1、 在空间诠释水：水只一汪，占的面积倒不小平衡好整个空间的重力体系，水是内循环自然是会流动的但流动得并不明显倒映着上方所有的光影很平静。在水边细看能见着因铜板阻隔而现的涟漪不断变幻着模样层层往下溢。看客可歇息在圆形卡座区看得清，能互动配合雾影装置，便于入戏然后入迷。

这种微距离的互动也让空间变得更大了一些。在空间诠释光：天花上几乎没有光，尽量去解放了光。在墙角、墙上、墙面以点、线、面的模式搭建成了整个空间的光的语言。水内的倒影再以低几个亮度的光线去补充，这样便随着整体的明暗关系生成了想要的空间意境。

Interpretation of water in space: There is only a pool of water, but it occupies a large area, balancing the gravity system of the entire space. Water is internally circulated and will naturally flow, but the flow is not obvious, reflecting all the light and shadow above,

very calm. Looking closely at the waterside, you can see the ripples caused by the copper plate blocking it, constantly changing their appearance and overflowing layer by layer. Spectators can rest in the circular booth area to see clearly, and can interact with the fog shadow device,

making it easier to immerse in the play and then become fascinated.This micro-distance interaction also makes the space a little bigger.

Interpretation of light in space: There is almost no light on the ceiling, so we try to liberate the light as much as possible. The light language of the whole space is constructed in the corners, walls and wall surfaces in the mode of points, lines and surfaces.

The reflection in the water is supplemented by light of several degrees lower brightness, so that the desired spatial artistic conception is generated with the overall light and dark relationship.

2、在空间诠释月：入口二楼半仑弧线 是我所理解的月我所设想的整个空间便是借着水、月、光，人为的这般意象将空间的自然观感带了出来变得舒适。

在空间诠释田：水上升月，水中雾影水下树影，人居其中，自然少不了生命的点缀。这些都属于一种需要场景放置的东西说不清，到底是田影响了月还是月影响了水，这不仅仅是感官上的，更是一种心里学上的辉映当然更应该是互为因果相互映衬的。

Interpreting the moon in space: The half-lun arc on the second floor of the entrance is how I understand the moon.

The entire space I envisioned is to use water, moon and light, and this artificial image brings out the natural look of the space and makes it comfortable.

Interpretation of the field in space: the moon rises above the water, the shadows of fog in the water and the shadows of trees under the water, people live in it, and naturally there is an embellishment of life.

These are all things that need to be placed in the scene.

It is hard to say whether the field affects the moon or the moon affects the water. This is not only a sensory experience, but also a psychological reflection. Of course, it should be a cause and effect and a foil to each other.

3、文化理念：一抹优雅的荭，云木槎桠，水荭摇落，瘦影半临清浅。场所影射在于对精神尺度的把握在于点到为止，留有一定的想象空间是一种在精神世界留白的处理方式，影射的对象是泰文化或者文化符号。

泰北红砖，远眺清迈老城朱红色是这个城市的色彩名片，塔佩门的遗址、古典大皇宫的红色屋顶的砌筑、暹逻建筑的基础与围墙的经典配色便是红砖金瓦遥映鲜活的绿，红砖皆是经典常用的建材同样这也与泰国本土的红黏土有关。

Cultural concept: a touch of elegant sedge, cloud trees, water sedges, thin shadows half over the shallow. The site alludes to the grasp of the spiritual scale, which is to stop at the right point. Leaving a certain amount of imagination space is a way of dealing with blank space in the spiritual world. The object of allusion is Thai culture or cultural symbols.

Red bricks in northern Thailand, overlooking the old city of Chiang Mai, vermilion is the color business card of this city. The ruins of Thapae Gate, the red roof of the classical Grand Palace, and the classic color matching of the foundation and walls of Siamese buildings are red bricks and golden tiles reflecting the vivid green.

Red bricks are classic and commonly used building materials. This is also related to the red clay in Thailand.