架构师提供的文本描述。北京朝阳区吉里国际艺术区C3区新设了碧安田办公室，其动画电影“大鱼秋海棠”在2017年布达佩斯第15届国际动漫节上获得最佳动画奖。新的办公空间是在一座9米高的老工厂里选定的。在保留原厂房墙体结构的同时，为保证厂房稳定提供了新的基础。内部新增钢结构，在不干扰整个工业氛围的情况下，明确新功能。由于这一地区充满了灰色的植物，新的外墙被涂成白色，延伸到室内空间，配以木材纹理，传递出透明和纯净的感觉。

Text description provided by the architects. The new office of Bi An Tian is relocated in the C3 area of the Ji Li International Art Zone, Chaoyang district of Beijing, whose animation film “big fish and begonia” won the best animation at the 15th Budapest international animation festival in 2017. The new office space was selected in an old plant with 9m-storey height. While retaining the original walled structure of the factory building, new foundation was provided to ensure stability. The interior new steel structure is added to articulate the new functions without interrupting the overall industrial atmosphere. As the district is full of plants in a grey color, the new façade is painted in white color and extended to the indoor space, with collocation of wood texture, to deliver the transparent and pure feeling.

 © Chuan Zuo

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 Axon Section

轴突截面

这个团队是由年轻的电影制作人组成的，他们是一个大家庭，他们经常花时间在工作室里工作一整晚。新的办公空间被设置为满足不同的电影制作目标群体。电影制作工作流程分为前、中、终三个阶段。预制作部分需要自由的空气，这可以导致创造性思维。中期部分由生产团队的主要部分组成，这就要求生产团队具有灵活性和开放性.最后的制作阶段需要严格控制天窗穿透室内空间。

The team is formed of young film makers as a big family, who often spend their time working whole night in the studio. New office space is set to fulfill different filmmaking target groups. Film production workflow is divided into three sections, which is the pre, mid and final stage. The pre-production section requires free air that can lead to the creative thinking. The mid-term section comprised of main parts of production teams, which demands the flexibility and openness. Final production stage requires strict control of skylight burst through interior space.

 © Chuan Zuo

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 Library. Image © Chuan Zuo

图书馆形像(川左)

在建筑物的东面，较低的层是海报展示的入口空间，和南立面毗邻的长廊，这是一个微型景观区。阳光是以瓷砖的形式，通过外墙暴露在长廊上的。Restis中级团队的工作空间。大楼的西侧有各种各样的高地，从两层到四层，都有大型阅览室，最后阶段团队、健身房、淋浴房和半地下厨房、晚餐和派对空间的围观室。还为生产前团队提供休闲空间。还有一个可以通过加班休息的睡眠空间。

In the east of the building, the lower level is the entry space for the poster displaying and the long corridor adjacent to the south facade, a micro-landscape area. Sunlight is stenciled in the form of a tile that is exposed to the promenade through the outer wall. The restis working space for mid-stage team. The west side of the building has a variety of elevations, from two to four layers containing large reading room, a enclosing watching room for final-stage team, gym, shower rooms, and a half-underground kitchen, dinner and party space. Casual spaces are also provided for pre-production team. There is also a sleep space that can be rested by overtime. 

圆形广场的中庭受土楼特色的启发，以“大鱼秋海棠”为经典场景，保留了原植物层的高度，被指定为核心传播场所，营造出强烈的集体感。广场四分之三的地方成了一个圆形的水槽，作为一个角落式的级联剧院，以及一个讨论、看电影和开会的地方。它围绕着一个圈的工作区域，包括封闭的，半开放的办公室和创始人的办公室空间。

The circular square of the atrium is inspired by the Tulou characteristics shown in the "big fish and begonia" as the classic scene Preserving the original plant story height, it is designated as core communication site, to create a strong sense of collectiveness. Three quarters of the plaza sink in a circle, as a corner-type cascade theatre, as well as a place for discussions, movie watching and meetings. It surrounds a circle of working area, including closed, semi-open offices and office space of the founders.

 © Chuan Zuo

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整个设计的目的是保持矩形建筑的建筑，而室内空间轮廓则放弃矩形。室内立面不再是一个单一的层次，而是通过走廊和台阶来区分不同的功能和地域。这些层被用来达到最大的效果。室内水平决定了穿透立面的窗户的大小。从外面的夜晚看，里面的活动被投射出来，呈现出室内电影制作节奏的动态。

The whole design is to keep the building of a rectangular building, while the interior spatial profile gave up the rectangle.The interior elevation is no longer a single level, but is differentiated for varies functions and territories, connected through corridors and steps.The layers are used to the maximum effect.The indoor levels determine the sizes of the windows that puncture the facades. Seeing from outsideat night,inner activities are projectedand presenting the dynamic of the indoor filmmakingrhythm.

 © Chuan Zuo

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