The copywriting takes springs as a starting point to conceive the spatial pattern and hopes to interpret the fluent posture that the flowing water emerges from the stone crevices, sparkling. Architectural design typically uses vertical and horizontal lines to cut and allocate the space facade, but when the gently-flowing curves serve as the main idea for design, we create an environment where no sharp angles can be seen and the lines are brimming with a sense of rhythm, bringing the viewers an unusual feeling. With the continuation of the logic of fluency and no fracture surface, the walls and moving lines in the hall are constructed by lines and curved surfaces that look unintentionally bending-shaped but simple and tidy. They either overlap or wind and fold with one another, just like the natural caves polished by water for hundreds of years. The peeling, cutting, digging and chiseling of outlines through natural baptism, lines full of timeliness and strength, dynamic lines indoors constructed by forward and withdrawal surfaces and areas with different functions are like the invisible waves and holes in the spring cave, existing in silence and connected with one another, and each undulation and bending will lead the vision to another wave of curved surfaces and dimensions.

以泉為起點構思空間型態，盼能詮釋流水自石縫湧現、波光粼粼的暢流姿態。建築設計慣用垂直水平現來切割、分配空間立面，但當婉轉流動的曲線作為設計主軸時，我們創造一個沒有稜角、線條充滿律動感的環境，予觀者有別於慣常的感受。延續流暢無斷面的邏輯，館內牆體和動線都由看似不經意彎曲、卻簡約俐落的線條及曲面構築，它們或錯疊、或繞折，宛如流水刻磨數百年的天然洞窟，經由自然洗禮產生削、切、挖、鑿輪廓，充滿時間性和力道的線條，以進退面構築室內動線和機能各異的區域，彷彿泉窟內的暗湧和洞穴，靜默存在又彼此串連相依，每個起伏彎折都將視線帶往另一波曲面向度。