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關于體驗世界的方式，在“這里有另一種時間”的敘述中，Charlie Lee- Potter把它等同于“感知”的再現，并提出品味認知的差異性，主張一種“表達自我的個性而不是默許某種已被認定的常規”的重要行為準則。所處環境與人的關系，潛移默化之中相互侵染、塑造，從而建立新的審美觀念和場所體驗。因為，這個世界吸引我們的東西，或許，正在改變世界的外在表現。

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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位于藝樹家工場的“之外”是一個獨特的存在，在商用區域里創造了一種全新的工作與生活并重的日常空間。借助原始建筑的高差，臨近室內空間的出入口，圍合出下沉式的休憩、社交場所。周遭的水蔓延開來，清風拂處，水光瀲滟，映射出建筑和景觀的即時表情。屋頂花園作為內部空間的延伸，擴展了自我精神的領地，也為身處其中的我們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.

“高柳鳴蟬”是一種境界的追求，講究聲動與生動的兼具。但高樹對于平面布局來說，起著穩定的、有效的平衡作用，于一角立一楊梅，樹蔭遮陽、樹影斑駁、樹態成簇，與人構成仰視的看與被看的關系，如此才見樹的挺立、巍然。自電梯而出，屋頂花園成為了不同情緒的轉換場所，由動到靜、由身后的城市喧鬧到眼前的自在風景。

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.

情緒場所

Emotional Place

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就著場地的高差，橋以一定角度的方式出現，承擔著“起承轉合”的重要角色，成為室內外空間過渡的媒介。順橋而行，路過敞開的酒吧區，推門進去，到達內部連接著各個功能空間的走廊。為了界定空間的不同，在原有的建筑框架上置入兩個新的不規則的盒子，令客廳區的面積突出建筑外墻面；而酒吧區則由屋檐、外走廊和半開敞的圍合所組成，構成軟性的視覺入口。

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.

酒吧區銜接著內外，以功能補充的形式，滿足工作之余的小憩和日常好友的聚餐、派對，恰當的立面開口朝向露臺，視線由近及遠，使得城市天際線的輪廓逐漸變得清晰可辨，而杯中清酒或咖啡，則夠賞一天的陰晴變化，不論雨色空濛，或是平淡陰天，尤其日落余暉。至于夜晚，更是體現出其特殊的地位，與下沉式屋頂花園形成聯動，參與性和體驗感的建立顯然變成了空間的重要部分。

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 fa?ade 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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客廳面窗的設計，除了一覽城市的景觀，也最大程度的引入了室外水的動態光影，同時消解實體存在的必要性。對于外立面而言，突出的客廳部分，因實際的高差創造了懸挑的結構形體，從而呈現出一種內外親近的關系。室外水池的波光粼粼，反射進室內，隨著時間的遷徙、陽光的強弱，活潑的光影變幻出不同的隱約姿態。

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 fa?ade, 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.

而西南處的斜切角，破局于方正的固有空間，與入口處的橋，有著形體的巧妙呼應。圓形開窗，形成如圓柱的光，巨大的光影游走于地面、墻面，令空間的線條變得立體，此時的室內自然而然成為了“光的容器”。作為空間的樞紐中心，家具的隨機擺放、器物的自由陳設，客廳體現了使用者的審美情趣以及與世界相處的自洽方式。

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.

肌膚之色

Skin Color

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空間與人一樣，雖然情緒不可捉摸，但存在著可見的、可觸摸的、可感受的肌膚。舒適、愉悅、可親一直是朋友之間最好的相處之道，倘若把空間比作活潑的生命，那么浩如煙海的色彩之中，肌膚之色便成為了整體基調的不二之選。在微水泥的調色過程中，基于Amani的粉底色反復調試，類似肌膚的顏色、肌理、觸感的材料最終被裝扮、暈染于空間。

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”，三分之二的面積被“浪漫的消費”掉，單純從商業的辦公空間角度來評定，顯然似有不妥。如果以家居空間來一一對應，前端的配套區域則成為了空間的主角，是“空間之詩”也是“生活之詩”的象征；而后端工作室區域猶如功能齊備的“書房”，退居其次。“之外”展現的是辦公空間的另一種可能，“工作，而不是上班”，生活的本質和意義被顯而易見的空間所呈現出來。

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.