不同于多数中式茶室点单茶品的消费模式，十七间茶馆的商业想法是将空间作为载体售卖“品茶时间”。经营者对茶叶的品种、最佳时令与产地都有着严格地把控和研究，除此外更期许饮茶应是一期一会的体验，当与空间、景致、温度与季节有恰到好处的配合。如同在城市中建立一个漂浮茶海上的孤岛，体验者可以暂时地抽身开平日琐碎，投入到由茶这种结合“自然与人工”所建构的体验中。阿巴斯·基亚罗斯塔米的电影《24帧》和意大利建筑师阿尔贝托·波尼斯的建筑语言是茶馆设计意向的来源。电影运用了流动影像和静止图像交融，通过24个视角将动与静，近与远，明与暗的变化，写出了空与无，瞬间一刻和弹拨时间的美感。在波尼斯住宅中有着许多模仿学习岩石形式语言的尝试，建筑与崎岖地貌的嵌合模糊了自然与人工的界限。我们尝试转译对两者的学习研究，促成了十七间茶馆的岩石形式与慢速时间体验。
Different from the consumption model of most Chinese teahouses, Seventeen Tea House's business idea is to use the space as a carrier to sell “tea time”. The operator has strict control and research on the varieties of tea leaves, the best season and the place of origin, in addition to the expectation that tea drinking should be a one-time experience, when there is a proper match with the space, the scenery, the temperature and the season. Like building an island floating on the sea of tea in the city, experiencers can temporarily withdraw from the trivialities of their daily lives and devote themselves to the experience constructed by tea, which combines “nature and artifice”.Abbas Kiarostami's movie 24 Frames and the architectural language of Italian architect Alberto Ponis are the sources of the design intention of the teahouse. The movie utilizes the intermingling of moving images and still images, and through 24 perspectives the changes of movement and stillness, nearness and distance, light and darkness are written with the beauty of emptiness and nothingness, instantaneous moments and the flicking of time. There are many attempts to imitate and learn the formal language of rocks in the Ponis Residence, where the embeddedness of architecture and rugged landscapes blurs the boundaries between the natural and the manmade. Our attempts to translate the study of both have led to the seventeen teahouses' experience of rock form and slow time.