项目位于韶关市周前古村内，该村落始建于1771年，现存历史传统建筑约1.2万平方米。基地选址于村落后侧一栋客家围楼遗址，这类建筑原是客家人为抵御外敌建造的防御性居所，高墙厚壁，兼具居住与仓储功能。经过250年风雨侵蚀，现存遗址仅余残垣断壁，设计需在保护遗迹的前提下，将其改造为小型美术馆，既延续文化遗产价值，又通过新的功能激活古村活力。

The project is situated in Zhouqian Ancient Village in Shaoguan City—a settlement founded in 1771 that still boasts approximately 12,000 square meters of traditional historic architecture. The site is located at the rear of the village, on the ruins of a Hakka walled building. Originally constructed by the Hakka people as a fortified residence to repel invaders, these structures featured high, thick walls that served both as living quarters and storage spaces. After 250 years of weathering, only crumbling walls and ruins remain. The design aims to transform this relic into a small art museum, preserving its cultural heritage while reinvigorating the ancient village through a new function.

调研发现，多数同类围楼改建项目倾向于复原建筑整体形态，而内部布局则按照需要进行新的设计。然而，这种设计策略所呈现的现场感受似乎有所缺失。遗址虽然残破，在现场却有一种意外的体验——残垣之上，光影静静流转，耳边可听到风吹动树叶的声音，夏季昆虫的鸣叫。而在此之外，仿佛还有另一种声音穿越时间而来：战斗的呐喊、村民的低语、屋顶掉落的瓦砾、屋架轰然倒塌……建筑虽然残破，但生命并未停止，只是以一种不同于历史的方式存在。

Research indicates that most projects converting similar walled buildings tend to restore the overall architectural form, while redesigning the interior layout according to new function. However, this approach seems to lack a true sense of place. Despite its dilapidated state, the site offers an unexpected experience—light and shadow gently play across the ruins, accompanied by the rustling of leaves in the breeze and the chirping of summer insects. Beyond these, one might almost discern echoes from another time: the shouts of battle, the murmurs of villagers, falling rooftop debris, and the resounding collapse of beams. Even in ruins, life endures, albeit in a manner distinctly different from its historical expression.

设计策略首先是承认现场的“废墟”感，并通过空间营造强调这种氛围。进入废墟美术馆，沿着狭窄的通道环绕一周，构成室外展场的流线。围绕这一流线，室外艺术展品被布置在高低不同的节点上。地下展览空间通过一个倒金字塔形的建筑装置与外部空间相连。倒金字塔的屋顶墙壁部分裸露在地面以上，混凝土斜面与原始粗粝的石墙形成狭窄的甬道。倒金字塔的瓦顶作为可攀爬的空间，与其他室外空间配合，形成一个室外艺术展场。

The design strategy begins by embracing the site’s inherent “ruin” quality and accentuating this atmosphere through spatial composition. Upon entering the Ruins Art Museum, visitors follow a narrow passage that encircles the area, forming the flow of an outdoor exhibition space. Along this route, artworks are arranged at various points with differing elevations. An underground exhibition area connects to the exterior via an inverted pyramid-shaped structure. Part of the inverted pyramid’s roof and walls is exposed above ground, with concrete slopes merging into the original, rugged stone walls to form a narrow corridor. The climbable tiled roof of the inverted pyramid works in concert with the surrounding outdoor spaces to create an integrated art exhibition area.

在通道的尽端，是通往地下展室的楼梯。室内展室是一个简单的空间，气流通过倒金字塔装置与室外相通，阳光透过瓦顶缝隙洒落，聚集于一小片水面，并映射到这个四方体展室。

At the end of the passage, a staircase leads down to the underground gallery. This simple space is ventilated through its connection with the exterior via the inverted pyramid installation, where sunlight filters through gaps in the tiled roof, gathers on a small pool of water, and reflects onto the cubic gallery.

前往北侧展室的路径需经过一个水面下的通道和楼梯，通往北侧半地下的室外展区，展品结合建筑空间进行展示。建筑“后侧”展室的位置曾是原有建筑的一部分，新建展室的体量大致与原建筑相同，材料采用清水混凝土和无缝玻璃。室内在满足基本展览需求的同时，南侧的落地玻璃引入斑驳的古墙，而北侧的高窗则带入天空与树林。

To reach the north gallery, visitors traverse an underwater passage and staircase leading to a semi-underground outdoor exhibition area, where artworks interact with the architectural space. The location of the “rear” gallery was once part of the original structure. The newly constructed gallery—roughly equivalent in volume to the original building—features exposed concrete and seamless glass. While the interior meets basic exhibition requirements, the floor-to-ceiling glass on the south reintroduces the textured patina of the ancient wall, and the high windows on the north frame views of the sky and trees.

从北侧展室出来，沿着建筑西侧厚重墙体的走道回到建筑入口。

Exiting the north gallery, visitors follow a corridor along the building’s massive western wall back to the entrance.

整个项目的室内面积仅约200平方米，设计通过室内外空间的衔接及流线的展开，试图在有限的空间里提供丰富的空间体验。原有建筑仅作结构加固，遗址以“不干预、少接触”的方式得以保存。原有建筑作为整体的一部分，与新增建筑共同构成对话性的空间。围楼作为原型，有其独特的空间特质——封闭的空间、质朴的材料、拥挤的甬道、狭窄的天井、透过瓦顶洒下的光线。这些空间原型以意向性的方式，而非再现性的方式，在设计中得以呈现。

With an indoor area of only about 200 square meters, the design leverages the connection between indoor and outdoor spaces, along with an articulated circulation, to offer a rich spatial experience within a limited footprint. The original building is retained with structural reinforcement, while the ruins are preserved through a “non-intervention, minimal contact” approach. As an integral part of the overall composition, the original structure engages in a dialogue with the new construction. The walled building, as a prototype, embodies unique spatial qualities—enclosed spaces, raw materials, narrow corridors, tight courtyards, and light filtering through the tiled roof—which are conveyed in an evocative, rather than replicative, manner throughout the design.