山水畫為中國傳統繪畫藝術的主要典型，而宋代以來的「留白」，呈顯出中國藝術美學的精神性。「留白」並非無色，而是無色之色，是在「無」處看到了「有」；在「墨」中看到豐富的色彩；在「空白」中看到無限的可能。本設計試圖轉化山水畫中的留白於建築空間操作上，以留白的意為基礎，建構一套留白的論述，並進而發展成設計方法─即「書寫的章節」，於基地上書寫。基地範圍涵括台北市立美術館及中山美術公園，在機能上融合了北美館的增建計畫以及中山美術公園的地景設計。在設計操作上，呼應留白的「未著墨」，利用「非硬性建築元素」創造空間性與留白意境，以真實基地上的軟性元素構成書寫的章節－包括地平線、天空、光、水、風、植栽與聲音等七種設計方法，在展示空間的過渡地帶，形塑自然元素在「非展示空間」的各種變化，使「留白」的空間本身成為另一種閱讀環境的展示。 Chinese landscape painting is representative in Chinese art. The “emptiness” (blank) in Chinese landscape painting is the spirit of Chinese aesthetics. Emptiness is not nothing, but a non-inked color. Emptiness is to experience the “existence” through nothing, to experience “colorful” through ink, to experience “infinite possibilities” through blank.The theme of this design is to transform the emptiness of Chinese landscape painting into architectural space. Based on the consciousness of emptiness, I try to establish a discourse of emptiness and further develop a design method, i.e. The Chapters of Writing, to write on the site which consists of both Taipei Fine Art Museum and Zhong-Shan Art Park. It attempts to integrate the extension of TFAM into Zhong- Shan Art Park.To respond to the “non-inked” of emptiness, I try to create space and atmosphere with atypical architectural elements. The seven chapters of writing deal with tactile elements of the site, including the horizon, the sky, the light, the water, the wind, the plant and the sound, respectively. Through the expression of these tactile elements, the space of emptiness in the intermediate of exhibitions constitutes another exhibition to appreciate the environment.
