项目场地位于莫干山仙人坑村落的主路尽头，东西向竹林景观围绕，其中西侧紧邻街道。因起伏地形限制，形成了不规整的南北向长条型场地。如何处理临街的条件，以及如何敏锐捕捉不同时段的光影角度和竹林景观等场地特有要素，成为项目思考的出发点。


The site is located at the end of the main road of Xianrenkeng village, Mount Mogan, surrounded by a bamboo landscape in the east-west direction, with a street adjacent to the west side. Due to the undulating terrain constraints, irregular north-south strip site forms. How to deal with the conditions of the street, as well as how to capture the different period of light and shadow angle and bamboo landscape and other unique elements of the site, become the starting point for project thinking.

项目概念为“游园惊梦”。民宿采用纯黑外观，以谦逊姿态隐于山野，呈现一种内藏、内敛的建筑气质。游人进入建筑后，在“折”与“藏”中发现隐藏在各处的景致。区别于严谨建构秩序，空间组合形式更类似在山林间自然生长的状态，依势而建。



The concept of the project is“Dream in the garden”. The residential accommodation adopts pure black appearance, conceals in the mountain by the humble manner, presents one kind of hidden, introverted architectural temperament. Visitors enter the building, and find hidden in the landscape. Different from the strict construction order, the spatial combination forms are more similar to the natural growth state in the mountains and forests, built according to the situation.

一层空间由3个方形体块与4处庭院构成，空间之间充满穿插、流动和交集，串联成一个变幻也和谐的整体。室内以景观为导向，设置每一处庭院的不同停留区域与观赏方式。这些停留区域范围被确定后，剩下的空间便是行走的路径。这些路径不被预先规划，而是设计逻辑推导的结果。



The first floor is made up of 3 square volumes and 4 courtyards, which are interspersed, flowing and intersecting to form a changeable and harmonious whole. The interior is landscape-oriented, with different areas of each courtyard and ways of viewing. Once the range of these stopping areas is determined, the remaining space is the path to walk. These paths are not planned in advance, but are the result of design logic derivation.

一层轴侧

 黑色是消隐，是谦虚地融进自然，是大地的颜色，是无我。

园林建造从“折”和“藏”出发，游园者亦是景致的一部分。

通过窗、门、屋顶等明确的四边造型组成“框景”，使三维空间扁平化呈现中国画的绘画语言，体现绘画中的空间意识。



在材质方面，我们运用自然材料，如烧杉木、英安岩、微水泥，亚麻这些材质朴实耐用且会随时间流逝而丰富其质感。空间以灰色和木色为基调，同色系的材质有粗糙细腻的微妙对比，避免过度的装饰。让空间回归与建构、光影、景观的对话。



In terms of materials, we use natural materials, such as burnt fir, dacite, micro-cement, linen which are simple and durable and will enrich its texture over time. Gray and wood color as the tone, with the color of the material has a rough delicate contrast, can avoid excessive decoration. Let space return and construction, light and shadow, landscape dialogue.

二层和三层空间分别有三间客房。每间客房都最大化的保证了与周边自然环境的连通，房间将核心休憩空间以温润的木盒子嵌入到不同尺寸的雕刻体块中，强调空间的流通和功能的秩序感。


There are three rooms separated on each floor with maximized views to nature. The core spaces are inserted into the carved solid mass as wooden objects to strengthen the hierarchy of spaces.

灵感来源于传统东方木构，在二层客房中分别插入了不同体量的网格系统，将宣纸和榻榻米嵌入，呈现出丰富的空间体验和光影效果。木构系统可以完全关闭来营造安静的睡眠空间，可以局部打开进入卫浴空间，也可以完全打开和室外竹林融为一体，通过可虚实变换的边界形成空间的暧昧流动。


Drew the inspiration from traditional wooden structure, the architects inserted different wooden grid systems with washi paper and tatami embedded in into the solid guestroom volumes to differentiate the bathroom programs and the rooms. The movable screens within the grid system can be completely or partially closed or opened to define the spaces and to frame the views of the bamboo forest outside. The washi paper in the system will also bring the quality of the light and shadow to the space when the shadows of bamboo forest hit on it.

借由不同朝向的框景手法将近处的内庭和远处的竹林都囊括其中。

木构网格系统以重复叠加的方式呈现功能空间的秩序感和结构感。

三层空间是斜屋顶结构，为了强调建筑本体空间的体块感和粗野感，在每个房间中，嵌入了带有生活功能的木质构件。房间内的材料以灰色微水泥和暖色原木为主，避免过度的装饰，衬托出光与影的交互以及建筑空间和自然环境的关系。



To the third floor, the pitched roofs started to dominate the spaces. The spaces are more volumetric with different punches to define programs and to frame the views. Different wooden objects per human dimensions are inserted in while the same time to let the concrete mass to dominate the overall spaces.

在窗户的开合之间感受光影的流动。