业的办公空间角度来评定，显然似有不妥。如果以家居空间来一一对应，前端的配套区域则成为了空间的主角，是“空间之诗”也是“生活之诗”的象征；而后端工作室区域犹如功能齐备的“书房”，退居其次。“之外”展现的是办公空间的另一种可能，“工作，而不是上班”，生活的本质和意义被显而易见的空间所呈现出来。

In the "outside", two-thirds of the area is "romantic consumption", purely from the perspective of commercial office space to assess, obviously seems to be inappropriate. If the home space to one-to-one correspondence, the front supporting area has become the leading role of the space, is the "poem of space" is also the symbol of the "poem of life"; The rear studio area takes a back seat like a fully functional "study". "Outside" shows another possibility of office space, "Work, not follow a routine", the essence and meaning of life is presented by the obvious space.