The starting point of this project comes from the treatment of the material itself, who it wants to be and how it should be treated, inspired and influenced by Louis kahn. Respecting the properties of the material itself. We searched for stone and stone scraps left in abandoned mines in the project area, so that they continue their own value and architectural logic, feeling the traces of time; a good space should be a harmonious unity of different material relationships, unifying the same logic in the spatial expression. 

The façade skin adopts industrial language. Wave aluminum and transparent glass, the restraint of material and scale create a sense of architectural volume, while considering the site, the appropriate distance from the surrounding environment, through the metal, to capture the temperature of light. In order to enhance the presence of light, the light from the glass of the façade passes through the circular holes, and the light is given to change the blocks, deepening the connection between them in the space. Walking through the long and narrow "cylinder" to reach the vestibule for sale, the increased sense of volume gives the experience of being placed in the architectural space and transforming the field.

 Through the connection between the "installation" blocks in the space, it completes the penetration between the front sales space and the dynamic line. By merging the sales space and the exhibition space, the space will be more playful and have a different visual experience when entering the space through the free relationship between the blocks. 

Glass, water, stone, steel. This is the reorganization and construction of design elements advocated by Mies, through stainless steel metal rods stacked on top of each other, layer by layer array, order brings a sense of ritual. The 2F display area is exposed as a more thorough space material, as a preliminary attempt to "honest aesthetics". Glass, stone and steel are used in the design of the space, and structure, function and practicality are the goals, and the bare structure is displayed on the site and combined with the spatial installation without cover. 

For the skeletal architecture, Mies gives up adding "meaningless" artistic forms in exchange for a "superior aesthetic", just like the young Nietzsche's reckoning with historicism: "Take off your coats and show your true face!" Only "more ideas than materials" can achieve such a goal: "The goal of our task is often simple and clear. Only by recognizing them and starting to design them can we bring about superior construction solutions. -（Fritz Neumeyer）