Lifen in Wuhan resembles lane in Beijing and it is the essential cultural symbol in the city. Last year, we make an art museum in Wuhan. We transform the local resident's culture to the the space element. 

From modern perspective, we rearranged the symmetry of traditional compound houses. Through horizontal extension of traditional compound houses and vertical characteristic of western building, it analyzed and reorganized vertical and horizontal dimensions and reconstructed the modern space in the lanes. The vaults, bell towers and balconies introduced in the period of settlement were simplified as the dimensions and opening of geometric volumes. The structure was seemingly random. It creates unstable playfulness and at the same time, it shows the constantly extended street landscape of lives in Lifen.

In regard to the fusion of old and new cultures, we bury clues that belong to the old soul of Wuhan within the space. Withdrawn juxtaposed booth seat is on the first floor. Semi-independent design is connected as Lifen. The residents rest, chat or watch the traditional opera in the hall. The relationship is enhanced. The ceiling lamp in the lobby which represents the street lamp is simple and it shows the western aesthetics in the period of settlement and it can be seen in modern Lifen. 

Besides Lifen, “wharf of traditional opera” which had showed the performance of well-known actors is the profound cultural asset in the memory of Wuhan. We expect that modern building can interact with the said tradition. The street of the ground floor is the open stage for the performing art. It can be extended to the outdoor performance area. The audiences watch the outdoor performance from different corners. It reveals the dynamic culture of the neighborhood of wharf of traditional opera. 

Integration of the concept of wharf of traditional opera in the building is further applied to the selection of materials. From the angle of depression, we constructed the familiar houses of Lifen of the past, and transformed the urban memory into vertical wall. In addition, in order to reinforce the connection of the volumes and challenge the visual stability, we selected thick Travertine, while the small openings and cutting lines, which are not straight, are remained. It resembles the effect and accumulation of time on buildings, and cannot be simulated by industrial machines. It shows the unfinished beauty between the past and future.