Architects: Continuation Studio Location: Jingshan, Yuhang, Hangzhou, China Year: 2016 Area: 11.840 ft²/ 1.100 m² Photo courtesy: SHIROMIO Studio Description:

建筑师：继续工作室地点：中国杭州余杭景山2016年面积：11.840平方英尺/1.100平方米

“This is a project that started from engaging with the site. The site is located up on a mountain ridge, next to a reservoir’s dam. There was previously a two-story “San-Ho-Yuan” style dormitory block built back in the 1980s, with a courtyard surrounded by the concave form of the block. There stands an ancient pine in the centre serves as the heart of the courtyard, with its dense canopy covering half of the courtyard and part of the building. Meanwhile, the historical context of the site, to the north of the Jing-Shan Mountain that once gestated the Zen tea ceremony, has prepared it with a deep historical and cultural ambiance. As a result, to preserve the courtyard structure as well as the ancient pine, in order to generate its potential spatial spirit, has been established as our design proposition.

“这是一个从与网站接触开始的项目。该遗址位于一座山脊上，靠近水库的大坝。以前有一栋两层楼高的“三和园”风格的宿舍楼，建于20世纪80年代，周围有一个庭院，周围是凹形的宿舍。中心矗立着一棵古松，作为庭院的中心，其浓密的树冠覆盖着庭院的一半和建筑的一部分。同时，景山北侧曾孕育禅宗茶道的景山遗址的历史背景，为其营造了深厚的历史文化氛围。因此，保存庭院结构以及古松，为了产生其潜在的空间精神，已确立为我们的设计命题。

Through the study of the surrounding landscapes, the decision was made to reduce the height of the west side of the building to one story, providing the courtyard and the rest of the building with the view of the outlines of distant hills from the west. Said method also induces the sunset nearly horizontally into the courtyard, sprinkling the main façade. Multilayers of water and light together paint the picture of a “Zen temple”, with an intense sense of ritual. On the south side of the yard, there lies a wall with the height of 160cm, separating the courtyard from the wild forest. Paths that come along with the mountain breeze go through the two corners opened up on the north side of this concave building. Through the two diagonally staggered doors on the north-west corner that is the main entrance, the pine retained in the yard can just be seen. While to the north –east entrance, a foyer of traffic is placed. The colours of black metal from this translucent steel stair and the green from the nature melt into each other, inducing the wild breeze and the morning sunshine. The establishment of these two foyers also expands the spatial sensation of the courtyard beyond its actual 140㎡.

通过对周围景观的研究，做出了这样的决定，以将建筑物西侧的高度减小到一个故事，提供庭院和建筑物的其余部分，以便从西部的远处丘陵的轮廓出发。所述方法还将日落大致水平地引入到庭院中，喷洒主FA1ade。水和光的多层一起绘制了一个“禅寺”的画面，具有强烈的仪式感。在院子的南面，有一个墙，高度为160厘米，把庭院与野生森林分开。伴随着山风的小路穿过了这一凹陷建筑北侧的两个角落。穿过在西北角的两个对角交错的门，这是大门的主要入口，可以看到院子里的松树。在通往东北入口的同时，有一个交通门厅。这种半透明的钢梯和绿色的黑色金属的颜色相互融化，诱发了微风和早晨的阳光。这两个福尔斯的建立也扩大了庭院的空间感觉，超出了其实际的140个单位。

In order to enhance the prospect of “Zen Temple”, the imagery of “mountain” has been implied along the experience process. It is revealed in the actual mountain climbing required before entering the hotel, as well as in the tour path inside the hotel that resembles a walk in mountain. The entrance and the courtyard is decomposed into various heights, generating nuances of light between different spaces, associating with the physical action of climbing with a subtle intension. The light within the space is controlled delicately by the eaves, the water, the colonnade, the grille, the skylines and other sorts of elements. The differences of light achieve the transition of ambiance from the dark “obscure” to the bright “modern” from the lower ground to the higher, and eventually reach its acme of brightness on the roof terrace, where only the sky and the pine canopy are in sight, from which the artificial beings of architecture simultaneously disappear.

为了提高禅寺的前景，在体验过程中隐含了“山”意象。在进入酒店之前所需的实际登山中，以及在酒店内的旅游路径中，都可以看出这一点，就像在山上散步一样。入口和庭院被分解成不同的高度，在不同的空间之间产生光的细微差别，与攀登的身体动作有着微妙的内涵。空间内的光线受到屋檐、水、柱廊、格栅、天际线和其他各种元素的微妙控制。光线的差异实现了从黑暗的“朦胧”到光明的“现代”的从低地到更高的过渡，并最终在屋顶露台上达到了光明的顶点，那里只有天空和松树树冠在视线中，建筑的人工生命同时消失了。

The design method, regarding the viewing experience, focuses on the notion of “sitting face to face” with nature. Both of the ritualistic perspective angles and the axis of the courtyard intrigue beholders to ponder the relation between “nature” and “humanity”. For another, in terms of the use of natural materials on site, such as wood, stone, iron, white paint and glass, it also implies the naturality and rurality that lies in architectural renovation.”

设计方法，对于观看体验，侧重于“面对面”的概念与自然。无论是仪式的视角还是庭院的轴心，都会引起人们对“自然”与“人性”关系的思考。另一方面，就天然材料如木材、石头、铁、白漆和玻璃的使用而言，它也意味着建筑改造中的自然性和乡村性。“