She walked into the room, her gaze locked on a corner where light snapped at the heel of the shadow. The door opened to reveal an outdoor space that was disclosed as if inviting entry, leading to a garden courtyard that emerged with transparency. Another door, appearing more like a thin wall cladding piece with geometric precision, led to another room. This diagonal light, however, seemed disrupted by the absence of the door. Perhaps these rooms serve the same function yet differ in their hierarchy within the layers of space, each offering an extinct vantage point or atmosphere.

Interiors are like large instruments, collecting sound, amplifying it, and transmitting it elsewhere.

(Peter Zumthor, Atmospheres: Architectural Environments, Surrounding Objects, 2006)

In the courtyard in front of this exhibition hall, a serene soundscape unfolds. The wind's gentle rustle is accompanied by the soft chime of the vine wall and bamboo branches in its corner, while a light wind tugged at her hair as she looked out at the courtyard, the tranquil scene filling her with peace. Beyond this, nestled along the edge, lies a tiny gutter where water flows, creating a rhythmic nonstop sound.

Many pure sounds were produced, but somehow, she felt the quietness of space and the environment. The animated corridor that separates the exhibition rooms buzzes with life, while the busy shores and channels create a situation of disconnection, almost like the building itself is isolated from the external world by these moving parts. She even heard the sound of the water surfaces lapping on the shores, which was caused by the not-so-many boats approaching the building.

The atmosphere even became rough as this was combined with the debating sound of those visitors. This was because from the outside, a linear vision could be seen as there was only a huge, rusty frame of a window. Everything can enter into the building, except the objects that are bigger or equal to human scale.

Perhaps she had never experienced an exhibition hall or room that would have profoundly affected her emotionally. As she had to leave quickly due to the hustle and bustle of mind and time. She had to move to another destination in order to seek new experiences and observe the living rhythms of this city. She wanted to verify whether this city is the origin of art.

She moved in a fast tempo within a small distance and narrow space, went around, felt it, touched the door, and touched the wall, contemplating those materials. Her inner self was moved, but her body was more or less condensed inside this room. The space seemed to stagnate the linear movement of time and make her aware of her own physical existence.

The temperature inside the room was sensational. She felt the importance of temperature within a space, and this could be affected by its built materials. As the verb of temperature is already meant to temper, and as Peter Zumthor had already explained before, it is important for such a space to “temper"—to” search for the right mood in which the space is tailored with circumstantial requirements.

The material in this exhibition room is so special, reaching the extent that it can possibly extract the warmth from the materials that were built inside the exhibition room. The room is clad with panels of travertine. When the outdoor space was filled with bright sunlight, creating heat, then the inner space was moderate and comfortable. And when the outside is cool or windy, the exhibition room is warmer than the outside.

There are key features that distinguish an exhibition room from an exhibition hall, yet the scale of space creates a sense of emptiness or separation between them. She thought about the scale of architecture. How could this exhibition room make it exceptional like that? How could it move me, emotionally? She pondered the architectural principles behind this phenomenon, seeking to understand how such a confined space could transcend its limitations and evoke an emotional response within the viewer.

The relationship between the physical scale of architecture and human experience became a central theme in her contemplation. She marveled at how smaller spaces, by approaching the human scale, could bring objects and ideas into closer proximity, thereby altering not only the observer’s awareness but also their interaction with the displayed works themselves.

She imagined how smaller volumes might create a more intimate atmosphere, where the visitor feels more connected to the works being displayed. However, this connection seemed fragile, as it could also isolate one from the larger narrative that defines an exhibition hall.

This not only affects the acknowledgment and the observation of man but also the displayed objects inside the exhibition room. They are virtually at a standstill, but can tell. A small volume of space brings the emptiness of space itself close to the visitors and the gallery. She felt her existence in both the physical and mental way. The exhibition hall focuses on either the spatial subject or the objective subject, along with the historical flow of time.

She thought, as some may say, the volume of space on a global scale can obscure the existence of man. Not because of that, which made the image of the girl invisible. Perhaps, she – the only girl who existed, physically and mentally in this exhibition room, owned the power of mind and imagination in order to be awarded which object/character was decided to be the truthfully main one. Even they could still be in the negotiation. The negotiation that lies in the medium among the human—the displayed objects—and the space within.