我并不认为这是一个值得单纯从美学角度去解读的案例。对于先市酱油非遗会馆而言，我们首先应该对其清晰的定位分析。“品牌内部接待酒店”，是我们对该案的最终定义。设计思路的展开顺序，也依此成型。 作为一家始于清朝，以传统酿造技艺为核心的酱油作坊。其不仅仅带着浓厚的东方味觉记忆，更肩负着国家级非物质文化遗产传承的使命。加之，空间设计的对象亦是传统的西南仿古民居。所以，视觉呈现的基调，顺理成章的定格在了东方、醇厚、焕新的视觉符号之上。 400平米的建筑空间，并不算充裕。所以，在有限的建筑空间关系里，结合非对外经营的功能属性。我们舍弃了在传统酒店业态里所必须的前台接待及入住办理功能。 看似最为直白的业态形式，反而在设计的展开顺序里，成了最为末端的考虑因素。甚至因其非盈利运营模式的前提加持，设计资源分配亦不再考虑经济性指标因素。反而，让我们有了更多的机会，进一步放大基础设施的配置及空间尺度标准。
I don't think this as a project purely from an aesthetic point of view. For the club, we should firstly clear positioning analysis.Brand in-house reception it’s our final definition.Our design logic is also dependent on it. As a workshop that began in the Qing Dynasty, it is centred on the traditional art of soy sauce brewing.It not only carries a strong oriental taste and memory, but also shoulders the mission of national intangible cultural heritage inheritance.Moreover, the object of space design is also the traditional Southwest antique folk house. Therefore, the tone of the visual presentation is set on the visual symbols of oriental, mellow and renewed. With 400 square metres of building space, it's not exactly spacious .Therefore, the functional attributes of the non-external business are combined in a limited spatial relationship of the building. We gave up the reception and check-in functions that are necessary in a traditional hotel. This form, which seems the most straightforward, instead becomes the most important consideration in the design's presentation sequence.Even in the non-profit mode of operation, the design of resource allocation no longer takes into account the economic indicator factors.Instead, it gives us more opportunities to further amplify the infrastructure configuration and space standards.