橫山書法藝術館，台灣第一座書法主題的公營藝術館，座落於桃園橫山的陂塘水岸旁。建築取書法篆刻之山型硯石為主體，而陂塘猶如磨硯之水；我們運用純粹的硯石空間型態以結合水岸，將主體如山勢一般劃分為五塊墨色硯石，藉由量體的佈局圍合出院落。院落則包含了自然（天、地）的環境展域，一如低調的留白、虛體空間，將陂塘的水岸借引而入，形成一與環境相生相聯的藝術場域。
臨水
五塊硯石為兩條軸帶所串連，入口旁為狼毫貌長草之淺丘，面湖區為一硯池，兩者圍塑出一相連而對望的軸帶。我們預期書法藝術被觀看的角度，如同讀一幅水面上的長軸畫作，人們緩緩地穿梭於如畫軸般的空橋，忽明忽暗，觀賞者也成為了自然畫作卷軸中的一部分。環境景觀則規劃以狂草之流線，地景隨風飄逸，在流動的書寫地景中，體驗物移景換之自然。
織羅
建築一樓外牆結構採用杉木清水模，主展廳屋架結構採用日本小松市生產的唐松集成材，以「編織」為結構設計之概念，將木構造以現代式空間桁架語法重新詮釋，渾厚的六軸向鋼接頭也展現了大跨距空間的細部力學。其下則將大階梯轉化為一挑高之天井展區，運用黃檜格柵編織而成的簍空木屏風，來表達東方藏書文化中「閤」的概念。
開展
展間於院落延續了東方書院開間與全開式之玻璃屏風，民眾可以探索與穿遊，越過山丘或陂塘，漫遊於書道美學的場域；橫山書法館重新詮釋了地方院落和東方人文性格，讓書墨藝術與自然合一。
Hengshan Calligraphy Art Museum, Taiwan's first public art museum dedicated to calligraphy is located on the bank of the pond in Hengshan, Taoyuan. The building takes its form from the mountain-shaped inkstone used in calligraphy. The adjoining pond represents water used in grinding ink. The architecture is expressed as pure inkstone spatial pattern surrounding the waterfront. The main body of the architecture is divided into five blocks enclosing a series of courtyards. The courtyards contain exhibition areas of nature (heaven, earth). They are ephemeral spaces extending to the pond and forming fields of art connected with the environment.
Among Pond
The five inkstones-like architectural blocks are connected by two spatial axes. One axis is formed by a shallow mound next to the entrance. The mound is shaped like a wolf sprouting long grass. The other axis extends along an area that faces the lake forming an inkstone pond. The two forms are connected through two opposite axes.
We studied the viewing angle of calligraphy which is akin to reading a long scrolling painting on the surface of the water. Slowly walking across an isolated bridge one follows a painterly axis of light and dark. The viewer becomes a part of nature in the form of a painting scroll. The landscape is designed with the flowing silhouette of wild grasses in mind, they flow with the wind. In this flowing landscape, the artistic experience is replaced by nature.
Weaving
The exterior wall of the building is cedar finished architectural concrete. The glulam roof truss of the main exhibition hall is produced in Komatsu, Japan. The structural concept of weaving is realized through a reinterpretation of the modern wood space- frame construction. Steel joineries enhance the structural forces at work in this large-span space. The large staircase is transformed into a double volume exhibition area. The wooden screens composed of yellow juniper trellis evoke the private academies of ancient china and the culture of book collecting.
Spreading
The exhibition area extends into the courtyard. It continues the theme of the ancient academy through opening and fully open glass screens. Visitors can explore, crossing the hills and ponds and indulge roaming in the aesthetics of calligraphy. The Hengshan Calligraphy Museum reinterprets indigenous courtyard spaces and the culture of ancient eastern humanities. The museum attempts to harmonize the art of calligraphy with nature.