The concept of the Villa is based on a hybridization of the traditional housing of the Mongols - the yurt - and the Chinese - the use of a central courtyard. The yurt is suited for nomadic life, and like the Chinese, Mongols live within the boundaries of a village. Additionally, the experience of building is embodied in three ideas: circulation, metamorphosis, and lightness.
The design uses the notion of circulation to choreograph a dance between the person and the building - there are multiple, indirect paths which loop through the building. Along these paths there are a series of arranged social spaces, each offering uniquely framed views of the elements - sky, earth, and water.
Villa I is not a single object but rather a space in the process of metamorphosis likened to cellular mitosis. The northern face of the villa is a single vertical rectangle: the shape and proportion of a door. The southern face is two overlapping horizontal rectangles; two giant windows. Tying back to the idea of circulation, the movement throughout the building activates this transformation. Scales and proportions change radically - thus circulation and movement spur the metamorphosis.
Lastly, the building was created to be light - hovering above the ground, filled with sunlight and without a clear inside and outside. The site evokes purity and rawness, the design respects the site and so sits above it. The illusion that the Villa is floating above the dunes and the grass is hopefully achieved, and the use of glass to evoke transparency and connectivity to nature hopes to engage the visitor with the site rather than the building itself.