随着潮流时尚的发展，传媒对影像及意识图片的要求也变的越来越高。在此背景下，一线城市里有更多方式和风格的摄影师出现，北京著名摄影师柳宗源就是这其中比较有个人风格的一位。

With the development of trend and fashion, the media has become more andmore diversified in images. Under this background, more photographers ofdifferent styles have appeared. Liu Zongyuan, a famous Chinese photographer, isone of them.

2019年初他找到CUN，希望为自己位于北京一个老建筑库房的摄影工作室做设计。于是一个傍晚我们聊了3个多小时，而交流之中我们都感觉到在今天，设计、影像、艺术甚至是音乐等一切能给人们带来美感的事物，都已变得边界模糊而又充满新鲜。所以我们把这次的空间性质由纯粹服务于摄影工作需要，调整成为一个集工作、美术馆、活动等为一体的复合型空间。这样反而让这个空间在任何一条路上都更加彻底而纯粹，它的名字叫做UTTER SPACE。

In early 2019, he foundCUN, hoping to design for his photography studio in an old building warehousein Beijing. We talked for more than 3 hours in the evening, and we feel that,nowadays, everything that can bring people beauty, such as design, video, art,and even music, has become blurred and full of freshness. We adjusted thenature of this space from purely serving the needs of photography, and adjustedit into a composite space that integrates work, art museums, and activities.This makes the space more thorough and pure on any road, and its name is UTTERSPACE.

这个空间建筑是60年代的一个老仓库，第一次到达现场时，看到整个空间被重新做了特别混乱的分割和结构搭建。由于空间以前本来的用途也是影棚，所以整个建筑的内壁做了装饰板，顶面也被全部喷黑。作为一个经验丰富的设计师，我还是可以透过俗气的装修，看到隐藏在它后面的充满历史感的建筑本体。

The space building is an old warehouse in the 1960s. When first arrivingat the site, I saw that the entire space was partitioned and structured in aparticularly chaotic manner. The interior wall of the building was decoratedwith panels and the top surface was completely blackened. But through the tackydecoration, I can still see the architectural body full of history hidden behindit.

于是我们首先开始了第一项工作，找回它自己。

So we started the first job, found it back--the discovery of beauty.

经过半个月的拆除，我们把整个老建筑的原始样子还原，在这个过程中，我们发现本来的水泥墙体有着特有的历史和岁月的痕迹以及时间的美感。朝西一面，建筑的外窗也被拆出来，原来在下午会有温暖而美丽的金色夕阳投射到室内，让整个空间气质发生转化。此外，吊顶的结构完全呈现出历史技术条件下，混凝土的预制模板，它的结构也充满了时代感，同时又有种莫名的未来性。于是我们花了一个月的时间，用水洗的形式把整个顶面的原始水泥质感洗刷和重现了出来。当整个建筑被还原出来的时候，它已经安安静静的在那里，跟着光线的变化自具美感。所以我觉得有的时候改造以前，设计师应该懂得尊重原始和具有能发现美感的眼光。

After half a month ofdemolition, the original appearance of the entire old building was restored. Inthe process, we found that the original cement wall has a unique history and tracesof time and the beauty of it. On the west side, the exterior windows of thebuilding were also demolished. It turned out that a warm and beautiful goldensunset was projected into the room in the afternoon, transforming thetemperament of the entire space. In addition, the structure of the suspendedceiling completely shows the prefabricated formwork of concrete underhistorical technical conditions. Its structure is full of a sense of the times,and at the same time has an inexplicable future. So it took us a month to washout the original cement texture of the entire top surface in the form of waterwashing. When the whole building was restored, it was already quietly there,following the change of light, it was aesthetically pleasing. So,I guess, before transforming, designers should have the insight to respect theorigin and find the beauty inside.

在建筑被挖掘出来以后我们进入到了第二个阶段的工作——设计营造。

After the building was excavated, we entered the second stage ofwork-design and construction.

这次不同，我居然不舍得下手去处理这个本就美好的空间。于是，我通过两周的时间在思考到底用一个怎样的方式介入设计营造。

This time it was different, I couldn't bear to deal with this alreadybeautiful space. So, I spent two weeks thinking about how to get involved indesign and construction.

中国智慧里有一个词叫做“舍得”，意思是只有舍去一些贪婪才能得到意想不到的结果，换成西方的设计语言可能等同于“less is more”。因此对于设计师来说，如何控制自己的介入和动作的选择就变的尤为重要！

There is a word in Chinese wisdom called "SHEDE", which meansthat you can only get rid of some greed to get unexpected results. Changing to awestern design language may be equivalent to "less is more".Therefore, for the designer, how to control his own intervention and actionchoice becomes even more important!

我们首先按照接待、拍摄工作、后台工作、展览等的动线把一个空大的空间设置出两条动线，其中一条属于平面动线，另外一条属于立面垂直动线。首先这两条动线都成环状闭合动线，其次就是它们链接而不交叉。

We first set up an empty space with two moving lines according to themoving lines of reception, filming, backstage work, and exhibition, one ofwhich belongs to the plane line and the other to the vertical line ofelevation. First of all, these two moving lines are looped closed moving lines,and secondly they are linked without crossing.

接下来我们围绕这两条动线，分配了面积及功能分区，使整个结果更有依据而理性。所以无论是一楼的接待厅、大影棚，还是二楼的小影棚及工作室，再或者到三楼的独立空间，都是循序渐进的递进，非常的合理和有节奏感。

Next, we allocated areaand functional division around these two moving lines to make the whole resultmore rational. Therefore, whether it is the reception hall on the first floor,the large studio, the small studio and studio on the second floor, or theindependent space on the third floor, it is step by step, very reasonable andrhythmic.

利用空间本来就有的结构，我们把二楼、三楼分别做了递进退台的处理，这样三个空间之间又产生了丰富的关系。

Using the existing structure of the space, we have processed the secondand third floors progressively and retreat, respectively, so that the threespaces have a rich relationship.

当把结构、功能，以及空间节奏都安排妥当以后，我们进入到了装饰阶段的工作。

After the structure, function, and spatial rhythm were arrangedproperly, we entered the work of decoration.

这个时候我选择了极度的克制自己，让最原始的建筑尺度、材质关系去做表演者。

At this time I chose to exercise extreme restraint and let the mostprimitive architectural scales and material relationships be the performers.

首先我们在前厅的空间，利用层高安排了一个峡谷的造型，使得这个接待空间变得充满幻想和冲击力。值得一提的是，利用整块石材自有的质地感，去表达和表现设计的美。设计的力量就来自我们选择让灯来穿过吊顶上的小石块儿，一直到达直穿整体的石头前台，用这样的手法来表达石头透光的绚丽和本来的重量之美。

First of all, wearranged a canyon shape in the front lobby space, making this reception spacefull of fantasy and impact. It is worth mentioning that the beauty of thedesign is expressed by using the texture of the entire stone. The strength ofthe design comes from our choice of letting the light pass through the smallstones on the ceiling, and reaching the stone front desk that directlypenetrates the whole. This method is used to express the beauty of the lighttransmission of the stone and the beauty of its original weight.

到了大影棚，建筑本来的魅力和张力征服了一切。我们保留了所有的老建筑与时间的痕迹，让东西方向与一天的阳光光线对话，让南北方向加入石材的质感语言，与几何体窗户构成语言。如此即会感觉质朴有力，又会体会到我们加入的处理，所以这个部分是设计力度的控制。

At the big studio, theoriginal charm and tension of the building conquered everything. We keep allthe traces of the old building and time, let the east-west direction talk withthe sunlight of the day, let the north-south direction add the texture languageof the stone, and form the language with the geometric windows. In this way,you will feel simple and powerful, and you will appreciate the treatment wehave added, so this part is the control of design strength.

最后到二层与三层，我们做了递进的处理，让每一层都能望向大厅。二层给人更加包容和衔接的感受，你可以说它是消失的存在感，因为它的两面主墙面，同时属于一层空间和三层空间。

Finally, to the second and third floors, we did a progressive process sothat each floor can look into the hall. The second floor gives a more inclusiveand connected feeling. You can say that it is a disappearing sense ofexistence, because its two main walls belong to the first floor space and thethird floor space at the same time.

三层我们做了加强的表达。在一个充满力量感的建筑顶梁空间里，我们加入了石材与金属两位朋友，在结构与材质上与这个秘密的空间来进行对话，你可以理解成妥协的存在，也可以理解成合作的相互依存，更可以理解成破坏对抗和不相融合。所以它充满了力量而又没有标准答案，可能这就是我筹建它的魅力所在。

On the third floor, wemade enhanced expressions. In a building with a sense of strength in the topbeam space, we added two friends, stone and metal, to talk with this secretspace through structure and material. You can understand it as a compromise,ascooperation interdependence or even as destroying confrontation anddisharmony. So it's full of power and there is no standard answer. Maybe that'sthe charm of building it.

最后，这次设计我们并没有去制作更多的造型，或者材质，而只是在这场遇见中做了挖掘和选择，然而所有的工作反而非常极具挑战性而又有创造力。因此UTTER SPACE揭幕的那天，我依然会不断遇见它更多的面孔，是质朴、未来、艺术、还是科技或者暗黑金属？或许打动我的，正是它的包容和可能性。设计有的时候，成功于思考而不是干预！

In the end, we didn’tmake more shapes or materials in this design, but we just made excavations andchoices in this encounter. However, all the work was very challenging andcreative. So the day when UTTER SPACE is unveiled, I will still meet moreaspects of it. Is it rustic, future, art, technology or dark metal? Perhaps itis its tolerance and possibility that struck me. Sometimes design succeeds inthinking instead of intervening!

项目名称：柳宗源摄影工作室北京UTTER SPACE
主设计师：崔树
协同设计师：马川、赵阳 焦云奇 王旭
业主：柳宗源
项目位置：北京市朝阳区半壁店一号文创园A607
项目功能：摄影工作室
面积：约1000 ㎡
设计时间：2018.11
竣工时间：2019.11
主要材料：大理石、乳胶漆、木饰面、铁板、水泥自流平
摄影师：王厅
Project name: UTTER SPACE, liuzongyuan photography studio, Beijing
Main designer：Shu Cui
Coordination designer：Chuan Ma 、Yang Zhao、Yunqi Jiao、Xu Wang
Proprietor：Zongyuan Liu
Project Location：A607, Banbi store, no. 1 Culture and creation park ,Chaoyang district, Beijing
Project Function ：photography studio
Area：about 1000 ㎡
Start time：2018.11
Finish time：2019.11
Main material ：Marble, emulsioni paint, wood veneer, iron plate, cement self - leveling
Photography：Ting Wang

随着潮流时尚的发展，传媒对影像及意识图片的要求也变的越来越高。在此背景下，一线城市里有更多方式和风格的摄影师出现，北京著名摄影师柳宗源就是这其中比较有个人风格的一位。

With the development of trend and fashion, the media has become more andmore diversified in images. Under this background, more photographers ofdifferent styles have appeared. Liu Zongyuan, a famous Chinese photographer, isone of them.

2019年初他找到CUN，希望为自己位于北京一个老建筑库房的摄影工作室做设计。于是一个傍晚我们聊了3个多小时，而交流之中我们都感觉到在今天，设计、影像、艺术甚至是音乐等一切能给人们带来美感的事物，都已变得边界模糊而又充满新鲜。所以我们把这次的空间性质由纯粹服务于摄影工作需要，调整成为一个集工作、美术馆、活动等为一体的复合型空间。这样反而让这个空间在任何一条路上都更加彻底而纯粹，它的名字叫做UTTER SPACE。

In early 2019, he foundCUN, hoping to design for his photography studio in an old building warehousein Beijing. We talked for more than 3 hours in the evening, and we feel that,nowadays, everything that can bring people beauty, such as design, video, art,and even music, has become blurred and full of freshness. We adjusted thenature of this space from purely serving the needs of photography, and adjustedit into a composite space that integrates work, art museums, and activities.This makes the space more thorough and pure on any road, and its name is UTTERSPACE.

这个空间建筑是60年代的一个老仓库，第一次到达现场时，看到整个空间被重新做了特别混乱的分割和结构搭建。由于空间以前本来的用途也是影棚，所以整个建筑的内壁做了装饰板，顶面也被全部喷黑。作为一个经验丰富的设计师，我还是可以透过俗气的装修，看到隐藏在它后面的充满历史感的建筑本体。

The space building is an old warehouse in the 1960s. When first arrivingat the site, I saw that the entire space was partitioned and structured in aparticularly chaotic manner. The interior wall of the building was decoratedwith panels and the top surface was completely blackened. But through the tackydecoration, I can still see the architectural body full of history hidden behindit.

于是我们首先开始了第一项工作，找回它自己。

So we started the first job, found it back--the discovery of beauty.

经过半个月的拆除，我们把整个老建筑的原始样子还原，在这个过程中，我们发现本来的水泥墙体有着特有的历史和岁月的痕迹以及时间的美感。朝西一面，建筑的外窗也被拆出来，原来在下午会有温暖而美丽的金色夕阳投射到室内，让整个空间气质发生转化。此外，吊顶的结构完全呈现出历史技术条件下，混凝土的预制模板，它的结构也充满了时代感，同时又有种莫名的未来性。于是我们花了一个月的时间，用水洗的形式把整个顶面的原始水泥质感洗刷和重现了出来。当整个建筑被还原出来的时候，它已经安安静静的在那里，跟着光线的变化自具美感。所以我觉得有的时候改造以前，设计师应该懂得尊重原始和具有能发现美感的眼光。

After half a month ofdemolition, the original appearance of the entire old building was restored. Inthe process, we found that the original cement wall has a unique history and tracesof time and the beauty of it. On the west side, the exterior windows of thebuilding were also demolished. It turned out that a warm and beautiful goldensunset was projected into the room in the afternoon, transforming thetemperament of the entire space. In addition, the structure of the suspendedceiling completely shows the prefabricated formwork of concrete underhistorical technical conditions. Its structure is full of a sense of the times,and at the same time has an inexplicable future. So it took us a month to washout the original cement texture of the entire top surface in the form of waterwashing. When the whole building was restored, it was already quietly there,following the change of light, it was aesthetically pleasing. So,I guess, before transforming, designers should have the insight to respect theorigin and find the beauty inside.

在建筑被挖掘出来以后我们进入到了第二个阶段的工作——设计营造。

After the building was excavated, we entered the second stage ofwork-design and construction.

这次不同，我居然不舍得下手去处理这个本就美好的空间。于是，我通过两周的时间在思考到底用一个怎样的方式介入设计营造。

This time it was different, I couldn't bear to deal with this alreadybeautiful space. So, I spent two weeks thinking about how to get involved indesign and construction.

中国智慧里有一个词叫做“舍得”，意思是只有舍去一些贪婪才能得到意想不到的结果，换成西方的设计语言可能等同于“less is more”。因此对于设计师来说，如何控制自己的介入和动作的选择就变的尤为重要！

There is a word in Chinese wisdom called "SHEDE", which meansthat you can only get rid of some greed to get unexpected results. Changing to awestern design language may be equivalent to "less is more".Therefore, for the designer, how to control his own intervention and actionchoice becomes even more important!

我们首先按照接待、拍摄工作、后台工作、展览等的动线把一个空大的空间设置出两条动线，其中一条属于平面动线，另外一条属于立面垂直动线。首先这两条动线都成环状闭合动线，其次就是它们链接而不交叉。

We first set up an empty space with two moving lines according to themoving lines of reception, filming, backstage work, and exhibition, one ofwhich belongs to the plane line and the other to the vertical line ofelevation. First of all, these two moving lines are looped closed moving lines,and secondly they are linked without crossing.

接下来我们围绕这两条动线，分配了面积及功能分区，使整个结果更有依据而理性。所以无论是一楼的接待厅、大影棚，还是二楼的小影棚及工作室，再或者到三楼的独立空间，都是循序渐进的递进，非常的合理和有节奏感。

Next, we allocated areaand functional division around these two moving lines to make the whole resultmore rational. Therefore, whether it is the reception hall on the first floor,the large studio, the small studio and studio on the second floor, or theindependent space on the third floor, it is step by step, very reasonable andrhythmic.

利用空间本来就有的结构，我们把二楼、三楼分别做了递进退台的处理，这样三个空间之间又产生了丰富的关系。

Using the existing structure of the space, we have processed the secondand third floors progressively and retreat, respectively, so that the threespaces have a rich relationship.

当把结构、功能，以及空间节奏都安排妥当以后，我们进入到了装饰阶段的工作。

After the structure, function, and spatial rhythm were arrangedproperly, we entered the work of decoration.

这个时候我选择了极度的克制自己，让最原始的建筑尺度、材质关系去做表演者。

At this time I chose to exercise extreme restraint and let the mostprimitive architectural scales and material relationships be the performers.

首先我们在前厅的空间，利用层高安排了一个峡谷的造型，使得这个接待空间变得充满幻想和冲击力。值得一提的是，利用整块石材自有的质地感，去表达和表现设计的美。设计的力量就来自我们选择让灯来穿过吊顶上的小石块儿，一直到达直穿整体的石头前台，用这样的手法来表达石头透光的绚丽和本来的重量之美。

First of all, wearranged a canyon shape in the front lobby space, making this reception spacefull of fantasy and impact. It is worth mentioning that the beauty of thedesign is expressed by using the texture of the entire stone. The strength ofthe design comes from our choice of letting the light pass through the smallstones on the ceiling, and reaching the stone front desk that directlypenetrates the whole. This method is used to express the beauty of the lighttransmission of the stone and the beauty of its original weight.

到了大影棚，建筑本来的魅力和张力征服了一切。我们保留了所有的老建筑与时间的痕迹，让东西方向与一天的阳光光线对话，让南北方向加入石材的质感语言，与几何体窗户构成语言。如此即会感觉质朴有力，又会体会到我们加入的处理，所以这个部分是设计力度的控制。

At the big studio, theoriginal charm and tension of the building conquered everything. We keep allthe traces of the old building and time, let the east-west direction talk withthe sunlight of the day, let the north-south direction add the texture languageof the stone, and form the language with the geometric windows. In this way,you will feel simple and powerful, and you will appreciate the treatment wehave added, so this part is the control of design strength.

最后到二层与三层，我们做了递进的处理，让每一层都能望向大厅。二层给人更加包容和衔接的感受，你可以说它是消失的存在感，因为它的两面主墙面，同时属于一层空间和三层空间。

Finally, to the second and third floors, we did a progressive process sothat each floor can look into the hall. The second floor gives a more inclusiveand connected feeling. You can say that it is a disappearing sense ofexistence, because its two main walls belong to the first floor space and thethird floor space at the same time.

三层我们做了加强的表达。在一个充满力量感的建筑顶梁空间里，我们加入了石材与金属两位朋友，在结构与材质上与这个秘密的空间来进行对话，你可以理解成妥协的存在，也可以理解成合作的相互依存，更可以理解成破坏对抗和不相融合。所以它充满了力量而又没有标准答案，可能这就是我筹建它的魅力所在。

On the third floor, wemade enhanced expressions. In a building with a sense of strength in the topbeam space, we added two friends, stone and metal, to talk with this secretspace through structure and material. You can understand it as a compromise,ascooperation interdependence or even as destroying confrontation anddisharmony. So it's full of power and there is no standard answer. Maybe that'sthe charm of building it.

最后，这次设计我们并没有去制作更多的造型，或者材质，而只是在这场遇见中做了挖掘和选择，然而所有的工作反而非常极具挑战性而又有创造力。因此UTTER SPACE揭幕的那天，我依然会不断遇见它更多的面孔，是质朴、未来、艺术、还是科技或者暗黑金属？或许打动我的，正是它的包容和可能性。设计有的时候，成功于思考而不是干预！

In the end, we didn’tmake more shapes or materials in this design, but we just made excavations andchoices in this encounter. However, all the work was very challenging andcreative. So the day when UTTER SPACE is unveiled, I will still meet moreaspects of it. Is it rustic, future, art, technology or dark metal? Perhaps itis its tolerance and possibility that struck me. Sometimes design succeeds inthinking instead of intervening!

项目名称：柳宗源摄影工作室北京UTTER SPACE
主设计师：崔树
协同设计师：马川、赵阳 焦云奇 王旭
业主：柳宗源
项目位置：北京市朝阳区半壁店一号文创园A607
项目功能：摄影工作室
面积：约1000 ㎡
设计时间：2018.11
竣工时间：2019.11
主要材料：大理石、乳胶漆、木饰面、铁板、水泥自流平
摄影师：王厅
Project name: UTTER SPACE, liuzongyuan photography studio, Beijing
Main designer：Shu Cui
Coordination designer：Chuan Ma 、Yang Zhao、Yunqi Jiao、Xu Wang
Proprietor：Zongyuan Liu
Project Location：A607, Banbi store, no. 1 Culture and creation park ,Chaoyang district, Beijing
Project Function ：photography studio
Area：about 1000 ㎡
Start time：2018.11
Finish time：2019.11
Main material ：Marble, emulsioni paint, wood veneer, iron plate, cement self - leveling
Photography：Ting Wang