In the long-term practice of BUZZ, exploring the theme of "mountain" within Eastern imagery has become an ongoing exploration. Unlike the West's solid understanding of mountains, the East likens them to the ever-changing clouds or qi, embodying fluidity in traditional paintings, texts, and various artistic experiences, serving as a testament to the concept of temporal change. This unique sense of time and fluidity also lies at the core of BUZZ's practical work.

The THALLO Boutique Hotel Cluster is located amidst the mountains surrounding the Mayang River Scenic Area, diverging from BUZZ's previous low-density projects. The high-density development greatly restricts the potential for sprawling, fluid forms within the site. Consequently, the architectural massing strategy favors a close integration with the mountainous terrain, resulting in a vertical, multi-layered form. The challenge the project faces lies in how to reasonably integrate high-density construction, the sense of spatial fluidity, temporal change, and the concepts of solidity and softness.

Through architectural design techniques, the building volume integrates seamlessly with the mountainous terrain, linking the interior's complex functions via fluid spatial forms. The architectural shape varies with the twists and turns of the mountain, creating a progressive relationship of changing scenes on the plan; in section, the stratification of spaces and a sense of punctuated narration are expressed. To minimize the impact on the natural landscape, experiential spaces are elevated as much as possible, visually creating a floating effect at the top, and through a series of design strategies, they are integrated into the mountain and natural environment, crafting a unique spatial experience.

One side of the building clings to the mountain, forming a terraced sectional relationship, overlooking the valley and distant mountains; at the same time, the artificial terraces in the valley also provide a platform for experiences beyond the visual. The part of the building facing away from the mountain is opened up, with both ends converging towards the center, focusing the line of sight and displaying a forward-plunging posture, akin to a spaceship ready to launch. To better integrate with the natural environment, the building employs layered and staggered techniques, extending the horizontal flow, which not only dissolves the building's rigid volume but also creates terraces, courtyards, and viewpoints inside, forming an interesting juxtaposition with the surrounding mountains.

The design of the eaves at the ends of the building, wrapped like ribbons, softens the structure's heaviness; meanwhile, these eaves interweave with the rear guest rooms, spanning the commercial street space, linking buildings on both sides, enlarging the rear landscape and commercial nodes, achieving a connection from form to function. This fluid design integrates into the continuous mountain and valley landscapes, enabling the THALLO Boutique Hotel Cluster to serve as a leading example within the entire architectural complex.

In its series of past practices, BUZZ has excelled in creating diverse, fragmented places through continuous topographical changes. These places generate intermittent experiences through physical intervention, ultimately reassembling in smooth spaces, triggering new events and interactions.

The THALLO Boutique Hotel Cluster, as BUZZ's latest presentation of an in-depth exploration and modern expression of Eastern imagery, continues BUZZ's approach of simulating natural "topography" rather than merely imitating natural "forms." It ventures through dispersed narrative methods to explore independent yet interconnected spaces, reinvigorating people's behaviors and activities through their different shapes and functions. This creates an openness that values both space and function equally, offering visitors a series of rich spatial and functional experiences.

This approach aims to transcend simple topographic mimicry and closely aligns with the theoretical concepts of architectural topography, such as the theory of folds, catastrophe diagrams, and the concept of topological space. The continuity and stratification of internal spaces coexist, defined by the continuous variation of topographic surfaces to delineate different functional areas and circulation paths. This spatial design intends to guide visitors' physical movements, providing an open vector field without fixed paths, stimulating the desire to explore - people's movement experiences are directly guided and influenced by the topography.

The undulating roof creates a rich visual and tactile experience, where people can walk freely, feeling the changes in texture brought by different materials, and each space is designed to evoke specific sensory responses. The rooftop viewing platforms and the internal curved surfaces offer a variety of perspectives and windows, allowing people to appreciate the surrounding natural landscape from different positions.

From the outside, the building appears like a ten-thousand-ton ship, breaking through the waves along the mountain's contours; from the inside looking out, the details of the building's eaves flow smoothly, blending seamlessly with the surrounding mountains, creating a unique landscape where nature and human craftsmanship intertwine.

Such spatial manipulation and dispersed narrative correlate with people's imaginations of spatial experience: guests can witness the soft morning sunlight on the building's surface, with clouds rising among the mountains, as if they are aboard a floating boat amidst the hills. These flowing fragments reconstruct a new architectural intent in everyone's heart. In this spatial experience, the time people spend in quiet contemplation is extended, and the sensation of utilizing the space becomes rich and varied.

The building's novel visual relationships, along with a reinterpretation of the Minnan landscape imagery, are not only reflected in the fluidity of the plan but also form a series of reassembled fragments in the process of spiraling upwards. This experience is an upgrade to a new three-dimensional level based on traditional Chinese scroll painting experiences.

At the core of the art exhibition center is a spiral upward curved display rack, and the atrium space between the second and third floors links the exhibition hall on the first floor to the Songzi Bookstore on the fourth floor, providing a continuous visual and spatial experience. The stairs around the atrium and openings in some walls enhance the visual and spatial dialogue between floors.

The salon space of the bookstore is located at the highest point of the building, becoming an excellent viewpoint for overlooking the panorama. The reflecting pool outside the bookstore mirrors the daylight, tree shadows, and the posture of the building touching the water surface.

The interior walls are coated with a beige paint that has a micro-cement texture, giving the art exhibition center a soft yet artistic feel. The interior's vertical integrity and the horizontal relationship with the facade's black metal tiles and continuous floor-to-ceiling glass create a unified yet unique visual contrast, endowing the building with a gentle yet powerful characteristic. The rear of the lodging collection has almost all obstructions removed, allowing each guest room to directly face the natural mountainside. The design of large windows introduces the outdoor scenery, making one feel as if they are immersed in nature, enjoying a tranquil moment accompanied by the landscape.

As the inaugural building of the entire THALLO Minnan Accommodation Collection, the THALLO Boutique Hotel Cluster combines various commercial functions including an art exhibition center, Songzi Bookstore, Jixiang Boutique Hotel, Riding Track Club, and Yongheng Medical Pavilion. It also serves as a demonstration and catalyst for the whole THALLO Town.

The design reconstructs the scattered narrative relationship of architectural space through the perspective of operation, where traditional hotel spaces might only meet the demand for a single functional area. However, the THALLO Boutique Hotel Cluster and the subsequent phase of the Minnan Accommodation Collection integrate top Chinese guesthouse clusters including LOST VILLA, Cloud Retreat, CIPO, Vretreats, and WAYPOINT, along with related dining, reading, parent-child research learning, cycling, wellness, medical pavilion, camping, and hiking among more than twenty diverse and complex business forms. The interaction between these business forms not only enriches the characteristics of each space but also provides a clear objective for every action of the architecture.

A continuous cultural and creative district, interacting with the Art Exhibition Center and the Pinecone Bookstore, has the potential to host more cultural activities and gatherings, enlivening the architectural space. In the interaction between architectural spaces and business functions, users gain a new "changing scenes with each step" experience, transcending traditional spatial relationships and achieving a deeper integration between people and business forms.

In summary, the THALLO Boutique Hotel Cluster is not only a physical integration of architecture and nature but also a contemporary interpretation of the southern Fujian landscape. It attempts to create a new type of interactive experience, making it a fresh annotation of the town's spirit. BUZZ's re-examination of space, nature, culture, and art, and its application in architectural practice once again demonstrate that architecture is not merely a static entity but a dynamic, experiential place that reinvigorates people's perception and utilization of space.