架构师提供的文本描述。有句古话是这样说的：“一半的中国诗人都在湖南”，表现出湖南文化最鲜明的特征，那就是“诗意”。这种诗意特征可以被双溪书院独特的风景住宅重新诠释-坐落在山旁，小溪旁，杂乱无章，但也是一群群的聚居地。在这里，建筑中的各种空间设计似乎都有一定的意义：无论是愉快的观光或宁静的休息，竹竿或观鱼，足浴或乐器演奏，品茶或烧香，你都会在里面找到诗歌的自然倒影。这样的诗篇融入了人文精神和生活之中，创造了清新的诗意符号。正如马丁·海德格尔(MartinHeidegger)所主张的那样：“是诗歌引导我们走向土地，让我们属于它，并以此为基础生活。”在双溪书院，诗歌进入了正常的生活，成为禅宗与超然的场所。

Text description provided by the architects. There is an old saying goes like this: "Half of Chinese poets are in Hunan", which shows the most distinctive feature included in Hunan's culture, that is, "poetic". Such poetic feature can be reinterpreted by the unique scenery residence of Shuangxi Academy -- laying alongside mountains and beside brooks with randomly scattered but well clustered residence. Here, all kinds of spatial designs in architecture seem to be given certain meanings: no matter it is enjoyable sightseeing or peaceful resting, bamboo leaning or fish viewing, footbath enjoying or musical instrument playing, tea tasting or incense burning, you will always find natural reflections of poetry inside. With such poetic segments melted into humanistic spirit and life, refreshed poetic symbols are created. Just like what Martin Heidegger advocated: "it is poetry that leads us to the land and makes us belong to it and live on it." In Shuangxi Academy, poetry has entered normal lives and become a place for Zen and aloofness.

 Aerial. Image © Weiqi Jin

天线。形象：魏晋

 Courtesy of Duoxiangjie Architectural Design

多祥街建筑设计

对诗歌的追求甚至在一开始就给建筑设计一种画面感。一方面，设计的基本路线是找到一种方法，在不破坏场景的情况下，将建筑物嵌入到周围环境中，而是将其增强。这实际上是一种自然的安排，而不是人为的设计-11米到14米宽的小溪向不同的方向扭曲，把建筑物刻入山谷，只向我们展示山谷入口的正面。因此，双溪书院的七座建筑，除了接待厅(或餐厅)和茶室外，都藏在四个开阔的山谷里，每一座都有其独特的景色。这样的结构就像中国传统绘画中所使用的虚无缥缈的视角-独立的组成部分，它们共同构成了一幅完整的图画。

The pursuit of poetry gives architectural design a sense of picture even at the beginning. On the one hand, the basic line for designing is to find a way of embedding buildings into their surroundings without damaging the scenario but enhancing it instead. It is actually more of a natural arrangement than artificial design -- pronged brooks of 11m to 14m width twist toward different direction, engraving buildings into the valley and presenting to us the facade of valley entrance only. As a result, seven single buildings of Shuangxi Academy, except for the reception hall (or restaurant) and tea room, are all hidden in four open valleys, each with its unique view. Such structure is just like cavalier perspective used in traditional Chinese painting - independent components which together form an integrated picture.

 Tea room. Image © Weiqi Jin

茶室。形象：魏晋

另一方面，在建筑风格上，运用现代材料和结构技术，试图再现传统的乡土建筑形象。这些建筑设计意象，如室内庭院、木结构、白墙、瓦坡，以及砖、木、瓦等元素，都来源于传统的乡土建筑，或部分抽象地从中国南方的建筑符号中提取出来。在施工方面，除了传统的混凝土框架外，还采用了竹材、铝板金属屋面和GRC(胶砂混凝土)材料，这对施工技术提出了新的要求。在风格上，双溪书院的七座建筑由于地形的不同，同时具有相似的元素和不同的特点。

On the other hand, in the architectural style, modern material and structural technology are applied, trying to recreate traditional local building images. All these architectural design images like interior courtyard, wood frame, white wall and tiled slope, as well as elements like brick, wood and tile, are originated from traditional local buildings or partly and abstractly extracted from architectural symbols of southern China. As for construction, in addition to traditional concrete frame, materials of bamboo steel, aluminum plate metal roof and GRC (glbumm concrete) materials are also used, which raises new requirements to construction technology. As for styles, seven single buildings of Shuangxi Academy share similar elements and different features at the same time due to the landform of mountains.

 Reception hall. Image © Weiqi Jin

接待室。形象：魏晋

接待大厅因为山谷限制了人们的视力，所以游客只能从一个特定的角度开始参观。从这些角度来看，游客首先会看到树木或竹林，然后将注意力转移到更深的山脊上，将它们所处的地方定位为整个画面的中间层，并超越正面的质量，使之超过平面形状。

Reception Hall Because valleys limit people's vision, so tourists can only start visiting from a specific angle. Viewing from these angles, tourists will first see trees or bamboo forest, then divert their attention to further mountain ridges, positioning the sites where they stand as the medium tier of the whole picture, and surpassing the facade's mass over its flat form

 Reception hall. Image © Weiqi Jin

接待室。形象：魏晋

在接待大厅的顶部，屋顶呈向下弧形，正面简化为一条垂直线。虽然这里没有采用典型的瓷砖坡设计，但在檐下的分层斜面仍能显示其与传统结构的联系。其他侧立面是正面立面的直接复制品，形成了围绕“庭院”的方形结构。基本上，类似于汉字“回”的结构是受到平江地区住宅内部庭院的启发。迎宾厅的檐面与上面的天际线相对应，同时也带来了更好的大厅光线和更透明的景色。

At the top of reception hall, the roof line is downward arc and facade is simplified as a vertical line. Though the typical design of tiled slope is not used here, layered rafter under the cornice can still show their links with traditional structure. Other side elevations are the direct copies of the front elevation, forming an square structure that surrounds "courtyard". Basically, such structure that resembles Chinese character "回" is inspired by the interior courtyard of residence in Pingjiang district. Turnup eaves of the reception hall correspond to above skyline and also bring better hall's light and a more transparent view.

 © Weiqi Jin

（三）围棋

 Structure analysis of reception hall

接待大厅结构分析

 © Weiqi Jin

（三）围棋

连接接待大厅的西部地区几乎埋入山区，主要用作厨房、餐厅或小型展厅。一个巨大的单坡屋顶沿着山线倾斜，与接待大厅的屋顶堆叠和重叠。为使建筑结构变厚，主体采用竹钢结构。为了平衡顶板应力，每个立柱都被设计成一个特大塔。柱子和梁只是相互重叠，形成一个桶拱的形式。大厅屋面由GRC板制成，直接铺在竹材钢结构上。屋顶表面用金属瓦代替传统瓷砖，既减轻了屋顶的负荷，又减轻了车体结构，向我们展示了中国南方现代的流线型美。

The west part that connects reception hall is almost embedded in the mountain and mainly serves as kitchen, restaurant or small exhibition hall. A huge single-slope roof tilts along mountain line, stacking and overlapping with the roof of reception hall. To thicken building structure, its main body is constructed by bamboo steel. Each vertical pillar is designed as a king tower in order to even the roof stress. Pillars and beams simply overlap with each other, forming a bucket arch in the form. The hall roof is made by GRC plate, spreading right upon bamboo steel structure. The roof surface is covered by metallic tile instead of traditional tile, which not only lowers roof load, but also lightens body structure, expressing to us a streamlined modern beauty of southern China.

 © Weiqi Jin

（三）围棋

茶室的茶房东侧立面与接待厅东侧立面相同，主要观点一致“透视线”。茶室总面积109m2。房间的一侧嵌在山上，另一侧伸出池塘，形成一个半封闭的L形庭院。转弯点周围的房角为8米高，指向东南天空。该"房间角隅角"已成为一个标记，其中三个谷汇聚在一起，以及与轴上的接收大厅相对应的顶点。屋顶向两侧连续倾斜，形成长的和窄的成角度的屋顶。玻璃墙为室内空间带来更广泛的视觉体验和充足的自然光。

Tea Room The tea room's east facade is on the same axis with the east facade of the reception hall, achieving coherence in major viewpoints' perspective line. Total area of the tea room is 109m2. One side of the room is embedded in the mountain, the other side stretches out upon the pond, forming a half-closing L-like yard. Room corner around turning point is 8m high, pointing to the southeast sky. This "room corner" has become a marker where three valleys converge together as well as the top point that correspond to the reception hall on the axis. The roof slopes continuously toward both sides, forming a long and narrow angled-in roof. The glass wall brings broader visual experience and sufficient natural light for the indoor space.

 Tea room. Image © Weiqi Jin

茶室。形象：魏晋

学院和老师的房间学院和老师的房间位于西部山谷，隐藏在茂密的竹林后面。沿着山坡向上行走，一边有小溪，另一边是茂密的竹林。道路末端是学院的入口，位于白色墙壁的左侧，与右侧的休息室形成平衡的组合物。一旦进入门，一个U形码场就会跳到眼睛里。通过连接两个单元的平台将场地划分为两层。布置良好的空间形成丰富的景观体验。由于相同的结构和材料，似乎由两个独立的建筑物形成的结构可以被认为是一个整体。学院的屋顶从两侧到中间，逐层逐层分布，形成了呼应周围山脉的线条，并回答了周围的景观。

Academy and Teacher's Room Academy and teacher's room are in the western valley which is hidden behind a dense bamboo forest. Walking upwards along the slope, there is a stream on one side and a dense bamboo forest on the other. At the end of the road is the entry to the academy, which is located on the left side of the white wall, forming a balanced composition with the lounge on the right side. A U-shaped yard jumps into the eyes once entering the door. The yard is divided into two levels by a platform which connects two units. The well-arranged space forms an abundant landscape experience. The architectures which seem to be formed by two independent buildings can be regarded as a whole because of the same structure and materials. The roof of the academy slopes from both sides to the middle part and distributes layer by layer from far to near, forming a lineament echoing the surrounding mountains and answering the landscape around.

 © Weiqi Jin

（三）围棋

 © Weiqi Jin

（三）围棋

山谷客房一般，86米长而狭窄的形式沿着山谷蜿蜒而行，在山谷口留下一个完整而突出的立面。沿着山往下流的小溪在建筑周围汇合，形成一幅宁静的景象。

Valley Guest Rooms In the general, the 86m long and narrow form winds along the valley, leaving a complete and prominent facade on the valley mouth. The stream which flows downwards along the mountain converge around the architecture and form a peaceful and tranquil picture.

 © Weiqi Jin

（三）围棋

该建筑总面积1100平方米，其形态与原山谷地形完全吻合，呈现出与地形呈直线上升的局面。倾斜和布置良好的屋顶形成了一个具有南部乡村特色的车道空间.客房两旁的屋顶都是V形的，与接待大厅和学院的一般形式是一样的。对于客房，倾斜-to提供了更好的视野，从室内看山。

This architecture, with a total area of 1,100m2, has its form tallied with the original valley terrain completely, presenting a situation of raising broken line with the terrain. The sloping and well-arranged roofs form a lane space with features of southern countryside. The guest room roofs on both sides of the land are V-shaped, which are the same with the reception hall and the academy on general form. Lean-to, with respect to guest rooms, provides better view to see the mountains from indoor.

 Valley guest rooms plan

山谷客房计划

一楼成为一个附属空间，建筑在结构上的高跷上。它装饰在一个多功能休息室，咖啡和水吧和一个小会议室；此外，三分之二的面积是嵌入山区。第一层与第二层在交通组织上不同。所有客房均位于二楼，只能独立从主入口的观察电梯进入，使二楼客房安静独立。沿车道两侧分布着18间客房。

The first floor becomes an affiliated space built on stilts on structure. It's decorated into a multi-functional lounge, coffee and water bar and a small meeting room; besides, two third of the area is embedded in the mountain. The first floor differs with the second on traffic organization. All the guest rooms are placed on the second floor, which could be entered from the observation elevator in the main entrance independently only, making the guest rooms on the second floor quiet and independent. 18 guest rooms are distributed on both sides along the lane.

 © Weiqi Jin

（三）围棋

三折别墅，这座建筑与山谷客房的建筑形式相似，因为建筑的主立面设置在山谷口的一侧，主体隐藏在山谷中。这座建筑沿着山谷排列在一条折线上。每层都有三个独立的“盒子”，它们是公共活动空间，其中有几个半室外的“展馆”空间。这些空间是由一条走廊连接起来的。私人空间，如卧室，排成一排列在二楼，就像一座“画廊桥”。连续竹钢格栅正面增加了“画廊桥”的视觉完整性。在实际的功能划分方面，私人空间，如二楼的卧室，在使用时是独立和分开的；只有在必要时，它们才能通过二楼的过道连接起来。屋面的三角形折叠关系使整体形状更接近传统屋顶。

Three-folded Villa This building is similar to the valley guest rooms in architectural form because the main facade of the architecture is set on the side of the valley mouth and its main body is hidden in the valley. The architecture is arranged along the valley on a broken line. There are three independent "boxes" on each floor, which are public activity space, among which are several half-outdoor "pavilion" spaces. These spaces are connected by a corridor. Private space such as bedrooms are arranged in line on the second floor just like a "gallery bridge". The continuous bamboo steel grating facade increases the integrity of the "gallery bridge" visually. On the actual functional partitioning, the private space such as bedrooms on the second floor, when using, are independent and separated; only when necessary, they could be connected through the aisle on the second floor. The triangular folding relationship of the roof makes the integral shape more similar to traditional roof.

 Three-folded villa. Image © Weiqi Jin

三折别墅。形象：魏晋

双溪书院几乎所有的建筑都采用V形内倾屋顶，这是从平江传统院落的轮廓中衍生出来的。这种情况更直接地反映在总部所在的别墅上。内向屋顶的四个街区变成了四个独立的休息空间。街区和外墙所界定的区域是画廊和公共区域。这种类似于集群的形式使整个体系结构更多地集成到站点中，并避免了由于体积庞大而产生的一致性。将四个独立的功能块插入透明玻璃盒中，产生了室内和室外连续旅行的空间体验；同时，由墙壁形成了六个小庭院。墙上的部分观景窗带来了院子里的人工景观和门外的自然景观所创造的相反的风景。

Quartered Villa Almost all the architectures in Shuangxi Academy adopt a V-shaped introvertive roof, which is derived from the profile of traditional courtyard in Pingjiang. Such a profile is reflected at quartered villas more directly. The four blocks of the introvertive roof become four independent spaces for rest. The areas defined by the block and the outer wall are galleries and public areas. Such a form similar to cluster makes the whole architecture more integrated into the site and avoids the congruous sense caused by the huge volume. Four independent functional blocks are inserted into a transparent glass box, producing a spatial experience of traveling between indoors and outdoors continuously; at the same time, six small yards are formed by walls. The partial viewing windows on the wall bring with opposite scenery created by the artificial landscape in the yard and the natural scenery outside the door.

 © Weiqi Jin

（三）围棋

透明玻璃盒将自然光线从南面带入房间，使建筑形象更加柔和。走出房间，再从另一个视角看，你会发现建筑的倾斜屋顶和山脊线在两边逐渐上升，相互呼应，尽管正面的前仰角的体积感因此减弱了。

The transparent glass boxes bring the natural light from the south side into the room, making the architectural image softer. Walking outside the room and viewing from a further visual angle, you will find that the tilted roof of the architecture and the ridge line gradually rising on both sides echoing each other, even though the sense of volume of front elevation from the facade is therefore weakened.

 © Weiqi Jin

（三）围棋

当一个体系结构在本质上被颠倒时，所有所谓的专业设计或解释都应该提交给"力"或"趋势"的性质。大自然的封闭使得建筑从对抗转向服从，或融合或互利主义。例如，中国山水画中的房屋部分是隐藏的，部分在丘陵和水域之间可见。这些绘画中的诗歌缩小了古人和我们之间的距离。古人可以欣赏山水画，而不是旅行，体验大自然中蕴含的哲学。今天，我们仍在努力在大自然和建筑之间建立一些场景，一些场景让我们通过建筑与自然沟通。这种场景可能隐藏在双溪学院。当走在深谷和静流旁边时，我们可以想到邹尼的诗句，南宋的文学家："花影斜着，月亮向西，当我在溪边的时候，我的心情并不在动。我不在山上说什么，因为只有古人知道我在想什么。"

When an architecture is inverted in the nature, all the so-called professional design or explanation should submit to the "force" or "tendency" of the nature. The enclosure of the nature makes architectures turning from confrontation to obedience, or to integration or mutualism. For example, houses in Chinese landscape painting are partly hidden and partly visible between hills and waters. The poetry in such paintings narrows the distance between the ancients and us. The ancients can enjoy landscape paintings, instead of traveling, to experience the philosophy contained in the nature. Today, we are still trying to build some scenes between the nature and architectures, some scenes for us to communicate with the nature through architectures. Such scenes might be hidden in Shuangxi Academy. When walking in the deep valley and beside the quiet stream, we may think of the verse of Zou Ni, a litterateur of the Southern Song Dynasty: "The flower shadow turns oblique and the moon westwards, I am not in the mood to move when I'm in the brook. I say nothing in front of the mountain, as only the ancients know what I'm thinking about."

 © Weiqi Jin

（三）围棋