画廊布局一般都由白色墙体组成。我们从折纸技术中汲取了设计的灵感: 将白色墙体想象为一张白纸—-折叠一张纸，纸上会产生显明的折痕，又或轻轻一折，仅在表面留下细微的阴影，而全无清晰的折痕。运用白色墙体与白纸的类比，我们把墙壁的边缘以锐角细化，形成与周围窗户和新建墙体强烈的明暗反差。

Most galleries consist of plain white walls. We drew inspiration from basic paper folding techniques, and interpreted white walls as pieces of white paper. One could fold a piece of paper, generating a sharp crease on the paper; or, one could fold lightly, leaving only a subtle shade on the surface without any permanent marking. Using the analogy of paper folding in building walls, the walls are detailed with sharp edges, creating pronounced shadows in contrast with the adjacent windows and walls.

在主展区，内凹的墙壁朝展览空间呈现曲度，带着曲线的墙面生出的柔和的光影，为观展者带来更加平和的氛围。我们在窗前设计了可滑动的白色墙体。 将墙体滑开，房间会被自然光笼罩。关闭墙体，策展人便可仔细调整室内灯光，营造策展所需的氛围。

For the main exhibition space, the concave wall curved towards the room. This metaphor of wall as curved paper created softer shadows, and consequently a calmer mood for the viewers. In addition, we built two sliding white walls in front of the existing windows. One could slide open the walls, and the room would be flooded with natural light. Close the walls, the curator could then carefully adjust the lighting within to generate the mood suited for their curation.

由于画廊的功能介于传统严谨的画廊和可供休憩的咖啡馆之间, 我们带着“玩耍”的态度挑出家具并对其进行陈设。经过数小时的组装和放置，我们发觉其他设计师如何将“折叠”和“弯曲”的概念融入了他们的设计.

Given the project laid ambiguously between a quiet composed gallery and a causal cafe, we chose to be a bit playful with furniture selection and its arrangement. After hours of assembling and placing the carefully selected furniture, we saw with delight how other designers had integrated “folding” and “curving” in their furniture design.