在二战后经济高度发展、人口迅速膨胀的1960年代，一群建筑师组成了代谢派，以建筑核心结构作为重要的承重架构，发展出多样化用途，使土地高度运用。身为台湾代谢派的重要人物-高而潘建筑师，以建筑结构堆叠之形式，设计出台北市立美术馆。 北美馆7311坪，礼品店面积13.6坪约千分之二总面积，在大厅空间中位于西北方，对于前身为售票口的礼品店而言，位于角落却也见证了北美馆的历史。 我们融入了建筑本身的设计概念，将此礼品店与本馆建筑相互呼应，利用单一元素堆叠的方式创造出商店空间，在可移动的展示悬臂结构中，顾客在此穿梭，发现更多可能性。 在千分之二的北美馆中，通过转动悬臂，突破空间界线，向外伸展创造出不同样貌，俨然成为大厅空间的另一个大型艺术品。
In the 1960s, with the economy in development and the population expanding rapidly after World War II, a group of architects formed the Metabolism movement. Using the core structure of the building as the load-bearing device, the architects of the Metabolism movement developed diverse ways to explore the land and space. Architect Kao, the designer of the Taipei Fine Arts Museum, is one of the important figures of the Taiwanese Metabolism movement. The whole floor occupation of the Taipei Fine Arts Museum is more than 24,169 sqm, but the little gift shop that we designed is only 44.95 sqm. It is located in the corner of the lobby. For a souvenir store which used to be the original ticket booth, it stands not only for a simple shop, but also the history of the Taipei Fine Arts Museum. Here we incorporated the Metabolism movement techniques to better visualize the design of the gift shop with the museum building. Through stacking multiple elements, we created the space for the shop. The movable display cantilever structure further provides the spatial flexibility that allows visitors to see the ordinary gift shop in a new way. While only occupying 0.2% of the museum, the design can drastically change the movement and structure of the lobby to give a fresh perspective to different visitors each time. When people spin the cantilevers into different directions, it extends outward and a creation of a totally different space appears. Here it is, another large-scale artwork in the lobby space neatly laid out of the Taipei Fine Arts Museum.