对历史肌理的尊重与在地性表达：该项目位于香港老旧住宅区，建筑师巧妙地将项目的姿态融入到这种特定的城市肌理中。通过保留和活化原有建筑形态与元素，项目在不突兀的前提下展现了其功能转变。立面处理是这种态度的关键载体，它昭示了一种基于“工作态度”而非抽象概念的设计哲学，成功地实现了建筑与环境的无缝对话，体现了对在地性文脉的深刻理解与尊重。
“材料性”的深度挖掘与工艺实验：这是一个高度“材料性”的项目，设计精髓体现在新旧材料的精心衔接与工艺的在地化应用上。通过抛光或刮擦现有混凝土墙面，新旧混凝土砖的搭配，以及巧妙挪用如建筑槽钢等“现成”组件，项目展示了对材料的精湛处理。施工过程的痕迹被有意地保留和凸显，形成一种既具表现力又能在整体中被“稀释”的微妙平衡，体现了对建筑物质性的深刻探索。
空间叙事与原型解构的体验重塑：项目通过对原型和类型混合的批判性运用，成功解构了传统艺术空间的身份和体验预期。它将香港60年代住宅的“居家质感”引入画廊空间，在“家”的亲切感与艺术表达的需求之间取得了平衡。通过规划不同层次的体验交替，从公共画廊到私密空间，形成了一条引人入胜的“垂直之旅”，最终在二层和四层通过几何体量的插入与洞口设计，实现了对功能和城市视角的重新连接。
The Maling Gallery is nestled in a quiet, stepped street within Hong Kong's bustling commercial district, silently connecting to the "backstage area" of its residential neighborhood. This residential atmosphere, characteristic of Hong Kong's urban fabric of the 1960s, proved crucial to the design process. As a revitalization project, the existing form and elements of the building were actively preserved to integrate with the surroundings. The main posture of the project is expressed through the treatment of the exterior facade, immediately revealing the architect's attitude towards the entire project: seeking an expressiveness based on a working attitude rather than abstract concepts.
马凌画廊藏身于香港繁忙商业街区中一条拾级而上的安静街道，无声地连接起其作为住宅区的“后台区域”。事实证明，这种香港 60 年代城市肌理所特有的居住氛围对设计过程至关重要。作为一个活化再利用项目，建筑的原有形态和元素被主动保留下来，以便与周围环境融为一体，项目的主要姿态则通过对外立面的处理来展现。这从一开始就揭示了建筑师对整个项目的态度，即追求一种基于工作态度而不是抽象概念的表现力。
In terms of process and result, the gallery is a very "material" project, with the connection between the two being the highlight of the design. These materials are based on the color palette of the existing building: the inherited concrete walls are polished or scraped, and new concrete bricks are matched with existing aggregates, and so on. The construction techniques combine local craftsmanship, techniques, and existing materials, and "off-the-shelf" components are appropriated, such as the suspension tracks on the walls, which are actually standard structural steel sections embedded in the terrazzo walls. In all these interventions, the traces of the construction process are intentionally visible, expressive, yet ultimately able to be "diluted" into the whole.
从过程和结果来看，该画廊是一个非常“材料”的项目。二者之间的衔接正是设计的突出之处。这些材料基于现有建筑的色调：遗留的混凝土墙面被抛光或刮擦，新的混凝土砖搭配既有的骨料等等。施工工艺结合了当地的手工艺、技术和既有材料，并挪用了“现成”的组件，例如墙上的悬挂轨道，实际上是在水刷石墙面中嵌入的一条标准建筑槽钢。所有这些干预中，施工过程的痕迹都是预设可见的，既有表现力，最终又能被 "稀释 "于整体之中。
As with previous collaborations between the gallery and the architects, this project critically deconstructs the conventionally anticipated identity and experience of an art space through the grasp of prototypes and typological mixing. This strategy becomes even more relevant given the original nature of the building as a typical Hong Kong 1960s residence. Key ideas include retaining the texture of everyday home life to bring a humanized scale to the exhibition space—in short, balancing the characteristics of a "home" with the expressive needs of an art gallery. Through planning, different layers of experience alternate to continuously "stimulate" the visitor's interest, ultimately creating a "vertical journey." Visitors can start from a typical public gallery and gradually enter increasingly private/extraordinary spaces such as the dining room, library, or outdoor terrace.
正如画廊和建筑师此前的合作，该项目通过对原型的把握和类型混合手段，批判性地解构了惯常预期的艺术空间身份及其体验。由于此建筑的原始性质是典型的香港 60 年代住宅，这一策略与项目变得更加相关。主要构思包括保留居家日常的质感，为展览空间带来人性化的尺度，简而言之，就是在 "家 "的特征与艺术画廊的表达需求之间取得平衡。通过规划，不同层次的体验交替出现，以持续 "激发 "参观者的兴趣，最终创造出一个 "垂直之旅"。人们可以从一个典型的公共画廊开始，逐步进入越发私密/非凡的空间，如餐厅、图书馆或室外露台。
The second floor of the building introduces the project's most complex spatial posture: the removal of a floor slab to create a double-height volume. On this floor, the project abandons its raw material language, creating a perfectly geometric "true white box" in the core of the building in an almost ironic manner.
建筑的第二层引入了该项目最复杂空间姿态，即拆除楼层以产生双倍高度的体量。在这一层，项目摒弃了其原材料的语言，以近乎讽刺的方式，在建筑的核心位置创造了一个具有完美几何形状的 "真正白立方"。
This strategy of removal is repeated on the fourth floor. Here, the second "exhibition cube" serves as an epilogue, echoing the material treatment on the lower floor and the superimposed experience of the visitor, and finally reconnecting with the street and the city of Hong Kong through a large opening.
这一拆除策略在第四层得到了重复。在这里，第二个展览 "立方体 "作为尾声，呼应了底层的材料处理和参观者的叠加体验，并最终通过大开洞与街道以及香港这座城市重新连接起来。
