When will you go back and be an idle man? To a zither, a pot of wine and a stream of clouds.
The ancient capital of the Six Dynasties and the Qinhuai breeze and moon have left Nanjingers not only with a thick cultural and historical heritage, but also with a rough and leisurely bone, and a calm and light-hearted temperament. The people of Nanjing's knowledge of life, the transformation of their way of life in the context of the times, and the humanistic sentiments of the city itself have become the bones and blood of Nanjing, growing together with the land. In the ripples of the water, the green shadows of Zijinshan flowing for a thousand years are reflected in them.
Growing naturally with water, stone and wood
"In Zhangyuan, the hall is wide and deep, the paths bend, the rocks are followed, and the soft light between the greenery and the forest is dense, and naturally, we meet a teahouse at the foot of the Purple Mountain. After abandoning the grand and dazzling visual language constructed by symbols and labels, we turn to the interior of nature and the contemporary lifestyle of Nanjingers to find the path of design entry. Quiet, airy, and light, this is a place where people can simply feel and be empowered by the quiet moments they spend with themselves.
Extending, interacting and exchanging the boundaries of perception.
Drawing on the natural meditation of water, stone and wood in the courtyard landscape, the design constructs an interactive, fluid relationship between the interior and exterior of the space to deepen the diverse experience of the site itself in terms of access to the five senses, and in so doing forms the narrative logic within the space. The art vestibule area is made up of a thin silken linen and wood enclosure. Through a constructed blurring and linking of the internal and external interfaces, the designer has loosened up this area, creating a sense of arrival and emotional transformation for the visitor.
In order to avoid the tediousness of the horizontal and vertical arrangement of functions in courtyard-style flat buildings, we have tried to create a hierarchical logic of the "rise and fall" of the space through the differentiation of the structure of each functional area as far as possible, and in this way arrange the dynamic lines to guide people's behaviour. The art vestibule is vertically connected to the art sandbox, while in the horizontal plane, a straight corridor runs through the whole plane. Occasionally, there is the possibility of vertical interaction with the outdoor landscape. Within the regular square, there are curved paths leading to the four sides. People are constantly moving through the space, merging, connecting and dispersing, making the space truly dynamic with the flow of an exhibition centre.