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Lost Villa Qiandao Lake
Lost Villa Qiandao Lake
Zhejiang, China
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Lost Villa Qiandao Lake
Zhejiang, China
Firm
Type
STATUS
Built
YEAR
2021
SIZE
10,000 sqft - 25,000 sqft
BUDGET
Undisclosed
As a philosophic concept originally taught by Aristotelians, a First Principle is “a basic proposition or assumption that cannot be deduced from any other proposition or assumption.” In this project, it was utilized as the fundamental rule to solve all relevant complex problems. All deductions began from the primary basics, excluding the rigid empirical spatial vocabulary and the individual's overly subjective human intervention. We constantly traced the source throughout the project, in order to obtain a "primary" space which is simple and close to the essence of the project, in terms of both design process and results.
In Jinshanping Village at the junction of the waterfront on the west side of Qiandao Lake, maximizing the introduction of natural environment and maximizing concession of artificial traces have become the first design principle. As the opposite of the noisy living environment in the city, we believe that the greatest value of this homestay space is to help users get an introspective self-return. And this does not come from the negative shielding of the external environment. On the contrary, in the indoor environment, the external natural environment has become a positive guide for this process.
As the most direct means of spatial manipulation, framed scenery became the focus of discussion in the first place. At the beginning of our intervention in the project, we carried out many facade adjustments with the architectural design team that had entered the construction drawing stage. The basic topics of seeing and being looked at were repeatedly scrutinized until we finally reached a relatively balanced state.
At the level of formal operation, all the expressions of industrialization of the building were erased with decorative means. There was no structural exposure, and traces of electromechanics were hidden as much as possible. The flat ceiling, floors and walls led the climax of the space to the nature itself outside the window.
At the level of material manipulation, plain black, white and gray tones and wood were used to respond to the memory of the original village. Being not overemphasized the sense of design nor deliberately avoided contemporary, everything was based on a harmonious atmosphere.
In the process of performing these operations, the external environment naturally became an inseparable part of the entire spatial experience, and this form of existence also happened to constitute a response to locality: stripping away the Qiandao Lake outside the window, the space would not be complete; and the external environment in different states in turn gives the same space almost completely different characters.
In Jinshanping Village at the junction of the waterfront on the west side of Qiandao Lake, maximizing the introduction of natural environment and maximizing concession of artificial traces have become the first design principle. As the opposite of the noisy living environment in the city, we believe that the greatest value of this homestay space is to help users get an introspective self-return. And this does not come from the negative shielding of the external environment. On the contrary, in the indoor environment, the external natural environment has become a positive guide for this process.
As the most direct means of spatial manipulation, framed scenery became the focus of discussion in the first place. At the beginning of our intervention in the project, we carried out many facade adjustments with the architectural design team that had entered the construction drawing stage. The basic topics of seeing and being looked at were repeatedly scrutinized until we finally reached a relatively balanced state.
At the level of formal operation, all the expressions of industrialization of the building were erased with decorative means. There was no structural exposure, and traces of electromechanics were hidden as much as possible. The flat ceiling, floors and walls led the climax of the space to the nature itself outside the window.
At the level of material manipulation, plain black, white and gray tones and wood were used to respond to the memory of the original village. Being not overemphasized the sense of design nor deliberately avoided contemporary, everything was based on a harmonious atmosphere.
In the process of performing these operations, the external environment naturally became an inseparable part of the entire spatial experience, and this form of existence also happened to constitute a response to locality: stripping away the Qiandao Lake outside the window, the space would not be complete; and the external environment in different states in turn gives the same space almost completely different characters.
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